tag:blogger.com,1999:blog-10336645263138407862024-03-14T04:45:53.895-07:00Science . Art . DesignUnknownnoreply@blogger.comBlogger2125tag:blogger.com,1999:blog-1033664526313840786.post-43730913727867890332016-05-27T12:31:00.001-07:002016-05-27T16:24:39.451-07:00A scientific vision of Dance<div class="MsoNormal">
<span style="font-family: "gadugi" , sans-serif; font-size: 26.0pt; line-height: 115%;">A scientific vision of Dance</span><o:p></o:p></div>
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<span style="font-family: "gadugi" , sans-serif; font-size: 13.0pt; line-height: 115%;">By</span><o:p></o:p></div>
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<span style="font-family: "gadugi" , sans-serif; font-size: 13.0pt; line-height: 115%;">Melisa Palacio López</span><o:p></o:p></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 12.0pt; line-height: 115%;">Sub chapters</span></b><span style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<b><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"> </span></b><o:p></o:p></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Introduction <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">1. Constructing a bridge <o:p></o:p></span><br />
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<span style="font-family: "gadugi" , sans-serif;">2. Potential of physics science towards dance productions</span><span style="font-family: "gadugi" , sans-serif;"> </span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">3. Artistic pieces on the bridge <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Conclusion: after building the bridge <o:p></o:p></span></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 12.0pt; line-height: 115%;">Introduction</span></b><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">What can a dancer do conceiving the instrument, the axis of his (her) work? Namely the human body, not only as a tool, origin or inspiration, but located as a central piece of an arrangement of elements? Considering it as a piece of a huge assembly that interacts within a framework of mathematical principles? <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">In this article I will illustrate how these questions construct possible routes between disciplines, i.e. dance and physics. With it, a thread of communication among transdisciplinary instruments can contribute for further artistic and multimedia design.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Initially, the aim will be to find common terms to propose a bridge between disciplines. Then, scientific visions, discoveries or theories will be explored as an illustration to introduce the potential of physics science towards dance productions and design. After, I will present common points where scientists and dancers share concepts and create artistic pieces. Finally, I remark audio-visual design as a path of articulation and supporting feature to enrich the creative process in dance.<o:p></o:p></span></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 12.0pt; line-height: 115%;">1. Constructing a bridge</span></b><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Let’s start to build a bridge between disciplines imagining two different shores willing to communicate with each other. I will propose the foundations as main structures of our bridge. Then, to establish threads of connection, there will be common points where both borders relate to each other.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">From the physics side, a first foundation begins with the term <i>system</i>. This can be considered as a delimited area of study whereby properties or facts are measured regarding internal behavior and interactions with the external medium; then data is extracted. A new statement is proven when several observations and measurements are made under certain conditions. That is to say, a body is observed and revealed. This body is a source of information translated into mathematical language and this translation means two things. First, it intends to transpose the observations of the system into another media, namely into a piece of paper, a piece of software or an audiovisual piece. Secondly, it intends to decode patterns and facts using functions or equations that describe certain behavior.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">A second foundation from this perspective considers dance as a human body influenced under forces that play with time and space. A body is a system constituted of subsystems that produce certain mechanics. One can conceive an arrangement of collaborative elements being a unity. Together they respond to the main theories of physics, i.e. general statements. For instance, natural laws such Law of Gravitation (S</span><span style="font-family: "gadugi" , sans-serif; font-size: 10.5pt; line-height: 115%;">chutz 2003, 12</span><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">). Formally, a <i>physical body</i> is ‘an object or substance that has three dimensions, a mass, and is distinguishable from surrounding objects’ (Collins English Dictionary)<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The term <i>body </i>in the dance field, can be considered as the object / subject that is experienced through movement. It is therefore transformed into an instrument to be manifested, contemplated or measured. Another consideration of <i>body </i>analyzes it as an 'object constantly created by and acted upon by forces of the “external world”, but it itself envelops / produces a subject - the production of subjectivity that creates and separates an individual’ (Pregrad 2012, 11)<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">This first foundation from dance and philosophy sets the body as the axis, that is, the medium through which the dance fact can occur. From this perspective, a human body / object can be considered as a system that follows common points within a scientific perspective, since it responds to general statements. In particular, those related with analysis of movement and the influence of forces.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">A second foundation from the dance field is the conception of physics science for a dancer, choreographer or body artist. Physics can be conceived as an abstract and consistent delineation of what a human body describes: movement and its interactions with surrounding medium. A choreographer can take mathematical concepts to design several qualities of movement. They can bring physical notions to dance design and, furthermore, have the possibility to communicate scientific concepts through movement.<o:p></o:p></span></div>
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<i><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Communicative structures</span></i><o:p></o:p></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">After identifying foundations from both shores, let’s begin to construct communicative structures that will illustrate possible relationships.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Physics and dance deal with certain terms that are shared in dance pedagogy: velocity, spin, mass, momentum, space, gravity, time, pressure, volume, potential, energy. All of these terms are our structures and each of them has meaning in physics applicable to dance. How can a dancer transform his (her) creative process understanding the structures from a mathematical and logical perspective?<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">For instance, the concept of velocity. In physical terms, it is conceived as the amount of distance / space into a specific amount of time, its equation is: </span><!--[if gte msEquation 12]><m:oMath><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>v</m:r></span></i><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>=</m:r></span></i><i style='mso-bidi-font-style:
normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>ds</m:r></span></i><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>/</m:r></span></i><i style='mso-bidi-font-style:
normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>dt</m:r></span></i></m:oMath><![endif]--><!--[if !msEquation]--><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 115%; position: relative; top: 5.5pt;"><v:shapetype coordsize="21600,21600" filled="f" id="_x0000_t75" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f"> <v:stroke joinstyle="miter"> <v:formulas> <v:f eqn="if lineDrawn pixelLineWidth 0"> <v:f eqn="sum @0 1 0"> <v:f eqn="sum 0 0 @1"> <v:f eqn="prod @2 1 2"> <v:f eqn="prod @3 21600 pixelWidth"> <v:f eqn="prod @3 21600 pixelHeight"> <v:f eqn="sum @0 0 1"> <v:f eqn="prod @6 1 2"> <v:f eqn="prod @7 21600 pixelWidth"> <v:f eqn="sum @8 21600 0"> <v:f eqn="prod @7 21600 pixelHeight"> <v:f eqn="sum @10 21600 0"> </v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:formulas> <v:path gradientshapeok="t" o:connecttype="rect" o:extrusionok="f"> <o:lock aspectratio="t" v:ext="edit"> </o:lock></v:path></v:stroke></v:shapetype><v:shape id="_x0000_i1025" style="height: 15pt; width: 48.75pt;" type="#_x0000_t75"> <v:imagedata chromakey="white" o:title="" src="file:///C:\Users\worker\AppData\Local\Temp\msohtmlclip1\01\clip_image001.png"> </v:imagedata></v:shape></span><!--[endif]--><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"> , where the terms of derivations means that any variation of the space (distance) in time will result into an increment or reduction on the amount of distance covered. The integral symbol refers to the area that this variations describe in a coordinate plane.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The dance experience is related completely with the term velocity. How can dance be complemented through mathematical expressions? To find out the last equation, Isaac Newton and Gottfried Wilhelm Leibniz contributed separately to develop the tremendous mathematical tool of calculus, i.e. what we nowadays recognize as infinitesimal calculus (Jahnke 2003: 73). This equation could be simple at first sight, but it implied the observations of bodies / systems to determine a general statement, the second law of movement into the classic mechanics.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The variation of velocity is named acceleration, i.e. </span><!--[if gte msEquation 12]><m:oMath><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>a</m:r></span></i><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>=</m:r></span></i><m:f><m:fPr><m:type m:val="lin"/><span
style='font-family:"Cambria Math",serif;mso-ascii-font-family:"Cambria Math";
mso-hansi-font-family:"Cambria Math"'><m:ctrlPr></m:ctrlPr></span></m:fPr><m:num><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>dv</m:r></span></i></m:num><m:den><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>dt</m:r></span></i></m:den></m:f></m:oMath><![endif]--><!--[if !msEquation]--><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 115%; position: relative; top: 4.5pt;"><v:shape id="_x0000_i1025" style="height: 15pt; width: 50.25pt;" type="#_x0000_t75"> <v:imagedata chromakey="white" o:title="" src="file:///C:\Users\worker\AppData\Local\Temp\msohtmlclip1\01\clip_image002.png"> </v:imagedata></v:shape></span><!--[endif]--><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">. Under Newton’s definitions, the momentum is defined as the product of its mass and velocity, and furthermore the variation of momentum in the time is defined as Force </span><!--[if gte msEquation 12]><m:oMath><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>F</m:r></span></i></m:oMath><![endif]--><!--[if !msEquation]--><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 115%; position: relative; top: 4.5pt;"><v:shape id="_x0000_i1025" style="height: 15pt; width: 7.5pt;" type="#_x0000_t75"> <v:imagedata chromakey="white" o:title="" src="file:///C:\Users\worker\AppData\Local\Temp\msohtmlclip1\01\clip_image003.png"> </v:imagedata></v:shape></span><!--[endif]--><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">. Connecting definitions, we have </span><!--[if gte msEquation 12]><m:oMath><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>F</m:r></span></i><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
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normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>d</m:r></span></i><m:f><m:fPr><m:type
m:val="lin"/><span style='font-family:"Cambria Math",serif;mso-ascii-font-family:
"Cambria Math";mso-hansi-font-family:"Cambria Math"'><m:ctrlPr></m:ctrlPr></span></m:fPr><m:num><m:d><m:dPr><span
style='font-family:"Cambria Math",serif;mso-ascii-font-family:"Cambria Math";
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style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>m</m:r></span></i><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>⋅</m:r></span></i><i style='mso-bidi-font-style:
normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>v</m:r></span></i></m:e></m:d></m:num><m:den><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>dt</m:r></span></i></m:den></m:f></m:oMath><![endif]--><!--[if !msEquation]--><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 115%; position: relative; top: 4.5pt;"><v:shape id="_x0000_i1025" style="height: 15pt; width: 80.25pt;" type="#_x0000_t75"> <v:imagedata chromakey="white" o:title="" src="file:///C:\Users\worker\AppData\Local\Temp\msohtmlclip1\01\clip_image004.png"> </v:imagedata></v:shape></span><!--[endif]--><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">, that is, </span><!--[if gte msEquation 12]><m:oMath><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>F</m:r></span></i><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>=</m:r></span></i><i style='mso-bidi-font-style:
normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>m</m:r></span></i><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>⋅</m:r></span></i><m:d><m:dPr><span
style='font-family:"Cambria Math",serif;mso-ascii-font-family:"Cambria Math";
mso-hansi-font-family:"Cambria Math"'><m:ctrlPr></m:ctrlPr></span></m:dPr><m:e><m:f><m:fPr><m:type
m:val="lin"/><span style='font-family:"Cambria Math",serif;mso-ascii-font-family:
"Cambria Math";mso-hansi-font-family:"Cambria Math"'><m:ctrlPr></m:ctrlPr></span></m:fPr><m:num><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>dv</m:r></span></i></m:num><m:den><i
style='mso-bidi-font-style:normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>dt</m:r></span></i></m:den></m:f></m:e></m:d><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>=</m:r></span></i><i style='mso-bidi-font-style:
normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>m</m:r></span></i><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>⋅</m:r></span></i><i style='mso-bidi-font-style:
normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>a</m:r></span></i></m:oMath><![endif]--><!--[if !msEquation]--><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 115%; position: relative; top: 4.5pt;"><v:shape id="_x0000_i1025" style="height: 15pt; width: 116.25pt;" type="#_x0000_t75"> <v:imagedata chromakey="white" o:title="" src="file:///C:\Users\worker\AppData\Local\Temp\msohtmlclip1\01\clip_image005.png"> </v:imagedata></v:shape></span><!--[endif]--><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The last equation is the famous second law of motion in classic mechanics (Schutz 2003: 9). The beauty of this statement lies not only in its simplicity but it its extension. It explains, for instance, the movement of rockets, pendulums and the operation of machines. It can explain, predict and describe the movement of the human body. <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">This is one of the contributions between physics and dance. It extrapolates the notion of physical body / human body / systems in terms of universal languages. It obeys natural laws, as mentioned before, as a piece of an assembly of mathematical principles.<o:p></o:p></span></div>
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<i><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">How this description can transform / influence the dance experience and its creative work?</span></i><o:p></o:p></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">This mathematical deduction is an illustration of how movement is transposed into another media and an abstract language. Therefore, we are dancing these equations. The human body describes curves and evolutions of several geometries in time. Graphical descriptions, such as area, parabolas, and circles are connected with terms like force, mass, velocity or time. Implementing the attributes of physics into dance is to construct a transdisciplinary bond that connects and contributes to both shores.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Knowing how to extrapolate the language of movement with deterministic expressions, diagrams and scientific theories brings the potential not only to predict but to configure qualities and arrangements of dance. This type of analysis also has the potential to complement other visions and interpretation of body movement. For example, the Rudolf Laban theories.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">LMA (Laban Movement Analysis) provides a rich overview of the scope of movement possibilities. These basic elements can be used for generating movement or for describing movement. They provide an inroad to understanding movement and for developing movement efficiency and expressiveness. Each human being combines these movement factors in his/her own unique way and organizes them to create phrases and relationships which reveal personal, artistic, or cultural style. (Hackney 2002: 237)<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The main categories considered by Laban are: Body, Effort, Shape, and Space. Particularly the term Effort reflects the mover’s attitude toward investing energy in four basic factors: Flow, Weight, Time and Space. (Hackney 2002: 237). Effort can be described as dynamics, qualitative use of energy, texture, color, emotions, inner attitude, etc. There is an ongoing (Flow) sense of self (Weight) in relation to the environment (Space) over time (Time). (Konie, 2011)<o:p></o:p></span></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 12.0pt; line-height: 115%;">2. Potential of physics science towards dance design</span></b><b><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"> </span></b><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<i><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">What is a force?</span></i><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">It is a stimulus defined by a <i>vector, </i>i.e. an entity having both magnitude and direction<i> </i>(Hoffmann 1966, 14)<i>. </i>It is a stimulus that fluctuates in time and space over bodies with certain amount of mass in a certain direction. That is to say, a vector that influences bodies in space-time. Any interaction between two bodies implies forces between them. Forces are categorized according to whether these interactions result from the contact with surfaces of other objects. <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Contact forces are named: frictional, tension, normal, applied, elastic, viscosity.</span><o:p></o:p></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Non-contact forces are known as: electric, magnetic and gravitational.</span><o:p></o:p></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">When a body is dancing, it experiences mechanical stimulus into the field of contact forces plus the gravitational force. To analyze a human body as a system, (that has the potential to manifest / produce / deconstruct a composition of forces) there is a tool named <i>free-body diagram</i>. This depiction shows how several forces influence simultaneously an object, how they balance each other (regarding what coordinate plane the analysis precise to have) and how it is possible to describe features of bodies in a given position.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The assembly of human bodies holding together a common position and the balance of forces shared by them, exhibits an example how this analysis make a contribution to delineate images on dance composition. (See figure 1).</span><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkhkttFd0s9LmfB4aRonaLd1LXpMHuFb4mhIexVM9rVUVITC6aEsoz98vXOcve_7hoKcSCUx50kx65Sgzfw5DmKUM3iUSxJpJrUCstyKRaoYz3B3mYE1XZ2aRbg0ykSx8YNw2hfwEwyJU/s1600/Balance.png" imageanchor="1"><img border="0" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkhkttFd0s9LmfB4aRonaLd1LXpMHuFb4mhIexVM9rVUVITC6aEsoz98vXOcve_7hoKcSCUx50kx65Sgzfw5DmKUM3iUSxJpJrUCstyKRaoYz3B3mYE1XZ2aRbg0ykSx8YNw2hfwEwyJU/s640/Balance.png" width="640" /></a></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 9.0pt; line-height: 115%;">Figure 1<o:p></o:p></span></b></div>
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<span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt; line-height: 115%;">Free Body Diagram. Balance of Forces. <o:p></o:p></span></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt; line-height: 115%;">F<sub>N</sub></span></b><span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt; line-height: 115%;"> (Normal Force), <b>F<sub>W</sub> </b>(Weight Force)<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">These parameters define qualities of motion and forces acting with each other. Changing angles, frictions, balance of masses any arrangement can have, for instance, different coincidences, another center of gravity or accelerations to dance with.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The third law of motion of Newton refers to actions and reactions. Basically it states that for every action there is always a reaction with the same magnitude but in opposite direction. It means, as well, that any force has a pair force to respond to it. The action-reaction of forces is determined by the balance of masses (See figure 2). As noted before the acceleration is inversely proportional to the mass (</span><!--[if gte msEquation 12]><m:oMath><i
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 9.0pt; line-height: 115%;">Figure 2<o:p></o:p></span></b></div>
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<span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt; line-height: 115%;">Balance of Forces and masses.<b> F<sub>1</sub></b> = <b>F<sub>2</sub></b>. <o:p></o:p></span></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt; line-height: 115%;">F<sub>N</sub></span></b><span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt; line-height: 115%;"> (Normal Force), <b>F<sub>W </sub></b>(Weight Force)<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The human body responds to collisions by interacting with other bodies or surfaces. In general, any development in dance is related with pairs of forces. The reflection of motivating forces has been useful for techniques as Contact Improvisation or Limón. The first is an evolving system of movement initiated in 1972 by American choreographer Steve Paxton. The improvised dance form is based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their motion—gravity, momentum, inertia. The body, in order to open to these sensations, learns to release excess muscular tension and abandon a certain quality of willfulness to experience the natural flow of movement. Practice includes rolling, falling, being upside down, following a physical point of contact, supporting and giving weight to a partner. (Paxton, 1970)<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The Limón technique is divided among various physical extremes: fall and recovery, rebound, weight, suspension, succession and isolation. These ideas can be illustrated in the way a dancer uses the floor as a place from which to rise, return to and then rise from again. The way a dancer explores the range of movement between the one extreme of freedom from gravity and the other of falling into it; for example, the moment of suspension just as the body is at the top of a leap, and the moment the body had fallen completely back to the earth. There are many words and ideas that are immediately associated with the Limón technique, i.e. its humanism, its use of breath, musicality, lyricism and its dramatic qualities; however, the overwhelming consensus is that through the movement is always demonstrated some physical expression of the human spirit. (José Limón Dance Foundation, n.d.).<o:p></o:p></span></div>
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<i><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Mechanical Energy<o:p></o:p></span></i></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Many physicist and philosophers have contributed to build the notion of energy. Ancient thinkers as Thales of Miletus (c. 550 BCE) formulated the existence of a substance contained by any object in the universe. Finishing the industrial revolution, by the early 19th century, the measurement of steam engines and properties of heat were extensively studied. Scientists such as Joule, Mayer, Thomson and Helmholtz collaborate, through their own researches, to introduce the concept of energy and its mathematical description.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The term energy was introduced by Thomson in 1852. One of the decisive contribution to the principle of conservation of energy is attributed to Helmholtz. In 1847, Hermann von Helmholtz formulated the principle in his book ‘On the conservation of force’ investigating heat of animal bodies and its mechanical features. His innovation to other statements lies in the relationship between heat and motion (Patton, 2008).<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Energy is the axis of physics and it can be defined as the capacity of doing work, and work is commonly considered as the amount of force applied to an object throughout certain amount of space / distance. Briefly, the principle of conservation of energy means that energy cannot be destroyed nor created, just transformed. Any amount of energy involved in a process will vary and influence the bodies implied as a medium through which it can keep traveling in space-time. Any motivation of force will imply a quantity of energy involved. <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">When a physical system changes its state, from initial conditions to final, there is involved an amount of energy exchanged between the system and the environment. These processes are classified according to the interaction with the surroundings, i.e.:<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">* Mechanical, when there are changes of mass, area or volume.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">* Electromagnetic when changes are in distributions of charges or electric currents, or changes in electromagnetic fields.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">* Chemicals, when chemical reactions are triggered, producing changes in molecular composition.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">* Thermodynamic when heat flows conditions change pressure, volume and temperature of the system involved.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Human bodies, as a delimited system of study, obey the conservation of energy when they dance in terms of exchange of heat and in particular in terms of mechanical interactions. We transform the amount of chemical energy stored from food into various physiological requirements by organs, tissues and cells. This “catabolic energy” is used to do work on the surroundings (for example running, walking, hiking) and release heat. <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Work is a process that flows between a transmitter and a receptor of forces, so that the object that receives the work gains energy. When a dancer pulls another body across the room, when a human body lifts an object from the floor to the top, or when a crane lifts objects, several sorts of energy are implied to supply the required force to do the work. This amount of energy gained by the receptor is was is called mechanical energy. <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">There are two possibilities for bodies to exchange this type of energy: by motion (Kinetic energy) or by rest, namely, position (potential energy). When a human body moves it carries kinetic energy in terms of its mass and the amount of velocity, and when a body holds a position, for instance related with a point at certain height, it spares a quantity of gravitational potential energy.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Movement manifests these laws and properties of matter and transform them into aesthetic experiences emitted to an audience. Through dance, the materialization of experiments, formulae and the history of science, takes one of its most sublimes forms.<o:p></o:p></span></div>
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<i><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Communicating physics through dance and performance</span></i><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">fuse* - Art & Design Factory - develops projects of artistic installation complementing architecture, technological innovation, interaction, visual and sound design.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Some of their works are based on scientific concepts. The audiovisual installation called Independent Frequencies is inspired on Helmholtz concepts of harmonics and the theory of timbre, then they generate an interactive installation where sound and architecture construct dynamic environments. The performance piece <i>N 4.0</i> is an interactive multimedia performance based on the real-time interaction between sound, movement and light. The perspective of the visuals alter on the basis of where the performance takes place. The graphics are modified simultaneously on the basis of sound frequencies and the instantaneous analysis of the dancer’s movements (fuse, 2014).<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Another representative piece to mention is ‘<i>Dance vs. Powerpoint, a Modest Proposal’</i> by John Bohannon & Black Label Movement at TEDxBrussels (Bohannon, 2011). This conference in motion presents the role of dance in another instance. It states the human body and the connection with physics using the potential of dance to explain a scientific concept to the audience. Expressions such as ‘photons moving randomly through the space’ or ‘in superfluids the atoms lose their individual identity and the rules of the quantum world take over’, are embodied by a conjunction of collisions, rhythms and gestures. They pursue to innovate in the performance field and to bring to the public a fresh perspective of science. (See figure 3).<o:p></o:p></span></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 9.0pt;">Figure 3<o:p></o:p></span></b></div>
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<span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt;">Dance Your PhD</span><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt;">John Bohannon & Black Label Movement</span><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt;">by TEDxBrussels. 2011</span><span lang="DE" style="font-family: "gadugi" , sans-serif;"><o:p></o:p></span></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 9.0pt;">Figure 4</span></b><span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt;">QUANTUM</span><span style="font-size: 8.0pt; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; font-size: 8.0pt;">Dance and lighting installation Artistic residency - Collide@CERN. Gilles Jobin. 2012</span><span lang="DE" style="font-family: "gadugi" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">The dance composition <i>QUANTUM </i>was part of the Collide@CERN-Geneva residency at CERN (European Organization for Nuclear Research) and developed by Gilles Jobin. This composition was created in collaboration with groups of CERN physicists, light & sound artists, and dancers to manifest an artistic impression of quantum mechanics. Specifically, Jobin ‘explores through interventions and dance the relationship between mind and body at the world’s largest particle physics laboratory.’ (CERN Accelerating Science, 2011). (See figure 4).<o:p></o:p></span></div>
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<b><span style="font-family: "gadugi" , sans-serif; font-size: 12.0pt; line-height: 115%;">Conclusion: After building the bridge</span></b><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">On the bridge between disciplines, it is possible to bring towards people other interpretation of scientific notions and their mathematical relations. Simultaneously, it is possible to complement dance explorations with analysis and discoveries from scientists. Using this connection, a new creative field with crisscrossed insights stimulates innovative processes of dancers, artists and designers.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">One of the lessons in the physics courses of quantum mechanics, was a morning class where the mathematical conclusion led to the equation of the <i>quantum harmonic oscillator</i>. In short, this means that when a particle is confined, the ground state of the energy (the lowest achievable energy) is not equal to zero. <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">In contrast with classical mechanics, which predicts that the energy </span><!--[if gte msEquation 12]><m:oMath><i style='mso-bidi-font-style:
normal'><span lang=DE style='font-family:"Cambria Math",serif'><m:r>E</m:r></span></i></m:oMath><![endif]--><!--[if !msEquation]--><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 115%; position: relative; top: 4.5pt;"><v:shape id="_x0000_i1025" style="height: 15pt; width: 7.5pt;" type="#_x0000_t75"> <v:imagedata chromakey="white" o:title="" src="file:///C:\Users\worker\AppData\Local\Temp\msohtmlclip1\01\clip_image011.png"> </v:imagedata></v:shape></span><!--[endif]--><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"> of a linear harmonic oscillator can have any value, we see from the equation: <o:p></o:p></span></div>
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style='mso-spacerun:yes'> </span></m:r><m:r>n</m:r><m:r>=0, 1, 2, …</m:r></span></i></m:oMath></m:oMathPara><![endif]--><!--[if !msEquation]--><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 115%;"><v:shape id="_x0000_i1025" style="height: 27pt; width: 156pt;" type="#_x0000_t75"> <v:imagedata chromakey="white" o:title="" src="file:///C:\Users\worker\AppData\Local\Temp\msohtmlclip1\01\clip_image012.png"> </v:imagedata></v:shape></span><!--[endif]--><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">That its quantum mechanics energy spectrum consists of an infinite sequence of discrete levels. For any finite eigenvalue the particle is bound. The energy levels are equally spaced and are similar to those discovered in 1900 by Planck for the radiation field modes. This is due the fact that a decomposition of the electromagnetic field into normal modes is essentially a decomposition into uncoupled harmonic oscillators. We notice, however, that according to the previous equation the linear harmonic oscillator even in its lowest state ( </span><!--[if gte msEquation 12]><m:oMath><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>n</m:r><m:r>=0</m:r></span></i></m:oMath><![endif]--><!--[if !msEquation]--><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 115%; position: relative; top: 4.5pt;"><v:shape id="_x0000_i1025" style="height: 15pt; width: 27pt;" type="#_x0000_t75"> <v:imagedata chromakey="white" o:title="" src="file:///C:\Users\worker\AppData\Local\Temp\msohtmlclip1\01\clip_image013.png"> </v:imagedata></v:shape></span><!--[endif]--><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;"> ), has energy </span><!--[if gte msEquation 12]><m:oMath><i
style='mso-bidi-font-style:normal'><span style='font-family:"Cambria Math",serif;
mso-ansi-language:EN-US'><m:r>(1/2)h</m:r><m:r>v</m:r></span></i></m:oMath><![endif]--><!--[if !msEquation]--><span lang="DE" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 115%; position: relative; top: 5.5pt;"><v:shape id="_x0000_i1025" style="height: 15pt; width: 39pt;" type="#_x0000_t75"> <v:imagedata chromakey="white" o:title="" src="file:///C:\Users\worker\AppData\Local\Temp\msohtmlclip1\01\clip_image014.png"> </v:imagedata></v:shape></span><!--[endif]--><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">. (Bransden, B. H., C. J. Joachain, and B. H. Bransden 2000: 174).<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">In this sense, matter never stops, particles are vibrating constantly. In the deepest emptiness, there is always movement, this is the poetry of dance. The dance of matter.<o:p></o:p></span></div>
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<o:p> </o:p><b><span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Bibliography</span></b></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Bransden, B. H., C. J. Joachain, and B. H. Bransden (2000), Quantum Mechanics, Harlow, England: Prentice Hall.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Bohannon, John (2011). Dance vs. Powerpoint, a Modest Proposal, TED. Retrieved 10 May 2015 from https://www.ted.com/talks/john_bohannon_dance_vs_powerpoint_a_modest_proposal?language=en.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">CERN Accelerating Science (2011), Gilles Jobin Collide@CERN Geneva Award Winner. Retrieved 19 July 2015 from http://arts.web.cern.ch/gilles-jobin.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Fuse (2011), N 4.0. Retrieved 08 May 2015 from http://fuseworks.it/en/project/n-4_en/.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Hackney, Peggy (2002), Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge. <o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Hoffmann, Banesh (1966). About Vectors. Englewood Cliffs, NJ: Prentice-Hall.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Jahnke, H. N. (2003), A History of Analysis. Providence, RI: American Mathematical Society.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">José Limón Dance Foundation n.d., "Limón technique". Retireved 05 June 2015 from http://limon.org/training/limon-technique/.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Konie, Robin (2011), A brief overview of Laban movement analysis, Movement has meaning. Retireved 05 June 2015 from http://www.movementhasmeaning.com/wp-content/uploads/2010/09/LMA-Workshop-Sheet.pdf.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Patton, Lydia (2008), Hermann Von Helmholtz, Stanford University. Stanford University. Retrieved 16 July 2015 from http://plato.stanford.edu/entries/hermann-helmholtz/.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Paxton, Steve (2014), About Contact Improvisation (CI), Contact Quarterly. Retrieved 08 June 2015 from http://www.contactquarterly.com/contact-improvisation/about/.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Pregrad, Sonja. "Oh My Body, If Only You Were Here with Me Now..."Bewegungstexte” 1.1, 2012. Print. p. 11.<o:p></o:p></span></div>
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<span style="font-family: "gadugi" , sans-serif; mso-ansi-language: EN-US;">Schutz, Bernard F (2003), Gravity from the Ground up, Cambridge: Cambridge UP. <o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1033664526313840786.post-90116314818527964542012-11-26T15:57:00.000-08:002016-05-27T17:30:51.922-07:00G A L A X I S<h2>
Jesienna Scena Tańca<br />
Festival of Small Movement Art</h2>
<h3>
Gryfino – Poland<br />
November (16 - 18.11.12)</h3>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEhp1ckuJnaPUV_6O89596AwHes5SjidPwQLEfrSeVjNBmhj-ouitwcdZKnODMcn-JxiN1xqjhHcJiAeGl8OSDvHMxZp0gfGlfKk5Fb8EVVKw5cz7ir0ZX9L7Nasd3B9HRmT-ms8E2hqc/s1600/Galaxis+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEhp1ckuJnaPUV_6O89596AwHes5SjidPwQLEfrSeVjNBmhj-ouitwcdZKnODMcn-JxiN1xqjhHcJiAeGl8OSDvHMxZp0gfGlfKk5Fb8EVVKw5cz7ir0ZX9L7Nasd3B9HRmT-ms8E2hqc/s400/Galaxis+1.jpg" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Melissa Palacio Lopez</td></tr>
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Resume</h3>
G A L A X I S is an interdisciplinary project based on the physical phenomena of galaxies. The central themes are the result of analyzing forces which influence the behavior of matter and following the birth of the universe from its very first moments. We explore the separation of a unified embryonic force into what we recognize today. These forces make the “dance of matter” in a stark and harmonic awakening which candidly follows physical laws and recreates the fundamental source of cosmoses. From a timeless and spaceless nothing until an eventual and complex self-conscience.<br />
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Team</h3>
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<li>Original Music: Kwaszak, composer and music producer (Poland)</li>
<li>Camera, costume: Lorena Vivient, visual artist (Chile)</li>
<li>Video edition: Santiago Betancur, fine artist (Colombia)</li>
<li>Software development and cocreation: Brett Richardson, Software developer (New Zeland)</li>
<li>Choreography, cocreation and direction: Melissa Palacio, dancer and Physics Engineer (Colombia)</li>
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<h3>
Narrative</h3>
Exploring particles in emptiness, enclosed points without route, things lost to movement before the discovery of space.<br />
Colorful and gentle but hardy and firm; rhythym gives the body a new perspective in new grounds. Through the eyes of velocity, fields disrupt something lonesome and it revolves about axes.<br />
A docile cloud, bustles in search of itself. These layered phenomena fall into separate forces. Just drain away with your tiny limbs, your dinky properties into wild space. Here dust and matter rains.<br />
Take a rest and flow between the dust and brilliant soft elements will carry you; will carry your worries, your silence, your loneliness. Present yourself to your own gods and trust, trust, trust.<br />
The winds anoint you, you blessed being. Don't be a part of this; let it go. Be awake in pieces again. Perceive a dance in the many great scales of time.<br />
Discover your skin, your persitance and remain in a most basic state. Your harmonic movement, a simple movement to unknowing places, is perhaps lost and you must flirt and flick your consciousness through channels.<br />
Matter of your own, oh Mother Galaxis, flee in lunatic spirals, in dust, in elipses and cinders. The effect of your physicality becomes you and your nature; wild and proud. Are you consciouss? Live through the force of ancient spirits and wisdom. Convert your own, leap and transform yourself. Join the others. <br />
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Be glad, later gods will laugh with you and you will be absorbed in flawless nothing…<br />
So don´t be afraid of darkness, even light may not escape. <br />
And surely, you are full of light and nonsense.<br />
<br />Unknownnoreply@blogger.com0