For this glossary my inspirational source derives from choreographers who belonged to the post-modern movement in dance, originators of radical and highly experimental performance practices, bringing new formal and aesthetic innovation to the dance field.
Yvonne Rainer has had the most influence in my project. Her framework provided a strong tool for thinking the politically of choreography, and while analysing her methods of writing scores and her thoughts as critical alternatives to the dance scene, I could draw a parallel towards my understanding of choreographing design. Together with Yvonne Rainer I will also refer to choreographic practices by Merce Cunningham, an american choreographer, who often collaborated with John Cage and together experimented with ‘chance operations’ in various compositions, “the term ‘chance’, ‘indeterminacy’, and ‘aleatory’ have all been used to describe the use of random procedures in composition, the variability of performance, or both.” (Pritchett, 1993); Lucinda Childs, also an american dancer, choreographer and actress, for using complex deductive mathematical reasoning in her choreographies (Burt and Burt, 2006), in a similar way as the belgium choreographer Anne Teresa De Keersmaeker; and Wiiliam Foresythe, the most contemporary approach, for his interest and commitment with technology.
Battcock, G. (1968) ‘Minimal art’, Art Education, 21(9), p. 7. doi: 10.2307/3191203.
Burt, R. and Burt, R. (2006) The Judson Dance theatre: Performative traces. New York, NY: Taylor & Francis.
Cox, G., McLean, A. and Berardi, F.B. (2012) Speaking code: Coding as aesthetic and political expression. Cambridge, MA: The MIT Press.
dancetechtv (2012) Dance as A way of knowing: Interview with Alva Noë. Available at: https://www.youtube.com/watch?v=FbWVERm5bsM (Accessed: 22 April 2016).
From ‘an art of refusal: Lucinda Childs’ dances in silence, 1973–78’ Suzanne Carbonneau - questions of practice - the pew center for arts & heritage (2015) Available at: http://www.pcah.us/posts/238_from_an_art_of_refusal_lucinda_childs_dances_in_silence_1973_78 (Accessed: 22 April 2016).
Fuller, M. (2006) Softness: Interrogability; General intellect; Art methodologies in software — LGRU reader. Available at: http://reader.lgru.net/texts/softness-interrogability-general-intellect-art-methodologies-in-software/ (Accessed: 28 April 2016).
Gerstner, K. and Gredinger, P. (2007) Designing programmes: Instead of solutions for problems programmes for solution. 3rd edn. Switzerland: Lars Müller Publishers.
Hara, K., Hohle, M.K. and Naito, Y. (2007) Designing design. 2nd edn. Baden, Switzerland: Lars Müller Publishers.
Lambert, C. (1999) ‘Moving still: Mediating Yvonne Rainer’s “trio A”’, October, 89, p. 87. doi: 10.2307/779141.
Lepecki, A. (ed.) (2004) Of the presence of the body: Essays on dance and performance theory. Middletown, CT: University Press of New England.
Lepecki, A. (2012) ‘Moving as thing: Choreographic Critiques of the object’, October, 140, pp. 75–90. doi: 10.1162/octo_a_00090.
Louppe, L. (2010) Poetics of contemporary dance. United Kingdom: Dance Books.
Lupton, E. (no date) Thinking with type. Available at: http://www.thinkingwithtype.com/contents/grid/ (Accessed: 22 April 2016).
Mackenzie, A. (2005) ‘The Performativity of code: Software and cultures of circulation’, Theory, Culture & Society, 22(1), pp. 71–92. doi: 10.1177/0263276405048436.
Massumi, B. (2002) Parables for the virtual: Movement, affect, sensation. 3rd edn. Durham, NC: Duke University Press.
Müller-Brockmann, J., English, D.S.Q., Muller-Brockmann, J. and M, J. (1999) Grid systems in graphic design: A visual communication manual for graphic designers, typographers, and three dimensional designers = Raster Systeme für die visuelle Gestaltung: Ein Handbuch für Grafiker, Typografen, und Ausstellungsgestalter. 2nd edn. Stuttgart: Verlag Gerd Hatje.
Pritchett, J. (1993) Music of John Cage - James Pritchett - hardcover. New York: Cambridge University Press.
Rosenthal, S., Foster, S.L., Lepecki, A. and Phelan, P. (2010) Move - Choreographing you: Art and dance since the 1960s. London: Hayward Gallery Publishing.
Sebeok, T.A. and Baran, H. (1977) ‘Semiotics and Structuralism’, Man, 12(3/4), p. 540. doi: 10.2307/2800571.
Siegmund, G., Hölscher, S., Seigmund, G. and Holscher, S. (2013) Dance, politics & co-immunity. Switzerland: Diaphanes AG.
William Forsythe choreographic objects: Essay (no date) Available at: http://www.williamforsythe.de/essay.html (Accessed: 22 April 2016).
Wood, C. and Rainer, Y. (2007) Yvonne Rainer: The mind is a muscle. London: Afterall Publishing.
Yuill, S. (2008) ‘All Problems of Notation Will be Solved by the Masses’, Published in A. Mansoux, M. de Valk, eds., FLOSS+Art, London: MUTE and GOTO10., .
Available at: http://www.trishabrowncompany.org/content/images/image_web8_224.jpg (Accessed: 22 April 2016).
Available at: http://Inflexions1.1 “How is Research-Creation?” (May 2008) www.inflexions.org (Accessed: 22 April 2016).
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