cboteoqtopby os Moblle Atcbltectote [1]

Lrln Mannlng


1he world ls asLlr wlLh cues. Lvery slLuaLlon swarms wlLh prlmes. A slLuaLlon ls made of prlmes, noLhlng buL prlmes.
8rlan Massuml

(forLhcomlng)

1wo maln quesLlons dlrecL Lhls paper:

1) WhaL makes a work work, and how ls Lhls 'worklng' percelved?
2) WhaL ls Lhe relaLlonshlp of Lhe parLlclpanL-whaL ls Lhe parLlclpaLory ecology - ln Lhe worklng of a work?

1he flrsL quesLlon leads me Lo Lhe noLlon of moblle archlLecLure", vla Lhe 5yocbtoooos Objects web-based plaLform
(parL of Lhe lorsyLhe Company's MoLlon 8ank ro[ecL), and Wllllam lorsyLhe's sLage-based work Ooe llot 1bloq,
teptoJoceJ. Pere l explore moblle archlLecLure as a dlagrammaLlc concepL ln llne wlLh lrancls 8acon's 'dlagram'
(ueleuze, 2003), wlLh umberLo 8occlonl's 'dynamlc form' (1970), or wlLh Susanne Langer's 'commandlng form'
(1977). Moblle archlLecLure ls a sLand-ln-Lerm for how a work exLends beyond lLs conLenL Lo creaLe a llngerlng
affecLlve envlronmenL LhaL perslsLs even ln lLs absence. lL ls a concepL LhaL seeks Lo arLlculaLe how a work ouLdoes
lLself and exceeds lLs form, carrylng lnLo LhaL excess Lhe Lendencles and effecLs LhaL perhaps besL exempllfy whaL 'arL
can do'.

1he second quesLlon Lakes me ln Lhe dlrecLlon of my own arLwork ln a conLlnued exploraLlon of Lhe llmlLs of
parLlclpaLlon (for whaL work ls noL, Lo some exLenL, parLlclpaLory?). Pow can we Lhlnk of whaL 'arL can do' ln a
conLexL where Lhe condlLlons creaLed are acLlvaLed by a parLlclpaLory ecology? WhaL klnds of condlLlons musL be ln
place ln such pracLlces ln order LhaL Lhe work ouLdo lLs lnlLlal form-based proposlLlon?

lAk1 1. cboteoqtopblc osembles

'AL Lhe beglnnlng,' says graphlcs research speclallsL MaLLhew Lewls, Wllllam lorsyLhe's Ooe llot 1bloq, teptoJoceJ
was 'all a blL, 'whaL ls Lhls abouL?'' unfazed by Lewls's confuslon, Wllllam lorsyLhe suggesLed LhaL Lewls Lhlnk of
'whaL else' Lhe dance could look llke. 1hls 'whaL else' ls Lhe pro[ecL of 5yocbtoooos Objects-a web-based plaLform
for Lhe vlsuallzaLlon of Lhe choreographlc as lL expresses lLself Lhrough lorsyLhe's sLaged performance Ooe llot
1bloq, teptoJoceJ.[2]



5yocbtoooos Objects (2009), screenshoL.

A [olnL pro[ecL wlLh Chlo SLaLe unlverslLy's ueparLmenL of uance (norah Zunlga Shaw) and lLs Advanced CompuLlng
CenLer for Lhe ArLs and ueslgn (Marla alazzl), 5yocbtoooos Objects creaLes vlsuallzaLlons of a serles of screen-based
'ob[ecLs' LhaL acLlvely explore whaL else Ooe llot 1bloq, teptoJoceJ could look llke. 1he resulLlng synchronous
ob[ecLs for Lhe vlsuallzaLlon of choreographlc daLa reveal Lhe paLLerns and complex lnLerlocklng sysLems of acLlon
and organlzaLlon aL Lhe hearL of lorsyLhe's choreographlc process. 1hls opens Lhe dance Loward a 'whaL else' of Lhe
choreographlc, LargeLlng a cross-dlsclpllnary audlence LhaL deparLs from Lhe sLrlcL arena of dance sLudles Lo lnclude
maLhemaLlclans, archlLecLs, cognlLlve sclenLlsLs, and phllosophers, Lo name a few. 'Cur goal ln creaLlng Lhese
ob[ecLs,' Lhe Leam explalns, 'ls Lo engage a broad publlc, explore cross-dlsclpllnary research, and spur creaLlve
dlscovery for speclallsLs and non-speclallsLs allke.'

As demonsLraLed by lorsyLhe's work on choreographlc ob[ecLs (2008),[3] Lhe whaL else of Lhe choreographlc can be
acLlvaLed ln an lnflnlLy of consLellaLlons. lrom an eddy Lo a flock of Canada Ceese Lo movemenL proposlLlons such as
lorsyLhe's 5cotteteJ ctowJ-whlch sLages an envlronmenL Lhrough whlch Lhe parLlclpanLs are lnclLed Lo move very
slowly-Lo Lhe consLellaLlon of a soclal movemenL. 1he whaL else of choreography emphaslzes LhaL choreography ls
a proposlLlon noL for Lhe body lLself, buL for Lhe relaLlonal force of movemenL-movlng ln an ecology of llfe-llvlng.


Wllllam lorsyLhe, 5cotteteJ ctowJ, 2002 (hoLo CredlL: !ullan 8lchLer)


Pere, l propose Lhe concepL of 'moblle archlLecLures' as anoLher way of concelvlng Lhe choreographlc when lL
becomes an evenL noL for Lhe lndlvldual body buL for Lhe onLogeneLlc archlLecLlng of envlronmenLs ln Lhe movlng. A
moblle archlLecLure ls one way of namlng Lhe evenL of choreography's self-generaLlve force. lL ls whaL can be felL
when Lhe choreographed evenL generaLes a more-Lhan LhaL Louches on lLs proposlLlonal naLure. lL ls Lhe dlrecL
experlence of Lhe more-Lhan ln lLs fleld effecL. And, l am suggesLlng, lL ls 'whaL makes a work sLand on lLs own' -
whaL makes a work work. ueleuze and CuaLLarl wrlLe:

1he arLlsL creaLes blocs of percepLs and affecLs, buL Lhe only law of creaLlon ls LhaL Lhe compound musL
sLand on lLs own [Jolt teolt toot seol]. 1he arLlsL's greaLesL dlfflculLy ls Lo make lL stooJ op oo lts owo.
SomeLlmes Lhls requlres whaL ls, from Lhe vlewpolnL of an lmpllclL model, from Lhe vlewpolnL of llved
percepLlons and affecLlons, greaL geomeLrlcal lmprobablllLy, physlcal lmperfecLlon, and organlc
abnormallLy. 8uL Lhese subllme errors accede Lo Lhe necesslLy of arL lf Lhey are lnLernal means of
sLandlng up (or slLLlng or lylng). [...] Cn Lhe oLher hand, many works LhaL clalm Lo be arL do noL sLand up for
an lnsLanL. SLandlng up alone does noL mean havlng a Lop and a boLLom or belng uprlghL (for even houses are
drunk and askew), lL ls only Lhe acL by whlch Lhe compound of creaLed sensaLlons ls preserved ln lLself - a
monumenL, buL one LhaL may be conLalned ln a few marks or a few llnes, llke a poem by Lmlly ulcklnson
(1994:164-163 ttooslotloo moJlfleJ).

1he quesLlon of whaL makes a work work, lL seems Lo me, ls Lhe quesLlon of how an arLwork evolves Lo exceed lLs
form, Lo creaLe from lLs force-of-form a more-Lhan LhaL can be felL, lf noL easlly descrlbed. WlLh Lhe concepL of
moblle archlLecLure, l am suggesLlng LhaL a choreographlc work 'sLands up' when human movemenL evolves Lo
lnclude lLs assoclaLed mllleu such LhaL Lhe mllleu's ecologles of relaLlon Lhemselves can be felL. 1hls happens when

Lhe choreographlc beglns Lo shlfL Loward a wlder fleldlng of movemenL where spaceLlme lLself beglns Lo vlbraLe wlLh
movemenL expresslon. lrom choreographlc sLagecrafL Lhere evolves a sensaLlon LhaL Lhe danclng ls happenlng wlLh
and across bodles raLher Lhan on Lhem. 8odles dance ln an ecology of movemenL-expresslon LhaL ln Lurn dances
Lhem.

Choreography becomes a fleld for movemenL expresslon when Lhe body becomes an lnLenslve parLlclpanL wlLh Lhe
evolvlng mllleu raLher Lhan slmply Lhe lnsLlgaLor of Lhe acLlon. 1hls occurs when Lhe choreographlc beglns Lo make
felL Lhe comlng-lnLo-evenLness of Lhe fleld of relaLlon. 1hls happens when Lhe bodles begln Lo move Lhe relaLlon,
danclng ln concerL wlLh movemenL-movlng, wlLh space-Llmlng. When Lhe fleld of relaLlon lLself becomes moblle,
whaL beglns Lo erupL from lLs lnLenslve spaLlallzaLlon of Llme ls an archlLecLlng of moblllLy, a moblle archlLecLure LhaL
does noL sLablllze form buL exLracLs from form Lhe lnLenslve Lraces of lLs reemergence as fleld effecL. A moblle
archlLecLure ls less a sLrucLure Lhan an aglle surfaclng LhaL makes felL Lhe force of lnclplenL form: lL ls, as ueleuze and
CuaLLarl mlghL say, a bloc of movemenL sensaLlon-when you experlence lL you can'L qulLe say where lL began or
ended, buL you can recognlze lL as a rare example of a work ouLdolng lLself. 1he work conLlnues Lo move you beyond
lLs sLaged lLeraLlon - you can'L say exacLly why buL lL haunLs you, lL occuples you, evolvlng beyond lLs form-Laklng Lo
creaLe resonances LhaL lnclLe you Lo wanL Lo experlence lL agaln. lL's noL Lhe fotm of Lhe work LhaL sLays wlLh you, lL's
Lhe how of lLs capaclLy Lo dlslodge Lhe you LhaL you LhoughL you were. lL's Lhe how of Lhe work's capaclLy Lo shlfL Lhe
very ground LhaL conLlnues Lo move you. Moblle archlLecLures are one way of addresslng whaL choreography can do
when Lhls shlfL occurs. l call Lhem archlLecLures only because Lhere ls a sense LhaL someLhlng fleeLlngly collecLlve has
Laken form, almosL a sLrucLure buL noL qulLe. Cr: LhaL Lhere has been a collecLlve orchesLraLlon for a cerLaln klnd of
consLrucLlng. 8uL Lhls ls Lhe paradox of moblle archlLecLures: Lhe work works when Lhe consLrucLlng ls felL noL as a
form ln lLself, buL as Lhe force of form-when Lhe form or Lhe sLrucLure ls always already desLrucLurlng.

Moblle archlLecLures have Lhe poLenLlal Lo surface ln an lnflnlLy of ways across varlous movemenL pracLlces, and yeL
Lhey are rare Lo behold. 1hls paper suggesLs LhaL one Lhlng Lhe 5yocbtoooos Objects plaLform makes apparenL ls how
lorsyLhe's Ooe llot 1bloq, teptoJoceJ (2000) ls one of Lhese rare lnsLances: Lhrough complex vlsuallzaLlons, and
especlally a foregroundlng of Lhe cuelng/allgnlng/counLerpolnL of Lhe plece, 5yocbtoooos Objects demonsLraLes how
Ooe llot 1bloq, teptoJoceJ evolves Loward an archlLecLlng of movemenL LhaL emerges across mulLl-phased
surfaclngs of experlence, creaLlng a moblle archlLecLure ln Lhe maklng.

lorsyLhe descrlbes Ooe llot 1bloq, teptoJoceJ as a 'baroque machlnery,' deflnlng Lhe baroque as 'Lhe apogee of
counLerpolnL.' lor lorsyLhe, counLerpolnL refers Lo 'a fleld of acLlon ln whlch Lhe lnLermlLLenL and lrregular
colncldence of aLLrlbuLes beLween organlzaLlonal elemenLs produces an ordered lnLerplay (2009).' CounLerpolnL ls
noL a mlmlcry of poslLlons. lL ls a foldlng-Lhrough of polnLs of lnflecLlon. 1hese polnLs of lnflecLlon are less poslLlons
Lhan swerves ln Lhe movemenL. CounLerpolnL caLches Lhese Lendencles ln Lhe maklng and folds Lhrough Lhem,
fashlonlng Lhe beglnnlngs of a dlsLrlbuLed relaLlonal fleld. 1hls fleld ln Lurn folds Lhrough comlng counLerpolnLs, Lhe
dance lncreaslngly danclng lLself. 1hls, ln lorsyLhe's Lerms, ls a baroque machlnery, a machlne for creaLlng lnLenslve
folds of movemenL conLlnuously movlng-Lhrough, buL ulLlmaLely escaplng poslLlon. ueleuze wrlLes: '1he 8aroque
refers noL Lo an essence buL raLher Lo an operaLlve funcLlon, Lo a LralL [ttolt]. lL ls always maklng folds. lL does noL
lnvenL Lhe fold: Lhere are folds from Lhe LasL, Creek folds, 8oman, 8omanesque, CoLhlc, Classlcal... ?eL Lhe 8aroque
LwlsLs and Lurns lLs folds, pushlng Lhem Lo lnflnlLy, fold over fold, fold afLer fold. 1he 8aroque LralL ls Lhe fold LhaL
goes Lo lnflnlLy' (1993: 3 ttooslotloo moJlfleJ). Ooe llot 1bloq, teptoJoceJ ls baroque ln lLs emphasls on
counLerpolnL's capaclLy Lo creaLe Lendencles for allgnlng and cuelng LhaL ln Lurn creaLe folds, noL [usL bodles foldlng
buL spaceLlme foldlng.

CounLerpolnL ls vlsuallzed ln Lwo ways on Lhe 5yocbtoooos Objects plaLform. lL ls expllclLly foregrounded ln Lhe
'ob[ecL' called '1he uance,' whlch clearly demarcaLes Lhe sysLem of cues and allgnmenLs ln Ooe llot 1bloq,
teptoJoceJ. Pere, you flnd a movemenL score whlch demonsLraLes how Lhe danced movemenLs engage wlLh and
respond Lo one anoLher. SlmulLaneously, counLerpolnL ls offered up as a Lransversal mechanlsm for experlenclng Lhe
'whaL else' of Lhls parLlcular dance Lhrough Lhe creaLlon of a serles of oLher 'ob[ecLs.' 1hese 'synchronous ob[ecLs'
are concelved less as ob[ecLs Lhan as ob[ecLlles: Lemporary dellmlLaLlons of acLlvlLy ln germ. 1hey are vlsuallsable
opporLunlLles for fleldlng Lhe choreographlc experlence: graphs (SLaLlsLlcal CounLerpolnL), archlLecLural anlmaLlons
(Lhe uaLa fan, Lhe lurnlLure SysLem), Lools (Lhe Cue vlsuallser, Lhe Cue AbsLracLlon 1ool). Lmphaslzlng Lhe ob[ecLs'

generaLlve poLenLlal - boLh for vlsuallslng Ooe llot 1bloq, teptoJoceJ's archlLecLlng of poLenLlal and for use ln Lhe
creaLlon of new work, norah Zunlga Shaw wrlLes: '8ecause we focused on Lhe dance as a choreographlc resource -
raLher Lhan scorlng lL for Lhe purposes of preservaLlon - we were empowered Lo Lake Lhls rlgorous process of daLa
collecLlon lnLo new creaLlve spaces [...] Lo generaLe new posslblllLles for ongolng creaLlvlLy and research, boLh ln Lhe
sLudlo and ln Lhe lab (2009).'

1he 5yocbtoooos Objects pro[ecL ls repleLe wlLh whaL lorsyLhe calls 'choreographlc Lhlnklng.' Choreographlc Lhlnklng
ls Lhe acLlvaLlon, ln Lhe movlng, of a movemenL of LhoughL. lL expresses lLself noL ln language per se buL as Lhe pulses
across embodlmenLs and rhyLhms, Lhe duraLlons and spaLlallzaLlons LhaL creaLe a 'conLrapunLal composlLlon of
complex relaLlonshlps, paLLerns, and Lrends (alazzl 2009).' 1hls conLrapunLal force ls acLlve noL sLrlcLly ln Lhe mlnd
or ln Lhe body, buL across a bodylng-wlLh LhaL acLlvaLes spaceLlmes of composlLlon. '1he blggesL dlfflculLy [...] ls noL
consclously shaplng your body, lL ls acLually leLLlng your body fold [...] Lo develop a more reacLlve and many-Llmed
body as opposed Lo a shaped body' (lorsyLhe, 2000). WhaL sLands ouL ln Ooe llot 1bloq, teptoJoceJ ls noL Lhe shape
of Lhls or LhaL lndlvldual body buL Lhe veloclLy wlLh whlch an emergenL fleld appears ln conLrapunLal allgnmenL wlLh
LhoughL ln Lhe dolng. 1houghL ln Lhe dolng ls a movemenL ln Lhe feellng. 1hls ls noL LhoughL absLracLed from
movemenL. lL ls tbooqbt lo movemeot, acLlvaLed noL solely ln Lhe body, buL across Lhe machlnery lLself-ln Lhe folds
of Lhe evolvlng archlLecLure.

1be uooce

Ooe llot 1bloq, teptoJoceJ ls a volumeLrlcs ln Lhe sLrucLurlng. lL ls a force LhaL moves Lhe choreographlc surface lnLo
a mulLl-dlmenslonallLy LhaL alLers Lhe very noLlon of surface-as-ground, lnLercalaLlng movemenL and volume lnLo an
archlLecLural surfaclng, archlLecLural because lL composes wlLh space ln complex duraLlons of experlence.

1o appreclaLe Lhe lnLenslve passage from choreographed sLage-space Lo moblle archlLecLure ln Ooe llot 1bloq,
teptoJoceJ, you have Lo Lhlnk Lhe choreography as Lhe seLLlng lnLo place of fuLure lLeraLlons of complex movemenL
proposlLlons acLlve ln a collecLlve lndlvlduaLlon of spaceLlmes of experlence. Look aL Lhe Lables movlng Lo Lhe fronL
of Lhe cavernous space and see Lhem as Lhelr own lnclplenL movemenL conflguraLlons. See Lhe Lables pushlng Lhe
dancers as much as Lhe dancers pushlng Lhem. noLe LhaL Lhe choreography ls already dlsLrlbuLed, lnLenslvely fleldlng
body-ob[ecL recomposlLlons. See Lhe Lopologlcal choreographlc surface of Lhe dance as co-consLlLuLlve of pasL-fuLure
movemenL evenLs cuelng Lo creaLe a collecLlve lndlvlduaLlon for Lhe deformaLlon of Lhe same yeL dlvergenL mulLl-
dlmenslonal supple surface. See Ooe llot 1bloq, teptoJoceJ less as a sLable Lable-conflguraLlon wlLh moblle dancers
Lhan as a fleld-surface of moblllLy, repleLe wlLh dlfferenL veloclLles, lncludlng Lhose of Lhe ob[ecLs. noLe LhaL Lhe
ob[ecLs are always already morphlng lnLo proposlLlons for movemenL experlmenLaLlon. noLe LhaL Lhe Lables are
danclng, reconflgurlng, movlng movemenL as lL persons. See Lhe choreographlc envlronmenL or sLage-space noL as a
floor holdlng ob[ecLs ln place buL as a dlmenslonallzlng moblle surface movlng Labled bodles, a foldlng evenL-space
calllng forLh serles of dephaslngs lnflecLlng space, exLracLlng flgures, for Lhe evenL of archlLecLlng moblllLy.

lorsyLhe's choreography ls repleLe wlLh acLual and vlrLual cues. Pe deflnes Lhe cue as 'an aural or vlsual slgnal LhaL
Lrlggers an evenL.' Cues do 'person,' as Arakawa and Clns mlghL say, buL Lhey need noL move Lhrough an lndlvldual
body Lo have effecL. 1he cue ls an enabllng consLralnL for sLrucLured lmprovlsaLlon openlng onLo Lhe collecLlve
lndlvlduaLlon noL of an lndlvldual movemenL buL of Lhe body of Lhe dance as a whole - whaL Arakawa and Clns
would call an archlLecLural body (2002). More Lhan personlng, cues move Lhe surface of Lhe choreographlc fleld,
openlng lL Lo Lhe complexlLy of lnfra-allgnmenLs and cues noL Laken. 'When you sLop, creaLe sllence. uo noL sLop
lndlvldually,' lorsyLhe warns (2010). 1o move ls Lo move as a collecLlve. As one dancer explalns, '?ou geL Lo know
oLher people's choreography so LhaL lf you mlss a cue, you move on Lo your nexL sequence, or you look aL someone
else walLlng for LhaL same cue and follow Lhem (!ohnson 2009).' Cues Lransform Lhe movemenL of Lhe collecLlve lnLo
a collecLlve lndlvlduaLlon, maklng felL Lhe relaLlonal weave of Lhe danclng surface as lL unfolds.

1oo ofLen, cues and prlmes are assoclaLed wlLh a sLable noLlon of recall. ln lorsyLhe's Ooe llot 1bloq, teptoJoceJ,
desplLe Lhe emphasls of Llmed cuelngs and allgnlngs assoclaLed wlLh speclflc danclng bodles, Lhere ls no such
slmpllsLlc noLlon of a repeLlLlon of Lhe already-formed. 1he 're-produced' of Ooe llot 1bloq, teptoJoceJ connoLes
Lhe repeLlLlon wlLh a dlfference LhaL ls aL Lhe hearL of each of lorsyLhe's sLage-based choreographles. 1he cue

funcLlons noL as a slmple Lool for Lhe memory of a rehearsed pasL, buL as a call Loward Lhe fuLure. 8espondlng Lo cue
ls aL once reallgnlng and prlmlng Lo fuLure reallgnmenLs.

1hlnk of Lhe evenL of cooklng. ?ou are sLandlng aL Lhe slnk, washlng Lhe leLLuce, whlle your parLner reaches lnLo Lhe
refrlgeraLor Lo geL Lhe cucumbers, reachlng back aL Lhe same Llme Lo Lurn off Lhe sLove. WlLh one hand, she glves
you Lhe cucumber and desplLe Lhe facL LhaL you move across Lo reach for Lhe graLer aL Lhe same momenL as she
moves Lo plck up a fork, you somehow do noL bump lnLo each oLher. lL's noL [usL LhaL you've cooked LogeLher
hundreds of Llmes. lL's LhaL Lhe cuelng ls conLlnuously re[lgglng Lhe now of movemenL-movlng. ?ou are boLh danclng
Lhe lnLerval of Lhe declslons as Lhey reallgn your cooklng bodles.

Movlng Lhrough cue ls landlng declslon. 1hls ls noL a declslon-from-wlLhouL. ueclslon's cuL ls Lhe more-Lhan human
force LhaL reposlLlons Lhe fleld ln Lhe evenL of an occaslon Laklng form: declslon ls how experlence slngles lLself ouL
as tbls or tbot. ln Lhe momenL of declslon, we know noL Lhe cue-as-such, buL only Lhe nexLness of lLs resulL:
movemenL allgnlng. 1hls nexLness of movemenL-movlng recallbraLes Lhe cuelng bodles even as lL recomposes Lhe
envlronmenL, evenL-fully polslng Lhe evenL for fuLure prlmlng. ln Lhls prlmlng, Lhe evenL ls noL polsed for Lhe
repeLlLlon of Lhe same. lL ls polsed, always, for dlfference. As Massuml warns: 'lf Lhe cue were merely recognlzed,
and Lhe acLlon Lrlggered a slmple repeLlLlon, lLs funcLlonlng would be dangerously maladapLlve (forLhcomlng).' 1hlnk
of cooklng LogeLher ln a dlfferenL klLchen and lmaglne Lhe mess!

As Lhe cue prlmes Lhe choreographlc surface for Lhe evenL of dlfference, lL ls seLLlng up Lhe condlLlons for evenL-
Llme. LvenL-Llme ls Lhe Llme of declslon, Lhe Llme of Lhe cuL LhaL dephases Lhe fleld Loward LransducLlve
recomposlLlon. Cues make evenL-Llme felL by subverLlng llnear clock-Llme. WlLh every cue-allgnmenL consLellaLlon
comes Lhe uncanny meeLlng of Lhe memorlal ln Lhe fuLurlsLlc, Lhe Llme-sllp of a loop where Lhe presenL ls LlghLly
woven ouL of a dynamlc llne of pasLness energeLlcally enLwlned wlLh a Lhread of fuLurlLy (Massuml, forLhcomlng).'

LvenL-Llme ls duraLlonally mulLl-phased. Lvery response Lo cue acLlvaLes Lhe fuLure as lL courses Lhrough Lhe no-Llme
of Lhe declslon ln Lhe presenL passlng. no-Llme because Lhe declslon ls lmmanenL Lo Lhe evenL's recomposlLlon. 1he
evenL-surface becomes Lhlck wlLh Llme-slgnaLures. uancers cuelng Lhrough allgnmenL move wlLh Lhe Llme of Lhe
cue's maklng and all Lhe pre-exlsLlng and fuLure-formlng Llme-slgnaLures ln Lhe maklng, all ln Lhe no-Llme of declslon.
1he no-Llme of declslon coupled wlLh Lhe maklng-Llme of movemenL-movlng brlngs Lhe duraLlonal surface of Lhe
evenL Lo Lhe fore, openlng Lhe sender-recelver relaLlon Lo Lhe collecLlve lndlvlduaLlon of a dlsLrlbuLed relaLlonal
movemenL.

Whlle cues ln preparaLlon for Ooe llot 1bloq, teptoJoceJ are rehearsed, ln Lhe dolng Lhey land Lhe dance ln an
lnflnlLy of ways ln a shlfLlng landscape of lnflnlLe caLalysed reconflgurlng. Cues Lhus open Lhe choreography Lo a
maklng Llme LhaL occaslons Lhe comlng lnLo expresslon of a maklng place, Lhelr complex orchesLraLlon across
collecLlve sLraLa landlng Lhe dance ln a Llme always conflgured anew.

Landlng slLes, as Arakawa and Clns deflne Lhem, don'L need Lo acLually elLher land or slLe. 1hey can Lravel as
lmmanenL conflguraLlons of posslble worlds, Lweaklng Lhe affecLlve LonallLy of an evenL whlle remalnlng vlrLual.
negaLlvely prehended, as WhlLehead would say - Lhey can be felL as vlrLual Lendencles LhaL have Lhe poLenLlal Lo
acL on fuLure reconflguraLlons wlLhouL ever comlng Lo Lhe fore as acLual occaslons.[3] Cues also work llke Lhls. 1hey
propel Lendencles LhaL may or may noL reach Lhe surface of Lhelr arLlculaLed expresslon ln Lhe fleld of Lhe acLual.
1hey floaL aL Lhe Lhreshold of percepLlon, Lhey fleld surroundlngs, landlng narrowly and wldely, affecLlng, lmaglng,
dlmenslonallzlng. And Lhey creaLe paLhs of reslsLance and coheslon, propelllng lnclplenL acLlons even as Lhey re-casL
spaceLlmes of recomblnaLlon. AcLlve vlrLually and acLually, cues move movemenL, and, ln dolng so, Lhey caLalyse
evenL-Llme.

Lach landlng ls a cue ln moLlon. Lach cue ln moLlon ls a danclng. Lach such lLeraLlon of counLerpolnL ln Lhe danclng
- Lhe acLlvaLlon of a fleld of acLlon LhaL creaLes a colncldence of aLLrlbuLes generaLlng an lnflnlLy of folds -ls a
proLo-archlLecLure. And each proLo-archlLecLlng of choreographlc Lhlnklng ls an lmpeLus for a moblle archlLecLure ln
Lhe maklng. 1hls moblle archlLecLure ls never a slmple lLeraLlon-as-sLrucLure of a pasL conflguraLlon or ldea. lL ls
creaLed lo tbe movloq, moved by Lhe enabllng consLralnLs proposed noL only by Lhe rehearsed cues LhaL propel Lhe

organlzaLlon of Lhe dance, buL equally by Lhe foldlng surfaces of Lhe landlngs LhaL never qulLe flnd Lhelr slLes. 1he
moblle archlLecLure ls lLself a proposlLlon for landlng. lL ls less a flgure Lhan a dlagrammaLlc praxls LhaL marks Lhe
duraLlonal fleld of Lhe dance ln lLs evenLful unfoldlng.


Cues, Ooe llot 1bloq, teptoJoceJ, 2009

lor lorsyLhe, Lhe duraLlonal fleld of Lhe dance ls proposlLlonal: lL ls conflgurlng more Lhan conflgured. 1hls, desplLe
Lhe long hours of rehearsal and Lhe complex movemenL vocabularles for cuelng and allgnlng lnvenLed and sLudled by
hls excellenL dancers. 1he choreography ls conflgurlng raLher Lhan slmply conflgured because Lhe choreographlc
fleld ls lLself conLlnuously evolvlng Lhrough Lhe cuelng/allgnlng process. We experlence Lhe complexlLy of Lhls
evoluLlon when we approach Ooe llot 1bloq, teptoJoceJ as an open fleld of dlsLrlbuLed relaLlonal movemenL LhaL
operaLes wlLh buL also ln excess of Lhe human body: Lhe cue lands non-locally, meeLlng Lhe dancer ln Lhe beLween of
movemenLs-movlng. 1he dancer cues or allgns noL by sLopplng Lhe movemenL buL by engaglng dlrecLly wlLh Lhe non-
local lnLerval of Lhe cue as lL meeLs movemenL-movlng. 1he resulLlng movemenL moves Lhe relaLlon beLween cuelng
and allgnlng ln Lhe mode, always, of Lhe already-moblle. 1he dancer does noL waLch, Lhlnk, counL, declde and Lhen
move. 1he cue moves Lhe dance, and ln Lhe choreographlc fleld's subsequenL reallgnlng, dancers flnd Lhelr poslLlon,
conLlnuously movlng Lhrough relaLlonal posLure.

1he proLagonlsL? ALLenLlon. ALLenLlon ls anoLher name for Lhe fleldlng of Lhe cue and Lhe movlng lnLo lLs resulLlng
allgnmenL. 1he fleld ls aLLenLlve. ALLenLlon ls Lhe enabllng consLralnL of Lhe sLrucLured lmprovlsaLlon LhaL cues
movemenL-movlng. lL ls Lhe non-local lnLenslve node around whlch consLellaLlons of movemenL allgnlng collecLlvely
regroup.

racLlce and Lechnlque are key Lo Lhe creaLlon of a dance of aLLenLlon. 1he readlness Lo allgn of Lhe aLLenLlve dance
ls whaL spurs Lhe choreographlc surface Lo come allve collecLlvely. 1o cue Lo complex allgnmenL ln a pracLlce of
counLerpolnL, a body musL be open Lo landlng ln more ways Lhan one. lL musL aLLend Lo lLs Lendency Loward hablL ln
order Lo evolve Loward openness-Lo-lnvenLlon: from Lechnlque Lo LechnlclLy. lL musL learn Lo respond noL only Lo
acLual landlngs buL Lo Lhe vlrLual forces of cues LhaL don'L land. 1he dancer musL learn Lo move ln aLLenLlon wlLh Lhe
complexlLy of Lhe cue's lnclplenL mulLlpllclLy. 1he dancer's ablllLy Lo allgn Lo cue wlLh more Lhan hablLual responses
Lo forms of cuelng allows her Lo dance lnLo Lhe cue ln a recallbraLlng of collecLlve movemenL. 1he dancer dances Lhls
recallbraLlon, danclng noL slmply her own movemenL buL Lhe very moblllLy of Lhe choreographlc surface. 1hls

proposes a renewal of movemenL expresslblllLy wlLhln Lhe sLream of movemenL-movlng.

MovemenL expresslblllLy calls forLh a dance of aLLenLlon LhaL moves ln open clrculLs, looplng across non-local
Lendencles, feedlng-forward lnLo Lhe mulLl-phaslng surfaces of movemenL allgnlng. uanclng aLLenLlon ls danclng-
wlLh Lhe envlronmenL cuelng. lL ls less belng aLLenLlve-Lo Lhan becomlng ln aLLenLlon-wlLh: Lhe dance of aLLenLlon ls
allve wlLh Lhe Lendencles of a moblllLy LhaL can only express lLself Lhrough Lhe fuLure-formlng lnLerval of evenL-Llme.

ALLendlng Lo Lhe dance ln Lhe evenL-Llme of sLrucLured lmprovlsaLlon ls danclng Lhe lnclplenL moblle archlLecLure of
dlsLrlbuLed relaLlonal movemenL. Llke lLs dance of aLLenLlon, dlsLrlbuLed relaLlonal movemenL ls a concepL LhaL
beglns Lo Louch Lhe non-human LhaL ls aL Lhe hearL of movemenL-movlng. AL Lhe lnLerval where movemenL allgns Lo
cuelng, where Lhe choreographlc surfaces as collecLlve lndlvlduaLlon, Lhe body never acLs alone. 1he fleld's
proprlocepLlve surface ls aglLaLed by lnclplenL relaLlonallLy. 8elaLlonal movemenL's preacceleraLlon ls always already
courslng Lhrough Lhe welllng evenL.

Slnce Lhere ls no before and afLer of LoLal movemenL, Lhe movemenL's relaLlonal dlsLrlbuLlon ls whaL ls aL sLake. Pow
Lhe redlsLrlbuLlng relaLlon moves beLween cues affecLs whaL wlll emerge as Lhe resonanL LerrlLory on Lhe Lopologlcal
surface of Lhe dance danclng lLself. Some of Lhe dance's movemenL ls ln and of Lhe human body, cerLalnly, buL Lhe
force of lLs redlsLrlbuLlve dephaslng exceeds Lhe bounds of Lhe human, acLlve ln Lhe non-local, non-human relaLlon
prlmlng for collecLlve allgnmenL. ln Lhese complex dephaslngs, whaL moves Lhe relaLlon ls as much Lhe vlrLual as lL ls
Lhe acLual. 1hls ls why even as complex an lLeraLlon as 5yocbtoooos Objects - wlLh lLs many represenLaLlons of whaL
Ooe llot 1bloq, teptoJoceJ can look llke - cannoL fully map Lhe complexlLy of choreography as moblle archlLecLure.
8epresenLaLlons funcLlon aL Lhe level of acLuallLy. AL Lhelr besL, Lhey can only perlpherally deal wlLh Lhe push-pull of
vlrLual poLenLlal LhaL ls parL and parcel of choreography's lnclplenL 'whaL else.' 5yocbtoooos Objects aLLempLs Lo do
Lhls by foregroundlng ln an lnvenLlve manner Lhe dlvergenL modallLles of lorsyLhe's choreography as lL reemerges
Lhrough a varleLy of synchronous spaLlal consLellaLlons. 8uL no represenLaLlon can, ln Lhe end, adequaLely aLLend Lo
Lhe duraLlonal force LhaL makes moblle archlLecLures come Lo expresslon. 1hls ls why lL Lends Lo be '1he uance' LhaL
sLands ouL mosL on Lhe 5yocbtoooos Objects webslLe. lor 'Lhe uance' noL only creaLes a vlsuallzaLlon of a form, lL
makes felL how moblllLy ls archlLecLed.

AL lLs besL, archlLecLure ls a dlagrammaLlc praxls LhaL brlngs Lo Lhe fore Lhe force Laklng form of whaL Spuybroek calls
'an orlglnal curve' and deflnes as Lhe surface of acLlon LhaL ls always also Lhe surface of percepLlon (Spuybroek 2004:
7). Cues as Lhey acLuallze ln allgnmenL are an example of Lhe brlnglng lnLo confluence of percepLlon and acLlon. 1he
cue affecLs Lhe fleld of acLlon ln a percepLual sync-up LhaL moves Lhe body. lL caLalyses allgnmenLs LhaL Lhemselves
creaLe new prlmlng opporLunlLles aL Lhe lnLerval where acLlon and percepLlon are one. 1hese allgnmenLs reLurn ln
varled lLeraLlons as refralns of acLlvlLy LhaL LerrlLorlallze cerLaln sysLems of percepLlon.

ln allgnlng Lo cue, whaL caLalyses ls Lhe orlglnal curve of relaLlonal aLLenLlon. 1hls dance of aLLenLlon ls a collecLlve
enunclaLlon of a Lendency Loward relaLlonal resonances raLher Lhan lndlvldual poslLlonlng. Allgnlng creaLes resonanL
LerrlLorles noL only of bodles buL of volumes, dlagrammaLlc surfaces ln Lhe maklng, enabllng consLralnLs for
collecLlve becomlng.

1he body's poslLlon ln Lhe fleld of relaLlonal allgnmenL ls more Lhan a pre-consLlLuLed posLure. lL ls Lhe proLo-
archlLecLural, Lhe dlagrammaLlc how of Lhe Lhen-now of movemenL-movlng. lL ls always collecLlve and, as such,
relaLlonally dlsLrlbuLed, proLo-archlLecLural because already moblllzlng lnLo Lhe force of a volumeLrlc Laklng form.
?ou don'L sLrlcLly allgn Lo a rehearsed poslLlon, you don'L allgn Lo a person, you allgn Lo Lhe moblllLy of Lhe
archlLecLure of Lhe dance danclng you. ?ou dance lLs volume, Lhe quallLy of lLs comlng lnLo lLself, as much or more
Lhan you dance lLs poslLlon or form. ?ou allgn Lo Lhe relaLlonal complexlLy of cues as Lhey dance Lhe envlronmenL
reconflgurlng. ?ou move-wlLh Lhe Lopologlcal surface of experlence, movlng Lhe envlronmenL LhaL persons,
acLlvaLlng Lhe relaLlon.

1he choreography of Ooe llot 1bloq, teptoJoceJ proposes modes of enLry lnLo Lhe collecLlve movemenL of a danclng
surface LhaL ls lnherenLly composlLlonal. 1he dancers co-compose an evenL LhaL ln Lurn posLures Lhem. 1helr bodles
are prlmed. 8uL ln Lhls fuLure-pasL vecLorlzaLlon of Lhe surface welllng Loward a moblle archlLecLure, lL ls noL only Lhe

danclng body LhaL ls prlmed. 1he whole spaceLlme of dlsLrlbuLed relaLlonal movemenL ls aL Lhe ready, already
reconflgurlng ln a Lendlng-Loward-cuelng. 1he Lhlgh-LableLop, Lhe Lable-splne, polsed for recomposlLlon. WhaL ls
composlng ls Lhe very beLween, Lhe lnLerval LhaL acLlvaLes each of Lhese becomlng-assemblages. WhaL ls composlng
ls evenL-Llme, noL Llme as separaLe from movlng bodles, buL Llme as collecLlvely embodled duraLlon, rhyLhmlcally
aLLendlng Lo Lhe dance.

lAk1 2. lottlclpototy coloqles

1o move from a choreography of collecLlve orchesLraLlon for a relLeraLlve evenL such as Ooe llot 1bloq, teptoJoceJ
Lo Lhe choreographlng of a parLlclpaLory envlronmenL ln Lhe conLexL of arL lnvolves Lhe deploymenL of a new seL of
concepLs as well as a Lweaklng of whaL choreography can do. 1hls ls a move already underLaken by Wllllam lorsyLhe
ln hls shlfL Loward choreographlc ob[ecLs for parLlclpaLory lnsLallaLlon evenLs. ln an orchesLraLed choreographlc
evenL for mulLlple lLeraLlon such as Ooe llot 1bloq, teptoJoceJ, movemenL ls moved from wlLhln Lhe performance
lLself, archlLecLlng a fleld of collecLlve moblllLy LhaL proposes an lnclplenL archlLecLlng of a force of form LhaL exceeds
Lhe bounds of Lhe acLual choreographlc evenL. 1he quesLlon ls how or wheLher parLlclpaLory evenLs for movemenL
composlLlon such as arL lnsLallaLlons are also capable of produclng moblle archlLecLures.

When Lhe evenL moves ouL of Lhe LheaLre lnLo Lhe arena of parLlclpaLory lnsLallaLlon work wlLh Lhe ldea Lo acLlvaLe
collecLlve movemenL, a choreographlc ob[ecL ls ofLen necessary. 1he ob[ecL here funcLlons noL as a Lhlng-ln-lLself buL
as a force of form LhaL generaLes complex paLLerns ln an ecology LhaL Louches on Lhe everyday whlle movlng beyond
lL lnLo Lhe Llme of Lhe evenL. WlLh or wlLhouL an ob[ecL as proposlLlon for Lhe evenL of movemenL composlLlon, key ls
Lo generaLe wlLhln Lhe fleld of Lhe arL evenL Lhe condlLlons for a Lweaklng of aLLenLlon LhaL moves beyond LhaL of Lhe
hablLuaLed arL specLaLor. 1hls poses a choreographlc challenge, for Lhese evenLs cannoL be choreographed ln
advance. 1hey rely on a generaLlve choreographlng ln Lhe dolng, spurred by an emergenL collecLlvlLy.

ln 2004, l began work on a movemenL experlmenL/arL lnsLallaLlon enLlLled lolJs to loflolty, a 2-phased fabrlc-based
exploraLlon of how LexLlles move us. hase 1, 5low clotbes, ls composed of cuL and serged fabrlc based on paLLern
deslgns LhaL lend Lhemselves Lo all klnds of garmenLs when connecLed Lo each oLher. Lach plece ls slngular boLh ln
lLs cuL and ln Lhe placemenL of buLLons, buLLon-holes, magneLs, hooks and eyes and can be aLLached Lo or palred
wlLh any oLher plece Lo creaLe garmenLs or envlronmenLs of Lhe parLlclpanL's maklng.


lolJs to loflolty / 5low clotbes (hoLo CredlL: 8lanca Scllar)



hase 1 Lends Loward surface folds, layerlngs LhaL are Lhln and sedlmenL-llke, Lhough Lhe magneLs' lnherenL
aLLracLlon Lo mulLlple sLlcklngs does creaLe a complexlLy of foldlng LhaL already Lends Loward volumeLrlc bunchlng.
hase 2, enLlLled volomettlcs, connecLs Lo hase 1 buL ls based more speclflcally on Lhe ldea of volumes, generaLlng
foldlngs LhaL are Lhlck and bunched. Where hase 1 plays wlLh colour, Lhe fabrlcs chosen for Lhelr chromaLlc weaves,
hase 2 ls black, Lhe emphasls on LexLural subLleLles. AnoLher dlfference ls LhaL volomettlcs ls noL cuL from pre-
concelved paLLerns LhaL, ln Lhelr shape, already call forLh garmenL-poLenLlal. hase 2 ls LhoughL as a supplemenL Lo
hase 1 LhaL Lhlckens Lhe sedlmenL, bulldlng ouL from under lLs lnLerweavlng layers. Lach plece of volomettlcs ls
more-or-less a recLangle and ls comprlsed of buLLon-holes wlLh elasLlclzed sLrlng pulled Lhrough Lhem and Loggles
for ad[usLmenL of Lhe sLrlngs, as well as mulLlple magneLs, snaps and zlppers. 1o play wlLh volomettlcs, Loggles are
pulled or loosened along Lhe elasLlclzed sLrlng, or goLLen rld of alLogeLher, zlppers are opened or closed, snaps are
mulLlply connecLed on a slngle plece of fabrlc or across pleces. ln Lhls fabrlc collecLlon, Lhe flaLness of Lhe body-
surface ls puL lnLo quesLlon, as ls Lhe ldea LhaL a garmenL layers dlrecLly on Lhe human frame. 1he emphasls ln hase
2 ls on Lhe onLogeneLlc quallLles of shaplng: volomettlcs ls concelved as a machlne for creaLlng volumes.


volomettlcs (hoLo CredlL: 81 Slmon)

5low clotbes and volomettlcs are concelved as choreographlc ob[ecLs for Lhe exploraLlon of whaL a body can do aL
Lhe producLlve lnLerval beLween dresslng and archlLecLlng.

1o acLlvaLe a moblle archlLecLure depends on a serles of enabllng consLralnLs. An enabllng consLralnL ls a seLLlng ln
place of a serles of condlLlons LhaL fosLer a llmlLlng of Lhe fleld of experlence even whlle Lhey allow Lhe lnclplenL
evenL Lo remaln open Lo lnvenLlon. AnoLher name for sLrucLured lmprovlsaLlon, enabllng consLralnLs enable

preclslon of Lechnlque ln an open fleld of experlmenLaLlon. Lnabllng consLralnLs for moblle archlLecLures lnclude
lnvenLlng Lechnlques for collecLlve allgnmenLs LhaL evolve beyond pure movemenL hablLuaLlon. 1hese Lechnlques
can begln wlLh an ob[ecL buL musL flnd creaLlve ways of Lransduclng Lhe ob[ecL lnLo a proposlLlon for Lhe collecLlve
lndlvlduaLlon of a dlsLrlbuLed relaLlonal movemenL. Cnce agaln, Lechnlque musL become LechnlclLy.

ln lolJs to loflolty, Lhe ob[ecLness lLself - Lhe fabrlc's LexLure and colour, Lhe shape of Lhe buLLons, Lhe geomeLrles of
Lhe paLLerns, Lhe elasLlclLy of Lhe cords, Lhe surprlse of Lhe magneLs - ls Lhe flrsL consLralnL. 1he choreographlc
ob[ecL acLlvaLes a llmlL, becomlng an aLLracLor for a cerLaln klnd of collecLlve approach. 1he dlverslLy of brlghL colour
and lumlnous LexLure, for lnsLance, ln 5low clotbes, lmmedlaLely aLLracLs a cerLaln klnd of openness ln Lhe
parLlclpanL, especlally ln chlldren. 1he magneLs have a slmllar effecL, lnclLlng a playful exclLemenL LhaL seems Lo
undo Lhe parLlclpanL of Lhe hablLual self-consclousness parLlclpaLory arL evenLs can fosLer. As aLLracLors, Lhe
magneLs ln 5low clotbes and volomettlcs are examples of llLLle machlnlc assemblages LhaL Lurn Lhe fabrlcs lnLo
more-Lhan ob[ecL. 1hey asslsL ln Lunlng Lhe lolJs to loflolty ob[ecL Loward lLs proposlLlonal naLure, emphaslzlng LhaL
Lhls ls less an 'arLwork' Lhan a choreographlc lnvlLaLlon for Lhe acLlvaLlon of a collecLlve dance of aLLenLlon.


5low clotbes, MonLreal 2008. (hoLo CredlL: Sandra 8elanger)

arLlclpaLory ecologles such as lolJs to loflolty propose Lo make felL Lhe moblllLy of Lhe concepL of choreography
beyond Lhe collecLlve body of Lhe dancer. lor a moblle archlLecLure Lo emerge ouL of Lhe process, Lhe proposlLlon,
as menLloned above, has Lo exceed boLh Lhe ob[ecL-ln-lLself and Lhe body-ln-lLself. Seen as Lwo lnsLances of Lhe
same concepLual grouplng, Lhe ob[ecL and Lhe body are anaLhema Lo moblle archlLecLures preclsely because Lhey
dellmlL Lhe evenL accordlng Lo pre-consLlLuLed lnLerlorlLles. lL ls Lherefore lncumbenL on Lhe evenL as lL unfolds LhaL

all pre-consLlLuLed consLlLuenLs be Lransformed lnLo proposlLlons. ln lolJs to loflolty, a key enabllng consLralnL Lo
open Lhe ob[ecL Loward lLs proposlLlonal force or prlme lnvolves creaLlng modes of access or enLry LhaL lnclLe a
collecLlve lndlvlduaLlon. lf a collecLlve lndlvlduaLlon emerges, whaL can resulL ls Lhe dephaslng of Lhe arL evenL lnLo
an experlmenLaLlon wlLh collaboraLlon, for lnsLance. ln such lnsLances where a LransducLlon occurs LhaL brlngs arL
lnLo Lhe fleld of lndlvlduaLlon, whaL emerges ls an lnclplenL choreography. 1hls lnclplenL choreography ls lnherenLly
collecLlve.[8]

key ls Lo malnLaln Lhe balance beLween Lhe acLlve consLralnLs bullL lnLo Lhe slngular evenL proposlLlon and Lhe open
sysLem of lLs deploymenL. Moblle archlLecLures never resulL from a posLure of 'anyLhlng goes,' buL nor do Lhey
emerge from sLrlcL replaylngs of lndlvldual or ob[ecL-orlenLed scenarlos dedlcaLed Lo predlcLable ouLcomes.

1o Lurn Lhe ob[ecL lnLo a choreographlc proposlLlon, Lhe ob[ecL musL become dlagrammaLlc. 1hls means LhaL Lhe
ob[ecL has Lo form a serles wlLh Lhe dlsLrlbuLed relaLlonal movemenL of Lhe evenL, openlng lLself Lo Lhe evenL's
vacuoles of poLenLlal.

1ake Lwo dlfferenL 5low clotbes evenLs. 1he flrsL Look place ln March 2008 aL Lhe SocleLy for ArL and 1echnology
(SA1) ln MonLreal. 1he seL-up was complex: a magneLlc assemblage of plasLlc Lubes and fabrlc consLellaLlons
coverlng approxlmaLely nlne hundred square feeL. 1he envlronmenL was seL up Lhrough grouplngs of LonallLles of
colour Lo creaLe a foresL-llke seLLlng of fabrlc composlLlon.[8] ln addlLlon Lo choreographlng Lhe acLual composlLlons
such LhaL Lhe fabrlc could easlly be Louched and moved, much LhoughL was glven Lo Lhe way parLlclpanLs would
enLer and move Lhrough Lhe wlder evenL-space of Lhe gallery. 1he ldea was LhaL how people enLered would affecL
how Lhey would conLlnue Lo move Lhrough Lhe lnsLallaLlon and creaLe wlLh lL.

WlLh Lhls ln mlnd, we seL up a slngle lnlLlal enLry-polnL lnLo Lhe large space so LhaL all parLlclpanLs would be
funnelled Loward Lhe far lefL of Lhe lnsLallaLlon where Lhe darker colours - greens and greys - congregaLed on and
around sculpLures beckonlng Lo Lhe wlder consLellaLlon. [9] upon enLerlng lnLo Lhls secondary arena, parLlclpanLs
had Lhree opLlons. 1hey could move lnLo Lhe space ln Lhe mosL dlrecL manner, whlch would slphon Lhem Loward Lhe
greens, from whence Lhey would llkely wander lnLo Lhe far-slde of Lhe room where Lones of orange gave way Lo a
large orange velveL couch where Lhey could comforLably slL and vlew Lhe unfoldlng of Lhe evenL from a safe buL sLlll
enfoldlng dlsLance. AlLernaLely, Lhey mlghL be aLLracLed Lo Lhe open cenLer of Lhe space where all colours came
LogeLher. A move ln Lhls dlrecLlon, however, raLher Lhan glvlng lmmedlaLe access Lo Lhe cenLral space of Lhe
lnsLallaLlon, landed Lhe parLlclpanL ln fronL of a warped LransparenL screen hanglng aL eye-level.



5low clotbes, MonLreal 2008, (hoLo CredlL: Sandra 8elanger)

1hls screen was concelved as a veloclLy-prlme, affecLlng noL only Lhe speed of enLry lnLo Lhe evenL buL Lhe very
appearlng of Lhe lnsLallaLlon. We suspecLed LhaL raLher Lhan slmply ducklng under Lhls space-undulaLlng screen,
some parLlclpanLs mlghL pause ln fronL of lL, Laken aback by a cerLaln verLlglnous reallgnlng of Lhe evenL-space.
arLlclpanLs enLerlng Lhls way mlghL flnd Lhe posLure of Lhelr engagemenL alLered. 1he Lhlrd opLlon was Lo walk
Loward Lhe rlghL of Lhe lnsLallaLlon ln a beellne Loward Lhe wlne. Movlng Lhls way, Lhe parLlclpanL would llkely noL
even noLlce Lhe screen (or Lhe dark greens on Lhe far lefL), focused as Lhey would be on Lhe refreshmenL-aLLracLor,
Lhe reds and browns aL Lhe far-rlghL end of Lhe lnsLallaLlon appearlng only aL Lhe Lhreshold of Lhelr percepLlon, lf aL
all. Lach of Lhese modes of enLry, concelved as enabllng consLralnLs Loward affecLlve Lunlngs of Lhe evenL ln Lhe
movlng, were Lechnlques noL only Lo alLer how Lhe lnsLallaLlon emerged for parLlclpanLs buL also Lo explore how a
declslonal cuL changes Lhe experlence of parLlclpaLlon.

As Lhe parLlclpanL moved Lhrough Lhe foresL" and began Lo play wlLh Lhe fabrlc, or as Lhe fabrlc magneLlcally caughL
Lhe parLlclpanLs' belL or meLalllc buLLons and aLLached lLself Lo hlm, Lhe work began Lo unfold lnLo lLs generaLlve
archlLecLlng. lor Lhe magneLlc surround from whence Lhe collecLlon was hung was lLself an archlLecLure, buL noL one
LhaL was meanL Lo hold ln place: Lhe suppleness of Lhe archlLecLure and lLs magneLlc aLLracLors were concelved Lo
faclllLaLe Lhe archlLecLlng of a relaLlonal envlronmenL.
5low clotbes (deLall), MonLreal 2008, hoLo CredlL: Sandra 8elanger

8y Lhe end of Lhe evenL, a relaLlonal archlLecLure had lndeed begun Lo appear, ln Lhe form of an enormous splder-
web. 1he evenL had creaLed lLs own choreography - repleLe wlLh danclng human-LexLlle sculpLures ln Lhe mldsL of
Lhe growlng splder-web - Lunlng Lhe choreographlc ob[ecL Loward a moblle archlLecLure. lolJs to loflolty had
morphed ln a way LhaL would affecL fuLure enabllng consLralnLs for archlLecLlng movemenL.


5low clotbes, MonLreal 2008. (hoLo CredlL: 8rlan Massuml)



Aootbet kloJ of lloy

Second evenL: november 2008, McCord Museum, MonLreal. ln an efforL Lo creaLe a new magneLlc archlLecLure for
Lhe LexLlles LhaL wouldn'L depend on hanglng wlre from Lhe celllng (Lhe museum forbade any klnd of hanglng seL-up)
a very dlfferenL lnsLallaLlon was creaLed for Lhls second lLeraLlon of 5low clotbes. 1hls Llme, raLher Lhan hanglng from
fraglle plasLlc Lublng and meLal wlre, Lhe fabrlc was draped over lndusLrlal-looklng sLeel racks, creaLlng almosL
anLhropomorphlc chromaLlc shapes.

1he lnsLallaLlon was prlsLlne, Lhe colour sLarLllng, and Lhe shapes seducLlve. WhaL l dldn'L lmmedlaLely reallze,
however, was LhaL Lhe museum was havlng lLs effecL: Lhe collecLlon looked more pollshed, Lhe racks lendlng lL a
professlonal aspecL, buL Lhe archlLecLure as a whole was far less supple. 1he collecLlon looked conLalned by
preexlsLlng space. l worrled abouL how Lo geL Lhe parLlclpanLs golng slnce l had llLLle conLrol over Lhe parLlclpanLs'
modes of enLry lnLo Lhe evenL-space and slnce Lhe collecLlon looked so much llke an arL ob[ecL. l needn'L have been
concerned. 8efore l knew lL, Lhe parLlclpanLs had Laken possesslon of Lhe fabrlc, Lhelr rlch and varled experlence
wlLh LexLlles - Lhls was parL of a wlder LexLlle exhlblLlon and Lherefore aLLracLed many parLlclpanLs wlLh exLenslve
backgrounds ln sewlng and deslgn - an obvlous enLry-polnL lnLo Lhe concepL aL work ln lolJs to loflolty. 1hey were
lmmedlaLely engaged buL on a dlfferenL level, wanLlng Lo know more abouL Lhe crafL of Lhe work: abouL Lhe buLLons,
abouL Lhe cuLs, Lhe paLLerns, Lhe provenance of Lhe fabrlc. l found myself enLhuslasLlcally lnvolved ln Lhe ob[ecL poo
ob[ecL: dresslng and undresslng, we Lalked abouL Lhe dlfference beLween lndlan and Chlnese sllk, beLween Lhe

plasLlcs used Lo make buLLons of Lhe early 1920s comp ared Lo Lhose of Lhe 1930s, abouL paLLern cuLs and Lhe
lnLenslve passage beLween shapes and volumes.


5low clotbes, McCord Museum 2008. (hoLo CredlL: 81 Slmon)

More Lhan ln oLher 5low clotbes evenLs - ln 8razll, ln 8erlln and ln MonLreal - Lhese were parLlclpanLs for whom Lhe
cuL of Lhe cloLh was already an affordance for Lhe creaLlon of cerLaln speclflc shapes - Lhey saw shlrLs and dresses
and panLs ln Lhe maklng. Where earller parLlclpanLs mlghL noL, upon seelng Lhe pleces, lmmedlaLely see how Lhey
could be Lransformed from Lhelr Lwo-dlmenslonal cuL lnLo a Lhree-dlmenslonal plece of cloLhlng, Lhls was a group for
whom Lhe LexLlles - Lhelr cuLs, Lhelr quallLles, Lhe placlng of Lhe buLLons, magneLs and hooks, carrled meanlng. 1he
ob[ecL lLself was repleLe wlLh lnformaLlon. 1he resulL: Lhey moved Lhrough Lhe fabrlc wlLh a sLrong sense of
Lechnlque. 1hey knew, for lnsLance, how Lo palr pleces, how Lo lnvenL modes of fasLenlng wlLh Lhe magneLlc
[ewellery l had fashloned (composed of wlres, magneLs and buLLons). And so Lhey Lurned Lo Lhe composlLlon wlLh a
sLrong sense of whaL Lhe fabrlc proposlLlon could do. unllke earller exhlblLlons, Lhey also Look more Llme wlLh each
plece, examlnlng Lhe consLellaLlons of buLLons, admlrlng Lhe flnlshlng, dlscusslng amongsL Lhemselves how a slngle
cuL could creaLe more Lhan one garmenL or could fashlon Lhe garmenL ln more Lhan one way. And ln conLemplaLlve
slowness, Lhey began Lo lnvenL, Lurnlng Lhe magneLlc [ewelry lnLo corseLs for Lhe creaLlon of hanglng fabrlc deslgns,
playlng wlLh Lhe forms Lhe folds could Lake, palrlng pleces of fabrlc Lo creaLe complex garmenLs never before
aLLempLed. More Lhan anywhere else Lhe collecLlon has Loured, Lhey experlmenLed wlLh how a body expresses lLself
ln Lhe dresslng. 1hey Look llLerally Lhe proposlLlon LhaL Lhls ls a LexLlle collecLlon for Lhe dresslng of all bodles, even
bodles yeL Lo be lnvenLed. And Lhey made exqulslLe conflguraLlons. 8uL Lhey barely moved. 1hey mosLly worked ln
palrs, carefully deslgnlng, placlng plece agalnsL plece, playlng wlLh colour. 1hey wanLed Lo know whaL Lhelr garmenLs
looked llke and Lhey were exLremely lnLeresLed ln Lhe ldea LhaL someday Lhls collecLlon would be presenLed as a
proposlLlon for Lhe maklng of acLual pleces of cloLhlng. 1hey Look 5low clotbes aL lLs word, engaglng ln a slow dance
of sLlll-movlng dresslng bodles.


1hls was a successful evenL - lf parLlclpaLlon and en[oymenL are markers for success - buL lL remalned aL Lhe level of
Lhe ob[ecL. l lefL Lhls exhlblLlon wlLh a renewed sense of whaL Lhe ob[ecL could do, buL wlLhouL a sense of havlng
been able Lo acLlvaLe an lnclplenL choreography LhaL exceeded Lhe ob[ecL. 1he push-pull of a moblle archlLecLure ln
Lhe maklng was mlsslng.

And so l began work on volomettlcs, hase 2 of lolJs to loflolty. And as l dld so, l reallzed LhaL aL Lhe McCord
Museum l fell lnLo my own Lrap: l creaLed a sLrucLure. And Lhe very same sLrucLure remalned aL Lhe end, denuded
buL noL Lransformed. We musL never underesLlmaLe Lhe power of exlsLlng sLrucLures Lo predeLermlne Lhe proLo-
archlLecLural fleld.

Choreography as moblle archlLecLure ls anaLhema Lo any klnd of seLLlng lnLo place of ldeal condlLlons LhaL Lranscend
evenL-Llme, be Lhey Lhose of sLrucLure, of ob[ecL or of lndlvldual. Choreography as moblle archlLecLure emerges
lnsLead wlLh Lhe dlagrammaLlc force of ldeas ln Lhe maLerlallzlng. lL has Lo do wlLh force Laklng form. All lnclplenL
archlLecLlng of moblllLy ls already a volumeLrlcs, an lnLercalaLlng of surfaces and Lendencles. As moblle archlLecLure,
choreography acLlvaLes Lhe volumes, Lurnlng Lhe surface onLo lLself, maklng felL Lhe comlng lnLo appearance of Lhe
evenL's own verLlglnous movemenLs, lnclplenL movemenLs LhaL sLay wlLh us long afLer Lhe parLlcular occaslon of
Lhelr comlng Lo expresslon has unraveled.

1ecbolpoes fot tbe vetyJoy

Whlle movemenL Lechnlques for Lhe sLage mlghL seem Lo be prlmarlly focused on Lhe lndlvldual body ouLslde of Lhe
everyday, and Lechnlques for parLlclpaLory lnsLallaLlons mlghL seem Lo emphaslze a group body (Lhe subway, Lhe
sldewalk, Lhe classroom), ln facL boLh bulld on Lhe assoclaLed mllleu of relaLlon. 1here ls no arabesque LhaL does noL
lmmedlaLely and slgnlflcanLly enLall Lhe enveloplng of a mllleu lnLo Lhe movemenL: Lhe alr, Lhe Llme of day, Lhe
quallLy of Lhe space, Lhe lasL arabesque, all of Lhese shape Lhls arabesque. Lvery movemenL ls a relaLlonal
movemenL. WheLher choreographlng for Lhe sLage or for parLlclpaLory movemenL evenLs, whaL musL be honed ls
Lherefore a dlsLrlbuLed relaLlonal body.

Cne of Lhe ways of becomlng aLLuned Lo dlsLrlbuLed relaLlonal movemenL ls Lo become senslLlzed Lo Lhe collecLlve
aLLunemenLs acLlvaLed by cues and allgnlngs ln everyday movemenL, Lhus learnlng Lo work wlLh Lhe array of
declslons LhaL wlder fleld of movemenL, human and non-human. 1hls lnvolves worklng wlLh a modallLy of aLLenLlon
LhaL lurks below reflecLlve consclousness. lor lL ls lmposslble, even ln Lhe mosL organlzed choreographlc process, Lo
map-ouL every posslble allgnmenL. A choreographer of parLlclpaLory ecologles, leL alone a choreographer for Lhe
proscenlum of Lhe LheaLre, cannoL predlcL how Lhe envlronmenL wlll muLaLe. Much can be gleaned from
parLlclpaLlng ln movlng sldewalks. As wlLh Lhe cooklng example, lL ls sLrlklng how rarely rapldly movlng bodles run
lnLo one anoLher or lnLo open doors, garbage cans, or bus sLops as Lhey walk on busy sLreeLs. ln preparaLlon for a
parLlclpaLory choreographlc evenL, Llme on Lhe sldewalk ls key.

1eototlve coosttoctloqs 1owotJ o nolJloq lo lloce

When an evenL archlLecLs a moblllLy LhaL ouLdoes lL, Lhe relaLlonshlp beLween body and spaceLlme has
fundamenLally shlfLed. no longer do we have Lhe human aL Lhe cenLre. lnsLead, we have prlmlng-for-movemenL,
cues, allgnmenLs, lnflecLlons, vacuoles of expresslon. We have an archlLecLure LhaL persons, and a movlng LhaL
choreographs. 1hls ls noL Lo dlscounL Lhe human danclng body, buL Lo open lL Lo lLs relaLlonal poLenLlal as a
parLlclpaLory node ln Lhe mllleu of movemenL. lL ls Lo emphaslze LhaL Lhere ls no ouLslde of movemenL, LhaL
movemenL already moves and LhaL we are moved by lL and move lL on Lhe Lopologlcal surface of lLs deformaLlon.
MovemenL ls already an archlLecLlng. lL ls already landlng, already maklng space, maklng Llme. Conflgurlng, lL
lndlvlduaLes bodles-ln-movemenL LhaL express a collecLlvlLy of allgnmenL LhaL resolves, ofLen, on a slngular body, buL
also moves, always and lncessanLly, across Lhe dlsLrlbuLed mllleu LhaL ls choreography's archlLecLlng of relaLlonal
movemenL.

Moblle archlLecLures: 'LenLaLlve consLrucLlngs Loward a holdlng ln place' (Arakawa and Clns 2002: 47). ArchlLecLures,
ln Lhe words of Arakawa and Clns, LhaL comes lnLo Lhelr own wlLh Lhe ever-on-Lhe-move body" ln Lhe Lense of Lhe

Lendenclally lndeLermlnaLe. Cnly nomads, Arakawa and Clns argue, have Laken such archlLecLure serlously. erhaps
noL. erhaps choreographers have been lnvenLlng modes of archlLecLlng all along, creaLlng ouL of everyday
movemenLs Lo make felL how Lhe collecLlve lndlvlduaLlon of parLlclpaLory ecologles ls always already archlLecLurally
lnflecLed. erhaps Lhey have always already sensed LhaL landlng slLes are dlsperslve, LangenLlal, producLlve and
forceful, and musL noL be conflned Lo pre-exlsLlng or flnallzed sLrucLures of repeLlLlon. erhaps choreographers have
always already known LhaL dlfference erupLs no maLLer how ofLen you rehearse, how ofLen you pracLlce
counLerpolnL, how ofLen you sLep onLo Lhe sLage.

ln Lhe allgnlng of choreography Lo moblle archlLecLure we have an openlng Loward Lhe noLlon LhaL 'space ls Lhe
resulL of Lhe surface's operaLlon' (Semper ln 8en[amln 2004: 343). 1he surface's operaLlon: Lhe orlglnal curve where
Lhe moblle Lopology of collecLlve lndlvlduaLlon aLLends Lo Lhe LangenLlal volumeLrlcs of an envlronmenL for
archlLecLlng.


Notes
[1] 1here ls a sllghLly dlfferenL verslon of Lhls paper ls a chapLer ln Mannlng 2013.

[2] 1he second phase of Lhe MoLlon 8ank ro[ecL, Lhls Llme foregroundlng Lhe choreographlc work of ueborah Pay,
wlll be launched ln laLe 2013. See hLLp://synchronousob[ecLs.osu.edu/

[3] l have also wrlLLen exLenslvely on Lhe choreographlc ob[ecL ln Mannlng 2013.

[4] 5yocbtoooos Objects ls a subsLraLe of Lhe wlder MoLlon 8ank pro[ecL lnlLlaLed by Wllllam lorsyLhe. As Lhe flrsL
lnsLance of MoLlon 8ank, and as a lnlLlaLory collecLlve pro[ecL beLween dancers, archlLecLs, maLhemaLlclans,
compuLer sclenLlsLs eLc. 5yocbtoooos Objects ls a remarkable feaL of creaLlve scorlng and choreographlc Lhlnklng. As
a webslLe, however, lL doesn'L always reach lLs hlghesL poLenLlal. 1he web ls an exLremely dlfflculL medlum for
generaLlng process, and Lhe dlglLal ln many ways ls Loo seL ln lLs compuLaLlonal ways Lo produce much of Lhe
poLenLlal we see acLlve and courslng Lhrough Lhe dance lLself - whlch ls why '1he uance' (whlch merges Lhe dlglLal
wlLh Lhe analog Lo brlng ouL Lhe poLenLlal ln each) ls by far Lhe mosL allurlng 'ob[ecL' on Lhe slLe. CLher ob[ecLs LhaL
work well lnclude, ln my oplnlon, Lhose LhaL are dedlcaLed Lo creaLlve use, such as '1he MovemenL MaLerlal lndex'
whlch shows deLalled close-ups of Lhe dance someLlmes performed by more Lhan one dancer ln sllghLly dlfferenL
ways, provldlng rlch maLerlal for pracLlLloners Lo work wlLh. Whlle Lhe resL of Lhe ob[ecLs are lnLeresLlng vlsually,
Lhey don'L always lnclLe Lhe quesLlon of Lhe 'whaL else' LhaL ls Lhelr mandaLe, deacLlvaLed as Lhey can be by Lhe
represenLaLlonal sLaLus Lhey Lend Lo garner. lor Lhls reason, l found l appreclaLed Lhe work mosL when exhlblLed by
norah Zunlga Shaw as a parLlclpaLory lnsLallaLlon aL Lhe lnLernaLlonal Symposlum of LlecLronlc ArL 2010 ln Cermany.
ln Lhls conLexL, parLlclpanLs could waLch '1he uance,' compose wlLh a counLerpolnL Lool (a large movemenL-based
proposlLlon seL up as a parLlclpaLory lnsLallaLlon), look aL Lhe daLa sLream on one compuLer whlle oLher compuLers
showed varlous vlsuallzaLlons (ob[ecLs), all Lhe whlle lnLeracLlng wlLh one anoLher. 1hls, lL seems Lo me, beLLer
creaLed Lhe condlLlons for Lhe collecLlve engagemenL wlLh choreographlc LhoughL LhaL ls Lhe mandaLe of Lhe pro[ecL:
Lo reLhlnk whaL else choreography can look llke.

[3] 1here are Lhree klnds of landlng slLes (each of Lhem lnLerweavlng) ouLllned ln Arakawa and Clns' work. 1he
landlng slLe descrlbed above would fall mosL closely lnLo Lhe realm of Lhe 'lmaglng landlng slLe' - Lhere are also
'percepLual landlng slLes' and 'dlmenslonallzlng landlng slLes.' (Arakawa & Clns, 2002).

[6] Wllllam lorsyLhe and norah Zunlga Shaw descrlbe allgnmenL Lhls way: 'LssenLlal Lo Lhe counLerpolnL of Lhe dance
ls a sysLem of relaLlonshlps LhaL Lhe company refers Lo as allgnmenLs. AllgnmenLs are shorL lnsLances of
synchronlzaLlon beLween dancers ln whlch Lhelr acLlons share some, buL noL necessarlly all, aLLrlbuLes. ManlfesLed
as analogous shapes, relaLed Llmlngs, or correspondlng dlrecLlonal flows, allgnmenLs occur ln every momenL of Lhe
dance and are consLanLly shlfLlng LhroughouL Lhe group. [...] CLher words Lhe company uses Lo descrlbe Lhls
phenomenon lnclude hook-ups, agreemenLs and lsomeLrles. WlLhln Lhe Lhousands of allgnmenLs ln Lhe
choreography, approxlmaLely 200 can be undersLood as a subseL called sync-ups. 1hese are momenLs ln Lhe
choreography when a dancer's Lask ls Lo brlefly [oln wlLh anoLher lndlvldual or group (2009).'


[7] 1hls collecLlve experlence occurs noL only ln so-called parLlclpaLory" lnsLallaLlons. lL has noLhlng Lo do wlLh an
ob[ecL or a genre of arL. 1he only dlfference ls Lhe vocabulary l mlghL use Lo Louch on Lhe more-Lhan. l dlscuss Lhls ln
more deLall ln ChapLer 6, Mannlng 2013. lor a more deLalled engagemenL wlLh how palnLlng can acLlvaLe Lhe more-
Lhan of experlence ln Lhe maklng, see my chapLers on AusLrallan Aborlglnal arL ln kelotlooscopes. Movemeot, Att,
lbllosopby (Mannlng, 2009).

[8] A vldeo of Lhe evenL can be found aL www.erlnmovemenL.com

[9] 1hese sculpLures are made of dlfferenL gauges of fenclng meLal and fabrlc. lcLures can be found aL
www.erlnmovemenL.com under arLwork" Lhen sculpLure."

[10] 1hls was parL of Lhe proposlLlon for Lhe flnal lLeraLlon of lolJs to loflolty enLlLled 5tltcbloq 1lme - A collectlve
losblooloq (!une-SepLember 2012, Sydney 8lennale).




kefeteoces

Arakawa and Clns, Madellne. 1he ArchlLecLural 8ody (Alabama: Alabama ress, 2002).

8en[amln, Andrew. '1he Surfaclng of Walls' ln Spuybroek, Lars. nCx: Machlnlng ArchlLecLure. (London: 1hames
and Pudson, 2004).

8occlonl, umberLo. 'lasLlc uynamlsm', ln Appollonlo, umbro (ed.), luLurlsL ManlfesLos (8osLon: MlA ubllcaLlons,
1970).

ueleuze, Cllles. 'Loglc of SensaLlon', Lrans. uanlel SmlLh. (Mlnneapolls: MlnnesoLa unlverslLy ress, 2003).

ueleuze, Cllles and CuaLLarl, lellx. 'WhaL ls hllosophy', Lrans. Craham 8urchell and Pugh 1homllnson (London:
verso, 1994).

lorsyLhe, Wllllam. [lnLervlew] 'Wllllam lorsyLhe ln Lhe Mlddle - lnLervlew wlLh !ulle Copeland'. A8C ArLs Cnllne,
(2001), hLLp://www.abc.neL.au/arLs/defaulL.hLm

lorsyLhe, Wllllam. CommenLary, Synchronous Cb[ecLs, Aprll 2009, hLLp://synchronousob[ecLs.osu.edu/

lorsyLhe, Wllllam and Welsbeck, Markus. Suspense (Zurlch: ursula 8llckle loundaLlon, 2008).

lorsyLhe, Wllllam. [lnLervlew] 1ranscrlpL of Lhe !ohn 1usa lnLervlew wlLh Wllllam lorsyLhe , 88C 3. 8eprlnLed ln
8alleL.Magazlne. (lebruary 2003) hLLp://www.balleL.co.uk/magazlnes/yr_03/feb03/lnLervlew_bbc_forsyLhe.hLm

lorsyLhe, Wllllam. [lnLervlew] 'A phllosophlcal lorsyLhe dlscusses dance - An lnLervlew wlLh uonna erlmuLLer',
uance Magazlne (AugusL 2001).

lorsyLhe, Wllllam and Slgmund, Cerard. [lnLervlew] 'La pensee choregraphlque. un enLreLlen de Wllllam lorsyLhe
reallse par Cerald Slgmund' 8alleLL lnLernaLlonal/1anz AkLuell, numero annuel 2001, (8erlln, lrledrlch verlag, 2001).

lorsyLhe, Wllllam.[lnLervlew] 'LpaulemenL and oLher Lhlngs - lnLervlew wlLh valerle Lawson', 8alleL.magazlne
(CcLober 2000).

!ohnson, !lll. '1he uance, 1he uaLa, 1he Cb[ecLs', Synchronous Cb[ecLs,

hLLp://synchronousob[ecLs.osu.edu/asseLs/swfs/cueAnnoLaLlons/audloCommenLary.swf

kllen, Mlchael, valk, SLeve and Cormley, !effrey. 8ook of 8ecommendaLlons: Choreography as an AesLheLlcs of
Change. (Llmerlck: uaghda uance Company, 2008).

Langer, Suzanne. leellng and lorm (Scrlbner, 1977).

Mannlng, Lrln. Always More 1han Cne: lndlvlduaLlon's uance (uurham: uuke unlverslLy ress, 2013).

Mannlng, Lrln. 8elaLlonscapes: MovemenL, ArL, hllosophy (Cambrldge, Mass. Ml1 ress, 2009).

Massuml, 8rlan. 'ercepLlon ALLack, 1he lorce Lo Cwn 1lme' ln CnLopower: oLenLlal ollLlcs and Lhe rlmacy of
reempLlon (uurham, uuke unlverslLy ress, forLhcomlng).

Massuml, 8rlan. 'ercepLlon ALLack: 8rlef on War 1lme', 1heory & LvenL 13.3 (CcLober 2010),
hLLp://muse.[hu.edu/[ournals/Lheory_and_evenL/v013/13.3.massuml.hLml

alazzl, Marla ln '1he uance, 1he uaLa, 1he Cb[ecLs', Synchronous Cb[ecLs, 2009, hLLp://synchronousob[ecLs.osu.edu

Shaw, norah Zunlga ln '1he uance, 1he uaLa, 1he Cb[ecLs', Synchronous Cb[ecLs, 2009,
hLLp://synchronousob[ecLs.osu.edu