[dance-tech] Re: repertory worlds and remixing

  • From: "Matt Gough" <mpgough@xxxxxxxxx>
  • To: "Jonatan Winbo" <joolwi@xxxxxxxxx>
  • Date: Thu, 24 Jan 2008 06:46:57 +0000

hello,

jonatan said: "I'm not a dancer, but i [k]now some things related to
art and computers", this in itself would imply that pedagogy
came/comes first. 'dancer', 'art' and 'computers' are all
classifications. we understand them through accumulated knowledge.

the same is true for your examples which both have an established
philosophy/theory/practice lineage. the comparisons and links you make
between different concepts are a good example of 'generative learning'
skills.

do you mean ephemeral (lasting for a brief time) rather than temporal
(existing within a time)?

"Ich bin ein Berliner", is an utterance which has decayed (in one
sense), but has also been documented and replicated. this email will
also be replicated many times over. whilst the (original) 'media' of
data may decay, the data can be transfered and maintained.

"Tinkering, circuit bending and such are work processes moving away
from institution domaination, into network entities" yes. but look at
how much information (theory,practical skills etc) is shared and
documented ... eg http://blog.makezine.com/

matt

On Jan 23, 2008 10:28 PM, Jonatan Winbo <joolwi@xxxxxxxxx> wrote:
> Hello you all..
> My name is Jonatan.
>
> I'm not a dancer, but i now some things related to art and computers. In
> art, not everything is within the tradition of pedagogy, as you propose
> Matt, talking about documentation and assembly language. Generative
> learning and so fourth is all very well, but there are individuals
> moving away from that thought.
>
> Example.1: The temporality of performance in relation to text. The
> temporality could be the essence of the piece. Why shouldn't it?
> Is this a Monotheistic discussion perhaps?
>
> Example.2: Data is unstable, as well as the body. I find the digital
> technologies as temporal as performance. The utterance could be compared
> with decay of Data. The dissolvement of documentation. Tinkering,
> circuit bending and such are work processes moving away from institution
> domaination, into network entities.
>
> Well i guess my process of thought ended all of a sudden.
> =) I'm happy i took you time!
> /j
>
>
> Matt Gough wrote:
> > marlon,
> >
> > i wasn't saying we should ignore the relation between dance and tech.
> > i was pointing to the fact that re-staging dance tech works requires
> > more that making sure the hardware/software etc works.
> >
> > dawn, nick and johannes suggested the term 'dance-tech' was redundant.
> > i was not pointing to that myself.
> >
> > perhaps you can explain what you mean by 'traditional choreography'.
> > it seems a very loose term. especially since improvisation is a form
> > of choreography (it has a structure).
> >
> > not sure where you got the 'high art' implication from. by 'seminal' i
> > mean important. that is independent of high/low classifications. rep
> > is not just about master works, it is about returning to works
> > audiences enjoy.
> >
> > as a programmer your work is documented (the code exists ... it has
> > to). the issue is how much of it do you / will you share.
> >
> > and if you can see a linage, there must be something permanent in what
> > you or others do. how else could we follow the traces?
> >
> > its a shame you don't see documentation is not about 'god status'. it
> > is about helping others learn/enjoy. just imagine that no one had
> > documented the computer languages (etc) you use. you would be back to
> > assembly language (but also lacking documentation for it).
> >
> > playing with gadgets is fun, and important sure. but not every
> > audience wants to see you 'playing with your toys on stage'. avoiding
> > 'good / bad' discussions does not help you ask, or answer questions
> > about your dance.
> >
> > also given your distaste for 'high art' why do you use the language of
> > high art to describe you work/practice:  process, play,
> > experimentation , non-traditional, risk taking, impermanence ... they
> > all come from 'high arts' thinking.
> >
> > best
> >
> > matt
> >
> >
> > On Jan 23, 2008 7:49 PM, Marlon Barrios-Solano
> > <unstablelandscape@xxxxxxxxx> wrote:
> >
> >> Hell all,
> >> this is marlon
> >> So, Matt I respect your opinion but I think that we need to not ignore  the
> >> relational aspect or dance and technology.
> >>  It would be naive to think that we can return to dance!
> >> There is not pure dance...I think we all know that!
> >> Also this is dance tech list.
> >> Dance as we know it,  as  a performance form, is tightly related to
> >> technologically supported practices of documentation, augmentation and
> >> staging and technologies affords models and impacts  the creative 
> >> processes.
> >>
> >> I am interested in both the dance and  tech and in the emergent forms. It
> >> feels freeing for me to relinquish to notion of "hight art" that is
> >> prevalent in many  discussions about good art  and bad art...good dance
> >> pieces...that need to be remembered...
> >> We know what gets remembered... institutionalized art practices...
> >> I like to think about my practices as a dance artist ( improvisational) and
> >> a programmer (real-time processing) as something very impermanent and
> >> passing and perhaps will be documented...I like the social and vital aspect
> >> of impermanence...but of course  this is part of my lineage and my research
> >> on
> >> dance and technology does not equals choreography...
> >>
> >> There are ways of dancing and designing that are not traditional
> >> choreography   that are based in repetition of a "master piece"...
> >>
> >> So, I like to reinforce the gadget exploration and gimmicks because I think
> >> many artist are so afraid of criticism that they are took fearful of doing
> >> something ridicoulus
> >> I think that someone have to do the dirty work of paying with the gadgets,
> >> geek-out for while, and really play not be so concern of making a good 
> >> dance
> >> piece...
> >>
> >> I like the idea of experimenting with technology to see how changes my
> >> questions about dance...
> >> BTW
> >> have you noticed how the bodies of the Cunningham dancers in recent years
> >> are different: more muscular, etc...?
> >> perhaps not only the digital technologies become obsolete...
> >> dancers bodies also become obsolete...
> >> when we crave for immortality of the god like figure of the
> >> choreographer...or the programmer...
> >> Remember jazz was not considered by many music institutions music 
> >> until...50
> >> year ago...or so
> >> Peace
> >> marlon

Other related posts: