Regularity
From Maze
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(→Temporal Repetition in the Arts) | (→Temporal Repetition in the Arts) | ||
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each morning, the activity lasts as long as I can perform it without stopping. | each morning, the activity lasts as long as I can perform it without stopping. | ||
| − | [MORE] | + | The ways that step piece are different from 10 PRINT reveals what is unique about each. The analysis of Step Pieces yields the question, “How is repeating the same thing over and over not repetitive?” Unlike a computer program, when a person performs the same thing, it's a little different each time. The photographic documentation of Step Piece show Acconci in action with one foot on the stool and the other on the way up or down. In relation to a screen capture from 10 PRINT, each photo is drastically different. Additionally, Acconci gets better at his repetitions in time while 10 PRINT writes characters to the screen at the same rhythm and in the same manner as long as the program runs. While some computer programs can improve over time (e.g. caching to improve download speed or machine learning algorithms), a one-line program like 10 PRINT is an exemplar of the legacy of computers as basic calculating machines. |
The performance piece Dance, a collaboration between choreographer Lucinda Childs, composer Phillip Glass, and artist Sol LeWitt, is a work that integrates these performance strands together. Like all of the works discussed above, narrative was removed and the subject is literally movement, hearing, and seeing through variation and repetition. For three of the five sections of the performance, LeWitt created films of the dancers performing the same sequence of motions that they perform live on stage. He filmed them on top of a grid to reinforce the structure within the choreography. The film is projected onto a scrim at the front of the stage during the performance and it's synchronized to a recorded version of Glass' score. At times the projected image is enlarged and at times it is slowed down as the film echos the movements of the live performance. Glass's music for Dance features his signature style of repeating and transforming brief passages. The foundation of Dance is Lucinda Childs choreography which she has referred to as stripped down ballet. In the first and strongest movement, the dancers move along straight lines from left to right and right to left across the stage. As they quickly follow the line in a mix of running, skipping, and turning, they move through a series of tilts. The perception is they are moving through every permutation within the grammar of movements created for the dance. Like 10 PRINT, the sound and motion are hypnotic and emphasize the details of the variation rather than larger global structural changes. Unlike 10 PRINT, Dance works across multiple media to synthesize a powerful and at times overwhelming aesthetic experience. | The performance piece Dance, a collaboration between choreographer Lucinda Childs, composer Phillip Glass, and artist Sol LeWitt, is a work that integrates these performance strands together. Like all of the works discussed above, narrative was removed and the subject is literally movement, hearing, and seeing through variation and repetition. For three of the five sections of the performance, LeWitt created films of the dancers performing the same sequence of motions that they perform live on stage. He filmed them on top of a grid to reinforce the structure within the choreography. The film is projected onto a scrim at the front of the stage during the performance and it's synchronized to a recorded version of Glass' score. At times the projected image is enlarged and at times it is slowed down as the film echos the movements of the live performance. Glass's music for Dance features his signature style of repeating and transforming brief passages. The foundation of Dance is Lucinda Childs choreography which she has referred to as stripped down ballet. In the first and strongest movement, the dancers move along straight lines from left to right and right to left across the stage. As they quickly follow the line in a mix of running, skipping, and turning, they move through a series of tilts. The perception is they are moving through every permutation within the grammar of movements created for the dance. Like 10 PRINT, the sound and motion are hypnotic and emphasize the details of the variation rather than larger global structural changes. Unlike 10 PRINT, Dance works across multiple media to synthesize a powerful and at times overwhelming aesthetic experience. | ||
