theorising through (dance) practice
amusing typo (well it made me laugh over my breakfast) in The Guardian, both online and in print.
I'd have Quentin Tarantino as the director, and, as a complete contrast, directors Kar Wai Wong and Alan Plater, and maybe Tina Bausch to choreograph it.[Akram Khan]
i doubt kahn make this mistake, must be a non dance informed editor
i used to know a fantastic dancer called Sabrina, really hard-working dedicated and a real pleasure to be around. she always complained she had kalte Hände, and it's something i still say when it's chilly and i have no gloves. as usually happens, we lost contact ... but the other day i discovered how to contact her and sent of an email. i hope to hear back from her soon ... she seems to be doing very well for herself.
when i was a choir boy i used to warm my hands by putting them into the sleeves of my cassock. i had a great choir master called Malcolm Mckelvey, he taught me how to sing and lots more beyond ... including my love of JS Bach and Baroque music in general. my thoughts go to his family, as i know how deeply this news has affected me.
whilst my views on the shortcomings of hyperchoreography are a matter of public record, i no longer wish to criticise without making a positive contribution. i do believe that the notion of hyperchoreography and it's theoretical basis are sound, what i take issue with is the current implementation(s)  and supporting documentation . i don't think that Miles' essay contextualises the practice with enough rigour whilst Popat & Smith-Autard's paper is significantly out of date (based on 1999 web technology). I've linked to Whyte's paper before, but whilst it is an excellent essay it doesn't support their practice. so, as part of developing my 'projective practice theory' i have written a paper that seeks to realign hyperchoreographic practice with it's theory.
my feeling is that the present examples are asynchronous dance for camera. if the goal is "non-literal/ non-representational/ non-narrative" that preserves the dasein of human movement and its physical properties of weight, mass and un-enhanced physicality" then some deep level reimplementation is required. However, what i find interesting is that most of the solutions lie within Nelsons original concepts of hypertext. The key principles that hyperchoreography must adhere to are:
Drawing on existing implementations of Web 2.0 technologies such as 'Flickr' and 'Goolge Video' we will illustrate how hyperchoregraphic practice could be realigned with its theoretical basis. This re contextualised application will reveal the possibility of distributed choreographic collaboration and (concurrent) visual representation of motive intertexts. Using an example of the proposed interface we will show how the 'user' will not simply a participant in the compositional process, but fully responsible for the choreographyi'll let you know what happens with the paper and post more details / content as i am able.Whatever happens i will also submit an essay to the hyperchoreography site that presents a deep contextualisation on the theoretical and practical issues involved.
i tend to be on campus late into the evening, over the last week or so i have had the feeling people have regarded me with suspicion. now i find out why; a hoax email is being sent via the uni email that reads something like this ...
Subject: CCTV still of Rapist
During the early morning of January 25 2006, a campus student was the victim of a horrific sexual assault within college grounds. Eyewitnesses report a tall black man in grey pants running away from the scene. Campus CCTV has caught this man on camera and are looking for ways to identify him. If anyone recognises the attached picture could they inform administration immediately
obviously there is no image, the file is a virus payload ... but the email seems to be spreading meaning that people are taking it seriously. Hoax and virus emails are designed to be plausible by fulfilling our stereotyped concepts of reality
its' sad people still believe all that malarkey
© splines in space
(matthew gough) 2005
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