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Mathematics In Motion, Monica Francis

A study on how geometric shape can inform choreographic movement
by

Harrison Lloyd

on 4 June 2012

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Transcript of Mathematics In Motion, Monica Francis

Mathematics in Motion A Survey of Mathematic Principle in Choreographic Process The natural correspondence between mathematics and movement presents a unique opportunity to use math as an instrument in choreography. Math + Dance space, time, pattern, velocity, volume and repetition. Through observing innovative endeavors
that make use of the link
between math and choreography,
as well as by developing a geometrically based
choreographic tool through primary research
this study seeks to unmask this natural relationship
between mathematics and movement. Secondary Research Synchronous Objects digital instruments to analyze choreographic patterns
Ohio State University team of choreographers, students, dancers and computer scientists
William Forsythe and dance company Analysis of
"One Flat Thing, reproduced"
by William Forsythe Analysis of Cue algorithm CueScore CueAnnotations Cue = definition Cue Visualizer Motion Volumes this object is designed to visually record the spatial volume of the dancers’ motions throughout the piece. A visual score that charts the cues given and received
by dancers throughout "One Flat Thing, reproduced" Shows a video of "One Flat Thing, reproduced"
with the colored cue lines of CueScore incorporated
directly into the choreography notes each cue and its relation to
one-dimensional stage space
and to time in the piece William Forsythe "I began to imagine lines in space that could be bent, or tossed, or otherwise distorted. By moving from a point to a line to a plane to a volume, I was able to visualize a geometric space composed of points that were vastly interconnected.... there was really no transition necessary; [it] produced an infinite number of movements and positions." ~ Forsythe Incorporating algorithmic and abstractive,
form - or line-based techniques into his choreography,
augmenting the creative process. Abstraction & Manipulation uses geometric principle to analyze and interpret choreography of "One Flat Thing, reproduced" manipulating imagined points
and lines within space drawing from form Extrapolation: The Motion Alphabet It is an alphabetically ordered sequence based on a non-balletic vocabulary of one hundred and thirty-five movements. The Choreographic Language Agent Software created to explore variations of choreographic movement construction Specialized choreographic language
Movement rendering and notation
Choreographic score
Integration into the creative process Primary Research Final product video math can inform, influence, and augment choreography Our own creativity is always a reflection of our imaginative and awesome Creator, and we can draw inspiration from everything we can learn. Elements and Functions
of the Agent Specialized choreographic language Choreographic score integration into the creative process Interaction with space, kinesphere, pattern and geometric form for choreography method for choreographic manipulation Based on Secondary Research Polyhedron v - e + f = 2

20 – 30 + 12 = 2 In-Studio Process Session 1

basic manipulation integration of the physical shape Session 2 Session 3

refining and adjustments How Synchronous Objects uses math to augment choreography How William Forsythe uses math to inform, influence and augment choreographic process How CLA uses math to inform, influence and augment choreographic process Use the shape to inform new pathways for choreography Rehearsed original movement and developed new individual pathways by using the shape. Larger shape constructed to make a concrete pathway. A template of the shape was used to create an image on the floor. contributors: The new choreography was filmed. Observation and Reflection possible alternative methods for manipulating movement through math.
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