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White man frosen fraktals - Movie (1.8 Mb)
Since ancient Greece, philosophy has taught that there are four causes of causality: (1) the causa materialis, the material out of which, something is made; (2) the causa formalis, the form, the shape into which the material enters; (3) the causa finalis, the end, that which is re-quired or determined as to its form and matter; (4) the causa efficiens, which brings about the effect, that is the finished. The four causes are the ways, all belonging at once to each other, of being responsible for something else. We have on the other hand grown familiar to represent-ing cause as that which gains effects, brings about results. The causa efficiens, sets the standard for all causality… Or does it?
Despite the fact that art exists in the artwork and what art is has to be detained from the artwork, what the artwork is can only be experienced from the nature of art. (cf. Heidegger 1935-36: 18). For a dancer and choreographer simply placing an element in the space allows an empty space to take on an understandable form, the actually unbounded becomes a classified space, possible to navigate in. The body has something to determine itself against. The choreographic sensibilities compose the balance and even the shape of the space to an ever changing feature.
We think of dance as a constant transformation of movement in time. It is not digital technological limitations that hold us back from the idea of using digital technology in new ways: technology changes at an incredible speed. (Rheingold, 1994). Our enthusiasm to explore beyond the limitation of our imagination has the greatest effect on the possibility for a constant change in a movement. We want to examine and look for new movements as metaphors for ideas not possible to do in a live dance performance. We think that it’s relatively clear that using digitally choreographed movements can support that exploration and sufficiently affect one another deeply.