Group 1 + 2

In both clips the students demonstrate each of the phrases within the group section of the vocabulary. When improvising with this vocabulary the group section has an inbuilt problematic as simultaneous propositions can be made which the mass may or may not choose to follow. In such cases the group must rapidly meet an agreement.

In all languages footage

The movement vocabulary 'In all languages' is at the centre of my PhD research which focuses on 'Digitised Notation: New approaches to Physical Theatre and its documents'. The selected footage is from the duo section of the vocabulary performed by John Rowley and Richard Huw Morgan in February 2009.

The vocabulary was conceived in the mid 90's by Professor Mike Pearson and professional colleagues John Rowley and Richard Huw Morgan in collaboration with profoundly disabled performer Lyn Levitt.

Within the vocabulary there are ten physical languages, three solos, three, duets and three groups for a suggested number of eight people. Each can be articulated, mediated and composed in myriad ways to create sophisticated performance from a vocabulary of one hundred movements. Within each of the sections their words and retrospective movements become increasingly complex and difficult to accomplish. Each must be achieved precisely but only ‘within the physical capabilities and aspirations of the participant’ (Pearson:2006:212). The movements vary from simple gesture such as wave to choreographic instruction for example over less time, to compositional strategies which might see the movement performed in a restricted space.

Pearson, M (2006), In Comes I, University of Exeter Press

Synchronous Objects

Synchronous Objects is a joint project of choreographer William Forsythe and Ohio State University's Advanced Computing Center for the Arts and Design (ACCAD) and the Department of Dance.

The website Synchronous Objects was launched on April 1st and aims to create a new set of data visualisation tools for understanding and analysing the underlying structures and relationships of Forsythes ‘one flat thing:reproduced’. Forsythe is interested in how choreographic ideas might be expressed other than through the body.

At the 'choreographic objects' seminar in Sadlers Wells on April 25th Forsythe stated that this project aims to participate in the production of knowledge 'could dance be in the same realms of science in terms of knowledge production?'. The objects presented on the website focus on the making processes to be read and accessed by others not to suggest principles for making. The object comes out of making it is not intended to guide making. Synchronous objects articulates a questioning process that others can access, he suggests that dance could be discussed in terms of pattern and organisational principles.

Doug Fox on his site offers some useful information about his progress through the site.

Once I have digested the website which is going to take a long time I then intend to use this site as a key example within the video section of my research.















Watch the introductory video on the OSU website where the Synchronous Object project is discussed.

notations21

I recently bought this book on line, I hope to use it as a key example in the sound/audio category of my practical enquires. Notations 21 taps into themes such as how composers communicate effectively with performers through the styles of their musical notations, and how these notations engage listeners even when they have no knowledge of what the notations look like. I haven't got my hands on it yet but it seems to draw a number of connections with William Forsythe's Synchronous objects http://synchronousobjects.osu.edu/

"Notations 21 is a modern compendium and anthology, deriving its inspiration from Cage's seminal work. Thousands of new composers are creating scores, the likes of which Cage could have never anticipated, that are graphic in nature, liberated from the traditional staff, and rival the best visual art in their aesthetic value. The modern music world did not cease its innovations in the 1960's. It will profile the work of 165+ composers from around the world, each one using a unique or graphical notation style."

Dancing in/to 'All Languages'

Dancing in/to 'All Languages' is a series of instructions for movement taken directly from the In all languages vocabulary. Myself and Sabine Sorgel a lecturer at Aberystwyth University devised a 10 minute choreography to be performed by all conference delegates at the Living Landscapes conference in Aberystwyth and Moving Topographies California on April 20th. The score was performed simultaneously in both locations I gave the instructions in Aberystwyth and Sabine did the same in California. In order to ensure that the movements were in unison in both locations we attached a time code to each instruction. We decided against a live link choosing to bring the co-location performance together in the edit.

Images taken by Cara Brostrom at the Living Landscapes conference.










































































Directly following the Living Landscapes conference I went on to PSi 15 where Dancing in/to All languages was re performed on the streets of Zagreb at part of the Showroom Shift.































I have since proposed to perform this short instruction based event in Cardiff and hope to have a series of examples from different locations which I can eventually bring together in the edit. If you would like to perform this event with passers by or a group of people get in touch and I can forward the timings on to you, all you need is a megaphone, stopwatch and a group of willing participants. It would be great to receive photos of this choreography being performed all around the world.