TY - CHAP
T1 - The choreographic language agent
AU - DeLahunta, Scott
N1 - This paper was first given and then published in the Refereed proceedings* of the World Dance Alliance Global Summit 2008. The full text of the original paper is available on the publisher Ausdance website along with details of the full proceedings and subsequent published book at: http://ausdance.org.au/articles/details/the-choreographic-language-agent
PY - 2016
Y1 - 2016
N2 - (Taken from the opening paragraph of the chapter): The paper notebook with its companion pencil or pen is a creative tool for
many contemporary choreographers and their dancers. Using the notebook
affords a relationship with a set of external objects inscribed ‘on the page’ in
the form of drawn sketches, notations and diagrams combined with text
(Blackwell, deLahunta, McGregor, & Warwicker, 2004). This relationship can
be described in cognitive terms; e.g. where the page becomes a surrogate for
working memory or as a way for seeing something new by modelling
structures or processes. The notebook in this sense becomes a site for the
encounter of cognition and creativity; providing a place for thinking
generatively with external objects (sketches, notations, etc.), an idea this
essay will revisit (Blackwell et al., 2004, p. 70). This concept that the
choreographer’s notebook affords a relationship with objects on the page,
underpins the current development of the Choreographic Language Agent
(CLA), as an extended interactive digital notebook
AB - (Taken from the opening paragraph of the chapter): The paper notebook with its companion pencil or pen is a creative tool for
many contemporary choreographers and their dancers. Using the notebook
affords a relationship with a set of external objects inscribed ‘on the page’ in
the form of drawn sketches, notations and diagrams combined with text
(Blackwell, deLahunta, McGregor, & Warwicker, 2004). This relationship can
be described in cognitive terms; e.g. where the page becomes a surrogate for
working memory or as a way for seeing something new by modelling
structures or processes. The notebook in this sense becomes a site for the
encounter of cognition and creativity; providing a place for thinking
generatively with external objects (sketches, notations, etc.), an idea this
essay will revisit (Blackwell et al., 2004, p. 70). This concept that the
choreographer’s notebook affords a relationship with objects on the page,
underpins the current development of the Choreographic Language Agent
(CLA), as an extended interactive digital notebook
M3 - Chapter
BT - Dance dialogues: Conversations across cultures, artforms and practices
A2 - Stock, Cheryl
A2 - Pacific, World Dance Alliance Asia
PB - ausdance
CY - New South Wales, Australia
ER -