March 2005 Archives

somehow a year passed by rather quickly, looking back to when it began i wasn't really sure how it would progress. but all in all it's not too shabby. i'm just a little remiss in some of the postings i promised, and somewhat tardy on my updating. yet an average of almost two posts a week is something to be happy with.

so what's in store for the next year? to be honest i'm not too sure. my workload at uea is growing so perhaps that will mean less posting or more snippets of code and papers. who can tell..

i'm not entirely sure of the scope of people reading this blog, but if you have any questions for me, or suggestions of topic you would like to see me write on leave a comment or drop me a line (mpgough @ gmail.com) and i will see what happens.

you should also keep your eye on the always excellent motive (reason to move)and DA ... NCE blogs. if you need to track dance in the press try artsjournal dance. all the blogs have newsfeeds so you can keep notified of new posts. speaking of which if marc goossens can email me regarding talent 'changes the way brain works' i have some info you might be interested in. the more astute readers will recognised my shared interest from the brain body intelligence post.

keep your eyes on essexdance if you are into dance technology, if you sign up to the mailing list at dancetech.co.uk you can keep up to date with the training they offer and the numerous workshops and performances the hold / run. blog wise i would have to mention networked_performance and we make money not art for meditated performance.

the 24th biennial conference of ICKL is at LABAN, London from July 29 (Arrival Day) - August 5 (Departure Day) 2005. if you are into laban related stuff there are some great sessions, i'll let you know when you can read about the paper i am giving. i'm really proud to be presenting with some top flight researchers and academics. the paper will touch of aspects on of 'perpetual interpretation' ...

in the absence concrete syntax the process of interpreting 2D mark marking into 3D movement is highly problematic. the traditional method is to read each mark as a trace that must be followed precisely yet this construct ignores the difference between the perception and recognition of visual marks, and the differing functions of maps, traces and drawings.

for the purposes of interpreting abstract graphical dance notation, perception is of greater importance than recognition. The intention is to generate an interpretive response 'seeded' by the score rather than a re cognitive, repeatable set performance. Even if the same marks are repeated in a score recognition is not required as multiple acts of perception will fulfil the same role.

rather than viewing the visual marks as 'traces' of movement, we consider them to them as maps. As a movement map they have multiple points of insertion and extraction, where as a trace has a 'fixed' progression or path.

The map is open, connectable in all its dimensions, and capable of being dismantled; it is reversible, and susceptible to constant modification. It can be torn, reversed, adapted to montages of every kind, taken in hand by an individual, a group or a social formation. [Deleuze & Guattari]
with such a concept both topological [0.5mb jpg] and geographical [0.3mb gif] movement maps can be utilised for the re interpretation of conceived or realised movement.

... that was drawn from my notes for a technical report i'm working on, the report covers quite wide scope of my work. when it's done i'll post up a link / pdf as it's going to be kinda large. i hope that the report will clarify the placement of my work for those who are still a little unsure.

i still find my university context a little 'complicated', we have a school wide research seminar in may so maybe that will give me the opportunity to defend my position as well.

catch you later, and thanks for reading.