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William Forsythe <ul><li>Improvisation Technologies </li></ul>
<ul><li>About William Forsythe and how he likes to think about dance. </li></ul><ul><li>Introduction to “Improvisation Tec...
 
 
 
 
 
 
 
“ Ballet is a geometric inscriptive art form.”  (William Forsythe)
 
Forsythe’s choreography is grounded in a deconstructive reconsideration of the possibilities of classical ballet structure...
 
 
 
http://www.youtube.com/user/GrandpaSafari
 
“ My own dances reflect the body’s experience in space, which I try to connect through algorithms. So there is this fascin...
In mathematics, computing, and related subjects, an algorithm is an effective method for solving a problem using a finite ...
“ I start the idea. I am the initiator. I believe that something could emerge from these conditions. I name the conditions...
A keyframe in animation and filmmaking is a drawing that defines the starting and ending points of any smooth transition. ...
<ul><li>animator - choreographer </li></ul><ul><li>frame - e.g. dance position </li></ul><ul><li>software (algorithm) - da...
The  choreographer  creates the important  positions  of a sequence, then the  dancer  fills in the gap. (obviously a danc...
<ul><li>key frame X or starting point (e.g. dance position) at the beginning of the choreography </li></ul><ul><li>key fra...
 
 
<ul><li>“ When you get to frame X </li></ul><ul><li>a) hide this image (1 st  layer of instructions) </li></ul><ul><li>b) ...
<ul><li>“ When you get to position X in your choreography </li></ul><ul><li>a) hide e.g. your arm (1 st  layer of instruct...
http://www.kristinmcguire.com
 
“ Hypothetical Stream was originally made for Daniel Larrieu and his company in Tours. He wanted a ballet and I said ‘I ca...
 
 
Develop a choreographic algorithm, a set of instructions or a score from which dancers could create/improvise a 5 min danc...
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William Forsythe: Improvisation Technologies

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William Forsythe: Improvisation Technologies

  1. 1. William Forsythe <ul><li>Improvisation Technologies </li></ul>
  2. 2. <ul><li>About William Forsythe and how he likes to think about dance. </li></ul><ul><li>Introduction to “Improvisation Technologies - A Tool for the analytical Dance Eye” (CD-ROM) </li></ul><ul><li>“ Dance Geometry” (Conversation between W. Forsythe (choreographer) and Paul Kaiser (digital artist) </li></ul><ul><li>About algorithms and key frames and their analogies in dance. </li></ul><ul><li>Creative task. </li></ul>
  3. 10. “ Ballet is a geometric inscriptive art form.” (William Forsythe)
  4. 12. Forsythe’s choreography is grounded in a deconstructive reconsideration of the possibilities of classical ballet structures […]. Retrieved from http://en.wikipedia.org/wiki/William_Forsythe_(dancer)
  5. 16. http://www.youtube.com/user/GrandpaSafari
  6. 18. “ My own dances reflect the body’s experience in space, which I try to connect through algorithms. So there is this fascinating overlap with computer programming.” Retrieved from Dance Geometry (Forsythe) http://openendedgroup.com/index.php/publications/conversations/forsythe/
  7. 19. In mathematics, computing, and related subjects, an algorithm is an effective method for solving a problem using a finite sequence of instructions [...] Each algorithm is a list of well-defined instructions for completing a task. Retrieved from http://en.wikipedia.org/wiki/Algorithm
  8. 20. “ I start the idea. I am the initiator. I believe that something could emerge from these conditions. I name the conditions, basically the algorithm to make the choreography, we then work on these instructions, and these instructions then give a kind of result, and we discuss that and from that I have to keep deriving other conditions, variations on these results, until we arrive at something that is agreed upon.” Retrieved from The John Tusa Interviews http://www.bbc.co.uk/radio3/johntusainterview/forsythe_transcript.shtml
  9. 21. A keyframe in animation and filmmaking is a drawing that defines the starting and ending points of any smooth transition. [...] In computer animation this workflow is basically the same. The animator creates the important frames of a sequence, then the software fills in the gap. [...] The animator can correct the result at any point, shifting key frames back and forth to improve the timing and dynamics of a movement, or change an 'in between' into an additional key frame to further refine the movement. Retrieved from http://en.wikipedia.org/wiki/Key_frame
  10. 22. <ul><li>animator - choreographer </li></ul><ul><li>frame - e.g. dance position </li></ul><ul><li>software (algorithm) - dancer (set of choreographic instructions) </li></ul>
  11. 23. The choreographer creates the important positions of a sequence, then the dancer fills in the gap. (obviously a dancer who has a set of instructions to do so, just like a software uses an algorithm) The choreographer can correct the result at any point, shifting positions back and forth (in time) to improve the timing and dynamics of a movement, or change an 'in between' into an additional position to further refine the movement.
  12. 24. <ul><li>key frame X or starting point (e.g. dance position) at the beginning of the choreography </li></ul><ul><li>key frame Z or ending point at the end of the choreography </li></ul><ul><li>algorithm or a set of clear instructions or operations that define how the dancer gets from X to Z </li></ul>
  13. 27. <ul><li>“ When you get to frame X </li></ul><ul><li>a) hide this image (1 st layer of instructions) </li></ul><ul><li>b) also stop and play this movie (2 nd layer of instructions) and </li></ul><ul><li>c) activate the photo button (3 rd layer of instructions)” </li></ul>
  14. 28. <ul><li>“ When you get to position X in your choreography </li></ul><ul><li>a) hide e.g. your arm (1 st layer of instructions) </li></ul><ul><li>b) also stop and dance phrase B (2 nd layer of instructions) and </li></ul><ul><li>c) activate another dancer to be ready to execute the next choreographic image (3 rd layer of instructions)” </li></ul>
  15. 29. http://www.kristinmcguire.com
  16. 31. “ Hypothetical Stream was originally made for Daniel Larrieu and his company in Tours. He wanted a ballet and I said ‘I can’t come – I‘ll fax it to you’. So I took a series of sketches from Tiepolo and I drew any number of vectors emanating from these knots of suspended figures, all flying in the clouds, all very knotted, very baroque, and I drew a number of vectors and said ‘these are knots’ and these need to be solved or unknotted. The lines that I drew were hypothetical solutions. […] the figures in the drawings are all numbered. Your number would be shown, Joan as Number 1 and John as Number 2 etc., and they received instructions on how to construct this ballet and I have done it in three different places, and each one is drastically different and people solved it themselves.” Retrieved from The John Tusa Interviews http://www.bbc.co.uk/radio3/johntusainterview/forsythe_transcript.shtml
  17. 34. Develop a choreographic algorithm, a set of instructions or a score from which dancers could create/improvise a 5 min dance piece.

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