JU MFA 2017 Research and Development

 Summer 2017: Chaotic Pinball

I started my choreographic explorations in summer 2017, exploring chaos and stillness. As I delved deeper into my movement explorations and research, I found a connection between chaos, chaos theory, liminal space, and hysteresis. Through the use of first-person methodologies, specifically, practical research through bodies, as referred to in Parker-Starbuck and Mock’s chapter in, Research Methods in Theatre and Performance (Parker-Starbuck & Mock, 2011) I closely examined and explored the movement of a chaotic pinball.

The process I followed to create chaotic pinball movements started by playing the game. The tiny pinball, traveled chaotically through the enclosed space of the game. I filmed the game, slowed down the film, and traced the pathways of the ball. I repeated this process three or four times. Repeatedly tracing the balls path embedded the movement in my hand. In the studio, I started with my hand tracing the path of the pinball in space. I tried other parts of my body. I have a strong affinity for tracing a pinball path with my head. I feel it not only looks chaotic, but it makes me feel more chaotic than using any other body part. It was difficult to use my legs and feet while standing, even when sitting on the floor, they were awkward choices. Using my hips had a playful feel. By allowing the ball to roll through different parts of my body and tracing the path with different body parts, “The researcher’s [my] body becomes a conduit through which ideas are discovered and presented, and research is conducted about and through bodies” (Parker-Starbuck & Mock, 2011, p. 223).  

 

Monday, July 24, 2017

So, this morning I got a pinball game to illustrate how chaos theory, liminal space, and hysteresis intersect in movements. The ball in the pinball machine shoots out fast and slows down when it comes to the flippers or lower in the game. You can see moments of stillness of lag between directions which is hysteresis. The game shows chaos theory because tiny changes from take off creates changes to pathways, speed, and direction.  Liminal space is a place of transition, waiting, not knowing which way the ball will go next.

Factors:

• Speed of the hit
• Tilt of the game
• What it hits (ball) in its path

Ideas:

• Film and slow down the pin ball to trace it on paper
• When you trace it on paper you lose the speed of the ball - which loses the hysteresis and liminal space.
• When you watch the pin ball at normal speed - every time the ball is hit up or bounces between two objects,  it is fast. It sloes down when it gets to the bottom or at the terminus of a movement due to gravity.
• It is difficult to replicate the pathway, so instead, I could replicate the machine in the studio space? I could design where is top, bottom, sides, and rebounders in the middle.
• I can also trace with my finger or replicate movements with my arm, head, or eyes. (or other limb.)
• If I use the studio space, which would be bigger, and myself as the ball - it would be difficult to replicate the speed and rebounding in such a large space.. Or small space for that matter.
• It might work best with using one limb to replicate the ball and instead of having the space flat - move it so it is like a TV screen. (or at least for this first experimentation.

OK, so, I think I will use my finger and then my head to show the movement of the ball. I will not use an exact path, but an imagined one. I will call attention to the moments of hysteresis, liminal space, and to the fact that each outcome is different which relates to chaos theory.

Pinball pathways on my friend Annina, playing Big Boy's new pinball game.

Wednesday, July 26, 2017

How do I make the pinball head fill the stage? What movements can I do that are that big and fast and rebound like a pinball? Maybe I try to cover more space just by moving my feet and keeping the head? Maybe I can try using different body parts to explore these movements. More than one body part… or one part to the next? Head then the ball rolls down to my feet and my feet run the pattern… maybe work all the way down: Head / arm / body / leg / feet. That should get me around the stage. 

Summer 2017: Chaotic Pinball Continued 

After playing with the movement of the pinball in different body parts, I wondered how I could travel this movement through space, or how I could fill more space with the movement. I decided to walk and run the path of the pinball in the studio. I added in the pinball movements with different body parts as I traveled. I did not feel as though I could travel that far and move my body fast enough through space. I was not able to replicate the same chaotic movement as I was when I stayed in one spot. In other words, through my use of “applied theory: researching through the body” Through experience, I discovered that I could not increase the size of my pinball game to the size of the studio. “‘First- person’ methods aim to encourage subjective accounts through the experience, perception and observation of the self that are useful in accessing and constructing knowledges in the body” (Parker-Starbuck & Mock, 2011). It was suggested that I try thinking more three dimensionally and use the Laban cube to explore my pinball movements. The idea of making my pinball movements in a large cube seems insanely obvious now, considering a pinball game itself is confined to a box shape itself. 

Here are a couple of clips of me exploring the chaotic movements of the pinball and trying to walk / run a pinball pathway in the big studio. 

Exploring Pinball_Summer 2017 from Paula Johnson on Vimeo.

Saturday, July 29, 2017

After sharing as a critical response practice, I now know that the pathway does not have to be on the ground. I can make it in a cube - make it 3-D. Danielle shared with me some of her work that she did with this idea. I am going to try incorporating this 3D cube and adding levels. Stephanie and Bethany also suggested I start with my arm again and have the pinball wriggle all through different body parts. I thought I was doing this - but it wasn't clear - so I will also incorporate this. Maybe I will try to take out the voice - or play with it. It might be a cool track to make for the "music." Maybe there is a track already made on YouTube? 

Summer 2017: Chaotic Pinball Continued

To complete my chaotic pinball for the summer, I decided to add sound. My first impulse was to use my own voice. It was my first impulse not by choice, but because it automatically came out of my body to help me get through the exhausting movements. However, I also found a soundtrack from a pinball game on YouTube, and after playing with it, I found my movements took shape easily. 

Here is a video from a practice session before my final presentation of summer 2017:

Fall 2017: Controlling Chaos

Moving into the fall semester, I questioned how the voice and chaos are connected. This lead me to the study of the effects of sound vibrations on matter, called cymatics. A cymatic experiment video (Matteo) on YouTube illustrates the patterns made by salt on a metal plate as tones increase in pitch. As tones change from one to another, the salt shifts from one pattern to a new one traversing through a period of chaos before taking its new shape. The patterns become more intricate as the tone increases in pitch. Interestingly, similar to the butterfly effect of chaos theory, any tiny changes cause long term effects. The patterns will be different if there is a change in the shape or size of the plate. Also, the shapes are different in different types of matter. The same tone will not make the same pattern in salt, paint, or water. Different matter makes different patterns or shapes with the same tone. (Constantinsen)

The sound study of cymatics taught me that sound travels in a spherical shape outward from its source. This research led me first to practice taking new shapes, keeping the idea of the spherical shape and roundness of sound which is chaos and form. I quickly fell into a rhythm and repetition of shapes which rotated in a circle, each starting shape beginning in a new direction, facing a new wall. After analyzing the video of my rotating pattern of shapes, I could see the shapes but I could not see the chaos. I know the chaos is there, hidden, microscopically, but this information does not transfer to the viewer. This made me question how I could effectively show the cycle of self-organization.

 

Wednesday, September 6, 2017

Autonomous - the voice can come out unintentionally. What other things happen autonomously? Shivers - tiny tremors and vibrations. The voice is vibrations. Involuntary movements like reflexes. Reactions to things like a shock or surprise or scare. How does this relate back to chaotic movement? Does it have to?

Saturday, September 9, 2017

Autonomous - moving without meaning to move. Fight or flight. Nervous system. Shaking. Dancing is moving intentionally -usually. How can you move without meaning to move? How can you initiate something like that? In Lee Su Feh's workshop this summer - we put our body's into different positions and shaking happened. We embodied this and felt it, then moved across the floor with this feeling. I am not sure I was doing it right - but I could feel it. Maybe this could be done with other autonomous reactions? How does this relate to the voice? 

 

Sunday, September 24, 2017

Sound vibrations move out from the centre of the source. They make a sphere. You don't see this with the cymatics with the sand. It might be interesting to try to use this idea to bring it into my own solo. Move out from the centre. What other things are spheres? The fitness balls. Hmmm… how can I make myself feel more spherical? Taking the shape of the ball? Laying on it in different ways from different directions? Then take the ball away and try and keep the shape?

Cymatic Experiment (Matteo, 2008)

Wednesday, September 27, 2017

Sphere / round shape / round space / round body / and or the vibrations and the idea that they make a repeating pattern from chaos to form over and over again. Start small and get bigger. Sound waves start small and grow out. Vibrations / shaking back and forth quickly / travelling / taking form / moving again / small changes change patterns.

Friday, October 6, 2017

I am a constant moving shape. Shapes are everywhere and everything is constantly moving. Does everything move from chaos to form or just sound? I would think everything if you go small / micro enough. Shake, shake, crazy, and ta da - another new beautiful formation / awful terrible mess breaking and ta da something new evolves. 

Monday, October 9, 2017

Chaos to formation, movement to shape - not just shape to shape to shape. I know that the chaos is there on a microscopic level but I want to see it and feel it. I want to lose to see it happening between the changes of shape - shaking and letting go. Letting go and holding on. This could be a next layer or rather a relationship to consider. 

In this video I explore moving on a large fitness ball. To me, the ball represents the spherical shape of sound. I try to keep that roundness without the ball and end up creating a short phrase of shapes that repeat and turn in a circle.

Sunday, October 15, 2017

Emotional flow / cycle from indignation to frustration. When someone cuts you off and then goes slow in front of you. Maybe you were driving fast (chaotically) and then you had to go slow (take form). Another example: You do all the work and someone else gets the thanks and this happens repeatedly. The person receiving the thanks just takes it and does thank you for all of your hard work. I should make a list of these emotions to play with for my next exploration. I will add them to uncovering relationships.

Emotions: Indignation to frustration

• Driving / someone cuts you off / goes slow in front of you.
• You do all the work / someone else takes the credit / they get the thanks / it happens over and over again.
• When parents treat one sibling / the male child / differently than the other sibling(s) / female child(ren).
• A person in power makes decisions that are going to help him instead of doing what is best for everyone.

Monday, October 16, 2017

• Emotional flow (from indignation to frustration)
• Musical score with a chaotic feeling and sound effects
• Chaos juxtaposed with stillness and form
• Shadows and lights to make more of me
• Formation and pattern changes with levels

The above are the ideas that I took from the dances that I looked at. The first idea is emotional flow - I don't know if flow is the right word - maybe cycle is better but I am not sure - I will think about that… but emotions nonetheless. My movements don't have motivation or emotion. There is no catalyst. I think the catalysts will come from the sounds I choose to layer in and emotions. I would like to play with indignation to frustration - I have started a list of ideas in my Uncovering relationships page. I will add to those until I have about five or six ideas to play with. I will pursue these in my movement exploration three. The next on the list there is the musical score. I would like to find some sound that has a chaotic feel with moments of stillness. I would like to have a layer of sound effects that will act as catalysts for the movements. I think I will do some listening and collecting. I have found a chaotic piano… I like piano.. I will do some searching and if I can't find anything that I really want - I will edit some sounds into the piano track.. Or not.. Try both … but going to do some listening research. I will add this to movement exploration three as well.

The chaos beside stillness - I could do this with a projector. I could have a still me standing being projected and a chaotic me moving in front of it. THEN, I could reverse. It fake me moving and real me standing. I could try this with lights and shadows too - but I would have to get a real fake me to stand - a cut out?? It wouldn't be able to reverse… might still be cool to try though. I could also do this within my body. There are moments in exploration two where part of my body is still and another part is chaotic. I could continue with that exploration as well. I like the idea of a grandeur scale… and within my own body as well.. Both? To show the difference?

With the same tools: projector / shadows - I could try to play with patterns - how can I make shapes with only one of me.  That could be cool. I could do it in Photoshop and animate it.. And dance in front of it?? Or??? This one would definitely be cooler with the shadows. This is where I would play with formations changes and levels as well.

Music used for Cycle between Chaos and Form

Music is from the TED Talk: Talking Chaos with Roland Wetzel. Pianist is Eric Lewis.

(TED, 2009)

I edited my voice over the piano

Saturday, October 21, 2017

I was looking up shadows. Obviously, to make multiple shadows of one thing, you need multiple light sources. I saw an example using coloured lights as well. That is an interesting idea. I didn't think of using coloured shadows. What if I separated the chaos and shapes again? What if I danced the shapes as shadows and recorded it and then projected that on the scrim and then did the chaos in front of that with the chaotic piano? Now where does the emotion come in? That would be a cool juxtaposition. 

Fall 2017: Choreographic Inspirations* (see below for more details)

 I used three coloured lights to create three coloured shadows on the scrim. This was an attempt to make more of me. This was inspired by Crystal Pite & Jonathon Young’s, Betroffenheit (Sadler's Wells Theatre). The video was not able to see my three coloured shadows, so I moved onto creating one shadow. I wanted to try the idea of having chaos juxtaposed with form. This idea was inspired by Cayetono Soto and Ballet BC’s Beginning After (Ballet BC). In this piece, one of the dancers created a beautiful still shape while another, right next to her, dances chaotically. Subsequently, I thought it would be interesting if I could juxtapose myself in opposing cycles of form to chaos. I chose these inspiring choreographic moments because they were powerful but simple ideas. They are both ideas that use emphasis. Multiple shadows emphasize the movements of one person, while juxtaposition emphasizes the opposition of two things.

Here are a couple of clips of me trying to film my three coloured shadows in the dark. The first one you can see me and the shadows and the second one, I aimed the camera to try and only catch the shadows. Both were too dark to see, but after making some adjustments in Imovie, I was able to salvage the exploration, somewhat. 

Saturday, November 11, 2017

What does chaos to form look like? I think it would be a slowing down of movement - the repetition would remain but it would slow down until it was still. Form to chaos - starts in one part of the body - with movement - then everything is moving. When everything is moving it starts to slow down and take shape. This cycle repeats.

This video shows me playing with the idea of moving in a cycle between chaos and form. I was really focusing on making the movements from chaos back to form more clear. I had the same problem with filming in the dark, but was able to adjust the video in Imovie.

Monday, November 13, 2017

I was just watching my videos from last week to prepare myself for some more recording tomorrow. Here are some of the things that I liked: I like the repetitive patterns that I started to make. It looked very machine like. I could slow down these repetitions even more until I took shape. This would illustrate the idea of chaos to form more clearly. When moving from form to chaos - I will continue to catch chaos - or movement in one part of the body until it takes over my whole system.

I also made videos of my triple colour shadow. Guess what? That did not show up on the video. I was too dark. How do you record shadows in the dark? This is fun to play with but is taking me a bit away from my methods. However, I was able to use a filter in Imovie so that the shadows were visible. The filter makes everything around the shadows grainy though. I was able to superimpose one on the other so I could try my juxtaposition with form and chaos. I LIKE! But, I have to figure out how to do this better. How could I do this in the studio? I might be able to get into the theatre on Wednesday or Friday after school. OR.. Thursday morning. OR, I could NOT use the shadow. I could use my form just moving slowly and film in the studio. I could do the slow shapes - I probably even have this video from before I could use. I could try it now. However, I do want to make more conscious movement from chaos back to form. But, I could try putting the old one and the new one together right now… just to see if that would work.

And thinking about shadows on the scrim - I might be able to film those better using the stage lights… if I could get Stephanie to help me one day.. Or one of her kiddos.

Let's talk about the music. That is the other thing that I tried last week. I like the music. I really love that piano track and I like the words. It reminds me of the time everyone left the studios and I thought they were going for lunch and I missed the IRB. Nobody told me where they were going. I guess I am lucky I didn’t miss more with my ears. One thing isn't so bad. But… where is everybody going? It is good. The added layer of emotion though the words works. (I think)

I am going to get my movement exploration list ready for tomorrow - wait - I am going to try that video and write again… hold on me…

Ok - I look like two ghosts dancing in the studio. Haha… In order to see both I have to lighten the opacity so much that I look like Casper. I think what I need to do it is focus on the movements this week and then for the next one - if that is going to be part of the final - all together project - I should use the theatre and film shadows. Then, I should project them and dance in front of them. This way it is all in one film - both live and not ghost like.

Friday, November 17, 2017

Different patterns / machines came out in my movements each time I focused on chaos back to form. I feel like I need to repeat this a million more times to see which ones stick and which ones are forgotten. I am sure that there will be a few that stand the test of time. This is a usual pattern of my choreography though - should I be concerned with this? 

Wednesday, November 20, 2017

I was thinking back to my movements and I think I could have made them even more clear. I could have slowed down the machine even more. I would like to take more time in the studio to slow down the repetition until it freezes in a shape. The movement from form to chaos - I could more clearly try instigating the chaos from different body parts.

For this video clip, I first filmed myself and my shadow, moving from form to chaos in a cycle. Next, I projected the video and tried to dance with it but I started with chaos, in an attempt to juxtapose myself, with myself.

Fall 2017: The Juxtaposition of the Cycle between Chaos and Form

I followed the path of my movement explorations from the idea of trying to control chaos to layering choreographic inspirations. I found connections in my explorations which illustrate that I have been working from one idea that has spread forward with multiple ideas, yet in ways stayed consistent. My movement and exploration choices were chosen because of my universal question which is: How can a body move from chaos to form in a cycle?  

Having experienced moving in a cycle between chaos and form, I now feel confident that these movements, inspirations, and ideas are embedded in me. I have explored adding multiple layers and have struggled with working alone. As a next step, I need to explore the idea of either working with someone who can help with lighting and filming, and / or working with another dancer who can juxtapose the chaos to form as a live interaction. 

*Choreographic Inspirations  

The Statement by Crystal Pite

The Statement - Crystal Pite - NDT 1 - New York City Center

This relates to my research of the cymatics, the voice and controlling chaos. The people represented here are business people in a boardroom. The emotional patterns flow from indignation to frustration. This piece uses voices. The tones of the voice create sound vibrations which cause formations with different tones. I also see the idea of chaos theory and the butterfly effect where small perturbations can cause long term effects. The dancers’ bodies make shapes individually and within their groups. The table adds levels and depth to the patterns created by the dancers’ bodies. The frustration of the piece has a chaotic feeling. The dancers’ movements move from frustration to form or shape giving the audience moments of calm before the frustration begins again.

 I will take the idea of emotional flow from this piece. The idea that my emotions could also move in a cyclical pattern from chaos to form is one I have not yet thought of. I have played with my movements and I have played with facial expressions, but I have not played with deeper emotions. Indignation and frustration would be an interesting emotional study to start exploring with since it is such a common feeling for most people.

·       Words to start / I come from upstairs… business world

·       0:08 - her action causes reaction / small perturbations can cause long term effects

·       0:13 - shapes with the four dancers / use of level with the meeting room table / ideas of hierarchy / chaos / form cycle

·       0:40 - group section - cymatic idea

·       0:46 – you see the build-up of frustration and then the group freezes in a formation – then the cycle begins again.

Lost Action by Kidd Pivot / Crystal Pite (kiddpivot, 2011)

Lost Action - Kidd Pivot | Crystal Pite

Lost Action is based on the idea that dance is ephemeral. The dance that they are making will disappear. There are many movements in this piece that I can relate to my research of controlling chaos, spherical movements that relate to the shape sound takes as it travels, and cymatic patterns and shapes found both in bodies or in repetition of movements. The music is repetitive and simple with sound effects that are accented with movement. Again, there is the use of the voice in this piece. This time the voice is speaking French phrases. There is an overall feeling of frenzy or chaos, with moments of release.

Overall, it is the musical score that stands out to me in this piece. I would like to discover a soundtrack that has a similar feeling with sound effects which I could accent movement with.

·       0:07 - use of words / language / voice - sound vibrations

·       0:11 example of chaotic movement

·       0:25 chaotic movement

·       0:49 spherical / round movements

·       0:52 round movement in wrist moves up body to the head

·       0:54 group of connected dancers are moving between shapes / formations

·       0:58 - round swinging / partnering

·       1:13 -big swinging / flailing turn

·       1:15 - spinning across the stage

·       1:23 - round shape in the body / ball shape

·       Music is repetitive / simple / sound effects / some French phrases at the start / creates a feeling of frenzy / chaos / with moments of release / hysteresis / form

Beginning After by Cayetano Soto (Ballet BC, 2017)

    

http://balletbc.com/beginning-after-excerpt/

I saw this piece in its entirety last fall. When I watch this piece, I see dancers finding moments of organization. I have been researching self-organization theory and in this piece, I can see many moments of entropy and self-organization. The duets find matching shapes and levels to make patterns. There are also examples of spherical movement in the body, legs, and on the floor. The most exciting section in this excerpt is at the end when one dancer is standing in a still shape and the other is moving chaotically behind her.

It is that moment of chaos juxtaposed with form and stillness that I will take into my research practice. I have been playing with how to combine both chaos and form. How can I do what they are doing with just me?

·       0:38 - group of dancers find a moment of organization

·       1:14 / 1:21 - the female duet finds matching shapes and levels

·       This promo video really cuts up the piece but you can see many moments of disorder and self-organization.

·       1:26 he does an awesome upper body circle - sphere feeling.

·       1:35 he dances a roll through the body and another circular feeling and quickly straightens out.

·       1:38 he does a big circle with his foot on the ground

·       1:55 / 2:10 - patterns with two pairs of dancers
 ·       2:11 an awesome juxtaposition of chaos and form

Betroffenheit by Crystal Pite and Jonathon Young (Sadler's Wells Theatre, 2016)

Crystal Pite & Jonathon Young - Betroffenheit - Trailer (Sadler's Wells)

This piece is Crystal Pite’s first time working with a playwright (Jonathon Young). The narrative follows the protagonist through trauma, shock, loss, and grief. “Show Time” is the stand-in for addiction. From this excerpt, you get an overall jarring feeling and confusing. Again, Pite uses a speaking voice in the musical score which helps add to the emotional feeling of addiction. From my research of cymatics I can see patterns and repetition. There is a chaotic and disorientated feeling. Disorder or entropy causes self-organization and the groups have moments of order.

When I watched this again, I had an idea moment. There is only one of me and I want to make patterns. In this excerpt, you see the repeating shadows dancing. Maybe I could use this idea to create patterns like cymatics? This is an idea I will bring to my research to play with. How can I use light and shadows to make more of me?

·       The use of the voice in the sound track

·       0:35 - shadows make an intricate / repetitive / pattern / repetition of the word remember / chaotic feeling from someone who seems lost and disorientated - disorder - entropy

·       0:39 / 0:41 - the group appears to be self-organizing

·       1:27 - forget it / repetition / finding order in the disorder

Monzongi by Zab Maboungou (The Dance Centre, 2017)

Mozongi: Zab Maboungou | Compagnie Danse Nyata Nyata - Trailer

Monzogi means return. This piece explores movements and rhythms. The drummers and even the dancers add to the rhythms. I can see many examples of formation and pattern changes in the group work. There is also some shaking that reminds me of the cymatic experiment.

I will play with the level changes in the formations in my practice as research.

·       0:43 - formation changes / low level / repetition

·       0:49 - level / formation / pattern changes in a group - like cymatics

·       0:59 - shaking / like sound vibrations /

Overall Ideas to try in Practice as Research:

·      Emotional flow (from indignation to frustration)

·      Musical score with a chaotic feeling and sound effects.

·      Chaos juxtaposed with stillness and form

·      Shadows and lights to make more of me.

·      Formation and pattern changes with levels.

Bibliography

Ballet BC, 2017. Beginning After - excerpt. [Online]
Available at: https://balletbc.com/beginning-after-excerpt/
[Accessed 11 October 2017 ].

Constantinsen, B., n.d. What music really is. [Online]
Available at: http://whatmusicreallyis.com/research/cymatics/
[Accessed 23 September 2017].

kiddpivot, 2011. Lost Action - Kidd Pivot | Crystal Pite. [Online]
Available at: https://www.youtube.com/watch?time_continue=4&v=28ze6vqIkAQ
[Accessed 16 December 2017].

Matteo, 2008. YouTube. [Online]
Available at: https://www.youtube.com/watch?v=GtiSCBXbHAg
[Accessed 23 September 2017].

Parker-Starbuck, J. & Mock, R., 2011. Researching the Body in/as Performance. In: Research Methods in Theatre and Performance. s.l.: Edinburgh University Press, pp. 210-233.

Sadler's Wells Theatre, 2016. YouTube. [Online]
Available at: https://www.youtube.com/watch?v=Xfs-SEx1nCU
[Accessed October 2017].

TED, 2009. Chaos and harmony on piano. [Online]
Available at: https://www.ted.com/talks/eric_lewis_plays_chaos_and_harmony#t-278162
[Accessed 16 December 2017].

The Dance Centre, 2017. Mozongi: Zab Maboungou | Compagnie Danse Nyata Nyata - Trailer. [Online]
Available at: https://www.youtube.com/watch?v=Y5TENXzIsmI
[Accessed 16 December 2017].