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Choreographic Interventions

Assignment: Study No. 1 Linear Pathways

Create a duet or trio that involves at least 1 moving line() that will be projected on the floor. Design interactions with the line(s) with drawings. Specify facing, direction of movement and speed. Specify the parameters of movement you are working with to develop your choreography. My partner is Madi from Columbia University for this exercise. 

Timespan: 30-90 seconds.

Your sketch should be 1920x1080.

Consider these parameters.

Example of Line class to make lots of lines easily

Post your drawings and a link to your sketch here: Assignment Page

Research for assignment:

Inspiration sketch : Where the line slowly goes up from the right hand side jiggling up to the left hand side then repeats. We can speed it up if its too slow but I like it for now.

I was inspired by this dance :  the leaning duets by Trisha Brown

I was thinking we start from the opposite corner and go up doing some version of this leaning duet dance. Maybe do different versions of it. 

Other Inspiration : There's a beautiful moment in the video 1:06 min, where they are facing down and moving their arms around. I can envision that moment happening where we are facing back from our line in the sketch going up and we are skootching up slowly and flailing are arms around at different heights.

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Choreographic Interventions

Assignment: Study No. 2 Circular Pathways

Choreograph a 30 - 90 second generative circular pathway. Create a floor choreography that interacts with that circular pathway.

Take into consideration the dynamics and timing inherent to circular motion.

Make use of the whole body and it's ability to move circularly and linearly.

Discuss and diagram choreographic possibilities for how to interact with your pathway.

Post a link to your drawings and code you will demo with here: Assignment Page

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Illustrated Soundscape (aka graphical notation)

Second part of our week 3 assignment for Live Performance Studio was to draw the transcribed sounds from our sound meditation. 

In this illustration the right bottom corner is 0 and both sides show time progressing.

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Sound Meditation Transcription

Our week 3 assignment for Live Performance Studio was to do a sound meditation and transcribe it separating the sounds into their  temporal, spatial and description/qualities. 

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Live A/V Trajectories 

Class: Live Performance Design

After going through the roster of amazing Audio Visual art at Live A/V trajectories web page. I’ve decided on my favourite: the absolute film movement. (1920-1935) Specifically Oscar Fishinger’s work.

I have been using the language of Oscar Fishinger’s study 5-8 for a long time as reference or inspiration in my projects. There is something beautiful about how the music is represented with the every changing and curving lines and flying rectangles. The music seems to populate the screen with the abstract drawings and the change in music makes them change and grow and evolve into other shapes. The simplicity of the objects and the harmony of music with the object on screen soothe me. The classical music paired with the abstract visuals seem very unusual to me, something that I don’t come across these days. Usually it’s electronic music with coded visuals. Here with Oscar Fishinger’s and that era’s artists work, all you need is to draw, cut paste manually. Then edit the video to match the music and something timeless is created.

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Lumia Box Re-Interpreted The Joshua Light Show Style

Live Performance Design at Interactive Design Department Tandon School of Engineering by CandyStations Lumia Re-interpretation Assignment

Class visiting lecture: Joshua White from The Joshua Light Show

Song title: Seed - Kathrin deBoer, Max Cooper

Video used for projections: Wander in Turkey by GABWORKS

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1-1 Duets

Class: Choreographic Interventions

Syllabus link

This is a drawing annotation of our improvised choreography for the exercise 1-1 Duets. We were introduced to pathways and asked questions below.

Can a pathway be expressive?

How do you choreograph pathways in drawings?

Other questions asked in class:

Why are we here?

What is computational thinking? What is choreographic thinking?

What are different modes of interaction?

What are the parameters of choreography?

How is code an expressive medium?

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A Week of Unfixing

Class: Site-Specific Immersive Dance Theater 

"Unfixing" is a rigorous daily practice of meditating on a single dance score. This method was founded by Deborah Hay, who urges artists to “’unfix’ themselves from their habitual, forward-facing modes of perception” by committing to one simple score for a concrete period of time (Hay 2015). This devotion of practice seeks to stimulate, question, and enrich an artist’s approach to their work in performance and choreography, alike. From 1998 – 2012, Hay invited working professionals to embark on a monthly practice of unfixing while living and working on-site with her and her guidance. Following their departure, they were contractually committed to practice their scores (entitled “Dynamic”) on a daily basis for several months before attaining the permission to perform the score for an audience. Similarly, students will practice their written scores (a.k.a. librettos) daily over the course of one week. The assignment is to dance their scores for 7 consecutive days in 7 different spaces, environments, and/or atmospheres. As such, it is acceptable to repeat a space and/or site, but perhaps at a different time of day, light, or surrounding. Students are encouraged to keep their written scores on-hand and as needed during their practice. Following each daily practice, students must document their experience regarding that specific instance. The format of this documented reflection can range and be expressed through whatever medium most efficiently and poignantly articulates the individual response. For example, written text, poetry, sound/song, drawing, scrapbooking, or film responses are all acceptable. The complete collection of these documents is due on 2/10. Although a non-precious mindset and flow is encouraged in this assignment, it is important to make safe choices about chosen sites and to stay alert of the safety conditions of these sites throughout the weekly practice. *Librettos are based on your scores from page 7 (Week 2 packet)

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Thesis Impact and Feeling Video

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Thesis 2020

Gathering my past, Meditating on the present , Imagining the Future

As lighting designers or other professions around lighting design – we all have our own approach to light or ways in which we address light and lighting design.

For us there are 2 things to consider; the artistic side and the technical side. To make your artistic vision possible you have to learn the technical side. They both exist together because without each other; they can’t exist.

Starting my career under architects I realized it wasn’t my passion but there was something beautiful in the way light moved through architecture and habituated it.

Ephemeral.

I focused on stage lighting design and production design to learn and to love the technical side of using light. Harnessing light, mimicking natural environments and sites,  designing your own environments is one of the most visually and psychologically satisfying things I have ever done in my life.

Thinking about what I’ve done and what I learned for the past two years at ITP, I now realize I’m a creator of environments, personal/fantasy worlds, geographies built from light, fleeting moments of emotions and colors.

I’ve realized that light influences the way we feel and react to a place by deciding how we perceive that space. So if architecture or the shape of a space is like our body, then can I say that light is our character? Our essence and energy. The feeling you get when you first meet somebody, for me it’s kind of like the feeling I get when I enter a space for the first time.

Topics of Research and Keywords

Light and darkness

Colors : interaction and perception of color

Illusions and optics : reflections, refractions etc.

Dimensions : 1D – 2D – 3D – 4D , creating or revealing a fourth dimension.

The topics below are taken from Open Arts class Site-Specific Immersive Dance Theater by Danielle Russo

Interoceptive and proprioceptive consciousness

The empathetic body: Technology, mixed realities and the otherworldly.

Phenomenology of light

Questions I will investigate with this project

What kind of light do we have in our life? What kind of light do we use in our every day activities? What kind of light is given to us in our everyday day environments?

What is an environment and what is your place in an environment? How do you perceive your surroundings and how does it identify you?

What are dimensions? 1D/2D/3D. What is the 4th dimension?

Can the way we move through a certain space influence how that space is seen/lit/perceived/identified?

Can I create lighting systems that determine how an environment or space is perceived by the inhabitants/us?

How do people inhabit and move through different spaces?

Can light have a personality, a character, an emotion?

Can this light object become an extension of my body and as a result an extension of my movements/my dance/the way I habitate a space?

If yes, after this light object is left alone in a space can it keep a part of me? (my movement my essence) Can it mimic me? Or will it break apart when I leave?  Will it create its own character and respond to its environment? Can it create its own authentic movement? (from Open Arts Class Site-Specific Dance Theater class by Danielle Russo)

Or – can the light object respond to me or learn from me and later be a part of me that I leave to habitate that space – Leaving a trace in the environment.

Possible venues for work the work

Red Hook Grain Terminal

City Hall Subway Station

5 Beekman Street (before it was renovated)

Roosevelt Island Tram – at night

Freedom Tunnel

Random Tunnels in Central Park

Bethesda Terrace Arcade

Brooklyn Bridge Park

Experts to talk to

Obviously since I have never met any of them I cannot say if they will be helpful or what kind of people they are but they have been influential in my own artistic process.

Olafur Elliasson – Artist

Anne Bogart – Director

Rhizomatics Research – Daito Manabe

Wayne Mcgregor – Choreographer

Studio Roosegarde – Dan Roosegarde

Kyle Mcdonald – Artist

Iris Van Herpen – costume and fashion designer

Cornell Box – The Emotional Impact

Please visit this link to view my video.

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Another The Neural Aesthetics Final Project. In this presentation I go over my midterm project and continue the process to change the outcome. 

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Final Project Presentation for The Neural Aesthetics and Computational Approaches for Narrative, Fall 2019