Showing posts with label movement. Show all posts
Showing posts with label movement. Show all posts

Friday, October 1, 2010

Degrees of Freedom


"In mechanics, degrees of freedom (DOF) are the set of independent displacements and/or rotations that specify completely the displaced or deformed position and orientation of the body or system." Wikipedia


 


RoboticsResearch



 

Martha Graham: movement, energy, motivation

"There's always one person to whom you speak in the audience, one." – Martha Graham





"I wanted to begin not with characters or ideas, but with movements . . . I wanted significant movement. I did not want it to be beautiful or fluid. I wanted it to be fraught with inner meaning, with excitement and surge." – Martha Graham


MARTHA GRAHAM
"Lamentation"
Herta Moselsio
"Lamentation,"ca. summer 1937
Silver gelatin prints 


"Martha Graham's impact on dance was staggering and often compared to that of Picasso's on painting, Stravinsky's on music, and Frank Lloyd Wright's on architecture. Her contributions transformed the art form, revitalizing and expanding dance around the world. In her search to express herself freely and honestly, she created the Martha Graham Dance Company, one of the oldest
dance troupes in America. As a teacher, Graham trained and inspired generations of fine dancers and choreographers. Her pupils included such greats as Alvin Ailey, Twyla Tharp, Paul Taylor, Merce Cunningham, and countless other performers, actors, and dancers. She collaborated with some of the foremost artists of her time including the composer Aaron Copland and the sculptor Isamu Noguchi." Link



Bronze statuette of a veiled and masked dancer
Title: Bronze statuette of a veiled and masked dancer
Medium; TechniqueBronze
CultureGreek
PeriodHellenistic
Date3rd–2nd century B.C.
DimensionsH. 8 1/16 in. (20.5 cm)



Motion, movement, momentum, motivation




mo·tion (mshn)

n.

1. The act or process of changing position or place.
2. A meaningful or expressive change in the position of the body or a part of the body; a gesture.
3. Active operation: set the plan in motion.
4. The ability or power to move: lost motion in his arm.
5. The manner in which the body moves, as in walking.
6. A prompting from within; an impulse or inclination: resigned of her own motion.
7. Music Melodic ascent and descent of pitch.
8. Law An application made to a court for an order or a ruling.
9. A formal proposal put to the vote under parliamentary procedures.
10. a. A mechanical device or piece of machinery that moves or causes motion; a mechanism.
b. The movement or action of such a device.


movement [ˈmuːvmənt]
n.

1.a. The act or an instance of moving; a change in place or position.
b. A particular manner of moving.
2. A change in the location of troops, ships, or aircraft for tactical or strategic purposes.
3. a. A series of actions and events taking place over a period of time and working to foster a principle or policy: a movement toward world peace.
    b. An organized effort by supporters of a common goal: a leader of the labor movement.
4. A tendency or trend: a movement toward larger kitchens.
5. A change in the market price of a security or commodity.
6. a. An evacuation of the bowels.
    b. The matter so evacuated.
7. The suggestion or illusion of motion in a painting, sculpture, or design.
8. The progression of events in the development of a literary plot.
9. The rhythmical or metrical structure of a poetic composition.
10. Music A self-contained section of an extended composition.
11. A mechanism, such as the works of a watch, that produces or transmits motion.


momentum [məʊˈmɛntəm]
n pl -ta [-tə], -tums

1. (Physics / General Physics) Physics the product of a body's mass and its velocity. Symbol p See also angular momentum
2. (Physics / General Physics) the impetus of a body resulting from its motion
3. driving power or strength
[from Latin: movement; see moment]


motivation [ˌməʊtɪˈveɪʃən]
n
1. the act or an instance of motivating
2. desire to do; interest or drive
3. incentive or inducement
4. (Psychology) Psychol the process that arouses, sustains and regulates human and animal behaviour
motivational  adj
motivative  adj

Bill T. Jones: "labor, work and action"



"Ghostcatching is a digital art installation that fuses dance, drawing, and computer composition. Paul Kaiser and Shelley Eshkar created the visual and sound composition; Bill T. Jones created and performed the dance and vocal phrases. Seven minutes long, the piece is a meditation on the act of being captured and of breaking free. 

Ghostcatching finds its place in the unexpected intersection of dance, drawing, and computer composition. The work is made possible by advances in motion capture, a technology that tracks sensors attached to a moving body. The resulting data files reflect the position and rotation of the body in motion, without preserving the performer's mass or musculature. Thus, movement is extracted from the performer’s body. 

"Captured phrases become the building blocks for the virtual composition. As data, the phrases can be edited, re-choreographed, and staged for a digital performance in the 3D space of the computer. 
"Here, the body of Bill T. Jones is multiplied into many dancers, who perform as three-dimensional drawings. Their anatomies are intertwinings of drawn strokes, which are in fact painstakingly modeled as geometry on the computer — never drawn on paper. 

"So, we may ask: What is human movement in the absence of the body? Can the drawn line carry the rhythm, weight, and intent of physical movement? What kind of dance do we conceive in this ghostly place, where enclosures, entanglements, and reflections vie with the will to break free"

from the Artists’ Statement by Bill T. Jones, Paul Kaiser, and Shelley Eshkar
For a more detailed account of Ghostcatching, see the catalogue essay Steps" 



fragment from 'Breathing Show' 

"Don't be afraid to fall off balance." – Bill T Jones, vocal fragment from 'Breathing Show' [ video below]







"After Ghostcatching began as an updating of Ghostcatching, the 1999 installation piece created with Bill T. Jones, but the work took on a new existence as the possibilities of 3D projection led deeper into the original terrain.





A re-envisioning of Ghostcatching (1999), After Ghostcatching is built up from the same motions and vocalizations of Bill T. Jones used in the earlier work, but explores the themes of disembodiment and identity with the new possibilities opened up by 3D projection and a custom 3D renderer built up in Field. 

OpenEnded Group





 

William Forsythe: structure & visualization



"[O]n his 1999 "Improvisation Technologies" CD-ROM, Forsythe provides a hands-on guide to the approach he uses to create different types of movements. His methodology is grounded in using geometric shapes such as points, lines and three-dimensional forms to help dancers develop their own improvisational practice. And each of the video explanations includes overlain animated graphics to help dancers visualize each example.
 
Here are two video examples that provide a glimpse into Forsythe's methodology. The first video illustrates how to create arm movements by extruding lines from points" Great Dance


Forsythe-Lines-Point point line-2-Extrusion



Forsythe-Lines-Complex Operations-3-Dropping Curves










William Forsythe - Solo





slideshow












Synchronous Objects

Synchronous Objects reveals the interlocking systems of organization in William Forsythe's ensemble dance

One Flat Thing, reproduced through a series of objects that work in harmony to explore its choreographic structures and reimagine what else they might look like.

Yvonne Rainer: The Mind is a Muscle




 









MoMA: "Trio A is a well-known dance sequence by Yvonne Rainer. Since its first presentation in 1966 as part of the larger performance The Mind is a Muscle, Part 1 at Judson Memorial Church in New York, it has been performed repeatedly in various forms and contexts by dancers and non dancers alike. The piece comprises a sequence of unpredictable movements that unfold in a continuous motion, deliberately opposing familiar dance patterns of development and climax. Trio A is performed at MoMA by Pat Catterson, a professional dancer, and Jimmy Robert and Ian White, two visual artists and nondancers, in front of a projection of a historical recording of Rainer's own 1978 performance of the piece."



"Rainer's work has been linked strongly with minimalist sculpture: she compared the neutral, specific qualities of those objects to her own "work-like" or "task-like," "ordinary" dance, and she collaborated early on with Robert Morris. But The Mind is a Muscle manifests an agitated and contradictory relationship to the idea of "work" in the context of an affluent, postwar America. Wood describes the way the choreography of The Mind is a Muscle proposed a new lexicon of movement that stripped away the gestural conventions of dance or theater narrative in an attempt to present the human subject on her own terms while at the same time manipulating the seductiveness of the image, increasingly being harnessed by capitalism. Rainer's legacy persists through her decision to allow the Trio A from The Mind is a Muscle as a "multiple," distributed by being taught to many dancers and non-dancers, proposing, Wood argues, for the art object as code."
Catherine Wood,
MIT Press



Yvonne Rainer and 'Martha Graham' (Richard Move) in 'Trio A'



Wallace Stevens: Anecdote of the Jar


Wallace Stevens

I placed a jar in Tennessee,
And round it was, upon a hill.
It made the slovenly wilderness
Surround that hill.
The wilderness rose up to it,
And sprawled around, no longer wild.
The jar was round upon the ground
And tall and of a port in air.
It took dominion every where.
The jar was gray and bare.
It did not give of bird or bush,
Like nothing else in Tennessee.

Kenneth Koch: One Train May Hide Another

One Train May Hide Another
Kenneth Koch
(sign at a railroad crossing in Kenya)

In a poem, one line may hide another line,
As at a crossing, one train may hide another train.
That is, if you are waiting to cross
The tracks, wait to do it for one moment at
Least after the first train is gone. And so when you read
Wait until you have read the next line--
Then it is safe to go on reading.
In a family one sister may conceal another,
So, when you are courting, it's best to have them all in view
Otherwise in coming to find one you may love another.
One father or one brother may hide the man,
If you are a woman, whom you have been waiting to love.
So always standing in front of something the other
As words stand in front of objects, feelings, and ideas.
One wish may hide another. And one person's reputation may hide
The reputation of another. One dog may conceal another
On a lawn, so if you escape the first one you're not necessarily safe;
One lilac may hide another and then a lot of lilacs and on the Appia
     Antica one tomb
May hide a number of other tombs. In love, one reproach may hide another,
One small complaint may hide a great one.
One injustice may hide another--one colonial may hide another,
One blaring red uniform another, and another, a whole column. One bath
     may hide another bath
As when, after bathing, one walks out into the rain.
One idea may hide another: Life is simple
Hide Life is incredibly complex, as in the prose of Gertrude Stein
One sentence hides another and is another as well. And in the laboratory
One invention may hide another invention,
One evening may hide another, one shadow, a nest of shadows.
One dark red, or one blue, or one purple--this is a painting
By someone after Matisse. One waits at the tracks until they pass,
These hidden doubles or, sometimes, likenesses. One identical twin
May hide the other. And there may be even more in there! The obstetrician
Gazes at the Valley of the Var. We used to live there, my wife and I, but
One life hid another life. And now she is gone and I am here.
A vivacious mother hides a gawky daughter. The daughter hides
Her own vivacious daughter in turn. They are in
A railway station and the daughter is holding a bag
Bigger than her mother's bag and successfully hides it.
In offering to pick up the daughter's bag one finds oneself confronted by
     the mother's
And has to carry that one, too. So one hitchhiker
May deliberately hide another and one cup of coffee
Another, too, until one is over-excited. One love may hide another love
     or the same love
As when "I love you" suddenly rings false and one discovers
The better love lingering behind, as when "I'm full of doubts"
Hides "I'm certain about something and it is that"
And one dream may hide another as is well known, always, too. In the
     Garden of Eden
Adam and Eve may hide the real Adam and Eve.
Jerusalem may hide another Jerusalem.
When you come to something, stop to let it pass
So you can see what else is there. At home, no matter where,
Internal tracks pose dangers, too: one memory
Certainly hides another, that being what memory is all about,
The eternal reverse succession of contemplated entities. Reading
    A Sentimental Journey look around
When you have finished, for Tristram Shandy, to see
If it is standing there, it should be, stronger
And more profound and theretofore hidden as Santa Maria Maggiore
May be hidden by similar churches inside Rome. One sidewalk
May hide another, as when you're asleep there, and
One song hide another song; a pounding upstairs
Hide the beating of drums. One friend may hide another, you sit at the
     foot of a tree
With one and when you get up to leave there is another
Whom you'd have preferred to talk to all along. One teacher,
One doctor, one ecstasy, one illness, one woman, one man
May hide another. Pause to let the first one pass.
You think, Now it is safe to cross and you are hit by the next one. It
     can be important
To have waited at least a moment to see what was already there.


Link 

Antony Gormley: body as instrument

Sidi Larbi Chekaoui & Antony Gormley - Sutra



'Feeling Material' (series)

"As an artist whose work is so much about the body, it seems natural that Antony Gormley should be interested in dance. For years, he has cast his own body, placing it on top of buildings, in trees and on gallery ceilings, willing us to look at our own bodies, and our selves, in a new light. An invitation last year to design the set for a dance performance, working with the choreographer Sidi Larbi Cherkaoui and warrior monks from the Shaolin temple in China, seemed singularly apt. 

"I've always been interested in dance because it is one of the bravest and most direct art forms there is," Gormley says. "Dancers' bodies have become the instrument through which they communicate their vulnerability, allowing the body to become a direct evocation of thought and feeling, without anything coming in between. It's an extraordinary thing." Link

 

 

 

Robin Rhode: mind in motion











"These two artists will join forces for the first time and we believe that the result will be simply striking as the two original exceptional artists will outperform their selves - South African-born, Berlin-based visual artist Robin Rhode and multiple Grammy Award-winning Norwegian pianist Leif Ove Andsnes who is represented by EMI — will collaborate on Mussorgsky’s epic piano suite Pictures at an Exhibition.  Leif Ove will be performing the piano recital, while Rhode has made a series of films that are to be are projected on screens behind the piano in an attempt to recreate the experience of looking at paintings while listening to Mussorgsky’s epic piano suite.

The character in 'Kadet' (Promenade 1,2,3) is loosely based on Mussorgsky’s youth, and relates to his military rank in the Russian army as ‘cadet. The character in the animation reveals the youth on a path of self discovery, his feet grounded onto cubes that truncate as they transform through space. This geometric representation highlights a struggle to define one’s own position in the world; as the cube transcends time its form begins to change as if the ‘Kadet’ has placed the exerting force onto it."



Robin Rhode  b.1975  (South Africa)
lives and works in Berlin, Germany


"Robin Rhode approaches his multidisciplinary and unconventional art practice through the high energy of street inventiveness and youth culture, often drawing on the subcultural codes of hip hop, popular sports, film, and fashion to render the everyday as art. A self-proclaimed "revolutionary contemporary artist," his strategic interventions in galleries and public spaces explore issues of culture, identity, history, and the socioeconomic realities of a South Africa newly welcomed back into the global fold. Utilizing lo-fi techniques such as charcoal drawing, performance, and simple computer animations, he transforms the quotidian into humorous, evocative experiences laced with sharp commentary on the politics of leisure, global branding, and the commodification of youth cultures.

Rhode's visual and conceptual alphabet is built around issues of desire, loss, and dislocation in a capitalist world while also acknowledging the specific indignities of growing up "colored" in formerly apartheid South Africa. For instance, Park Bench (2000) was a life-size drawing of said object on the wall of the Parliament building in Cape Town, in an area that used to be off-limits to all but white South Africans. Dressed in dark, hooded clothing associated with trouble-making youths, Rhode then proceeded to loiter around his bench and was eventually arrested for defaming state property. Likewise, in Car Theft (1998/2003), he uses various objects to attempt to break into a car he has drawn on the gallery wall, highlighting his signature method of attempting to playfully transform flat renderings of everyday objects into illusory three-dimensional ones through his physical interactions. Very much a provocateur and cultural subversive, he shares conceptual links with artists as varied as Marcel Duchamp, Jean-Michel Basquiat, and David Hammons. Yet, these "high art" associations do not negate his equally strong ties to popular cultural phenomena such as rappers Wu-Tang Clan, the Nike brand, graffiti art, and music-video director Hype Williams.

In 2001, Rhode was nominated for South Africa's FNB Vita Art Prize. He has been included in several group exhibitions, including Dislocation. Image. Identity. South Africa, Centro Cultural de Maria, O'Porto, Portugal (2002); Shelf Life, Gasworks Gallery, London, England (2001); and Juncture, The Granary, Cape Town, and Studio Voltaire, London (2001). His solo exhibitions include Fresh: Robin Rhode at South Africa National Gallery, Cape Town (2000). Rhode is an artist-in-residence at the Walker Art Center in 2002-2003." -- Olukemi Ilesanmi








'Joe Sent Me' & the Hidden Language of the Body


 

Part III: "Joe Sent M.D.E." at Mercer County Community College - "Hurricnaes" from Elixir Productions Theatre Co. on Vimeo & YouTube


HURRICANES

Soon life's knowing will come.
it will dust the mind like talcum.
Meanwhile, everyone will dream
at least once
of times they tried to run.
but their legs got stuck
in the ambivalence of love's mud,
in the imagination's straining.

Our days are drenched by hurricanes
entering sideways in our minds
with no warning.

It's gray where the thinking thinks,
where the radar blinks.
It's the surge of you
that burns me crimson.
I am asleep, asleep all day,
blood running,
an accident of treason.
((My mother was the one
who laughed from other rooms
while I cried, the division between us
multiplied a thousand times))

You say (and I quote) Don't do the math
(end of quote), italics mine.
(Quote again) just come here (end quote).

So what if I do? I go nowhere with you,
and everywhere.
I am subsonic, plutonic, woebegone,
forlorn, language forgotten, towel shared.
I am scared, scarred, scarlet letter 'A',
hermit, Hamlet, tragic, victorious.
I am soldier, souvenir, medal of honor
attached to your pocket. I am intrinsic,
entropic, order, chaotic,.
limited to this word
I have just finished,.
conception of the infinite.
Masculine, feminine, everything is division;
days, dollars, mortgage rates,
bequeathed estates.
Leave me with nothing
more than your essence.
Invisible lover, indivisible number,
only then will I remember,
remember with my lack of logic.

With you I am myth maker, glass breaker,
soul taker, hip shaker. I am techtonic,
ironic, sardonic. With you I am purified,
pornographic, protean, prolific;
for you I am problematic,
acrobatic. Yes, like I said,
every crevice that cracks in me
I spread for you since that first night.
in my bed when the flash of my life.
turned your blue eyes red.

And so the story always goes
ending before the author knows.

Our days are drenched by hurricanes

entering sideways in our minds
with no warning.

© 2007 Vanessa Daou




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Dance is language expressed by the body.

On 'Joe Sent Me', I set out to explore the hidden potential in poetry, the nuances of breath, recollection, regret, hesitation, the illicit, the many shades of meaning of Jazz and its secret coded language locked in its Prohibition-era inchoateness.

In 'Joe Sent MDE', choreographers Janell Byrne and Jody Person explore a myriad of physical as well as verbal murmurings, facial gestures and hieroglyphic movements that combine the contemporary with the historical to convey meaning. One aspect of Joe Sent MDE that resonates so much with my own aesthetic is how their combined choreographed language froths and fulminates but never fully boils over. Like seduction, it's the gestures that are hinted at, the implied movements that hover, the lingering moments that matter most.

About 'Joe Sent Me', I've written: "For me, music is a response to the world, and the voice imbues the words with life and gives them breath. I'm especially interested in the idea of recording as an act of preservation of experience. To be a recording artist is - quite literally - to make a record of sounds, voices, words, and breaths. Every record I create, I plunge into the depths of life in all aspects of experience: sound, images, dreams. Music is a time capsule, capturing, distilling and preserving the essence of what it means to be alive. The role of poetry, of words and language, is to remind us."

The role of Dance is to embody and set into motion those truths that are locked inside of us. Like our imaginations, our bodies can move in many, often opposing, directions: they stretch, stir, stagger, surge; this can be expressed beautifully, forcefully, ironically, irrationally, improbably, impulsively.

In dance, as in life, once a movement is made, it makes its indelible impression in time, space, and in our minds. 'Joe Sent MDE' reminds us that our physical selves are wrapped up in our mental selves, and that each generation holds within it a unique capacity to convey its own set of beliefs, motivations, dreams, & fears, as well as those of the past that continue to cast their shadows on the theatre of our collective memory.

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