The choreographic stages a conversation in which artwork is not only looked at but looks back; it is about contact that touches even across distance. The choreographic moves between the corporeal and cerebral to tell the stories of these encounters as dance trespasses into the discourse and disciplines of visual art and philosophy through a series of stutters; steps; trembles; and spasms. In The Choreographic; Jenn Joy examines dance and choreography not only as artistic strategies and disciplines but also as intrinsically theoretical and critical practices. She investigates artists in dialogue with philosophy; describing a movement of conceptual choreography that flourishes in New York and on the festival circuit. Joy offers close readings of a series of experimental works; arguing for the choreographic as an alternative model of aesthetics. She explores constellations of works; artists; writers; philosophers; and dancers; in conversation with theories of gesture; language; desire; and history. She choreographs a revelatory narrative in which Walter Benjamin; Pina Bausch; Francis Alyuml;s; and Cormac McCarthy dance together; she traces the feminist and queer force toward desire through the choreography of DD Dorvillier; Heather Kravas; Meg Stuart; La Ribot; Miguel Gutierrez; luciana achugar; and others; she maps new forms of communicability and pedagogy; and she casts science fiction writers Samuel R. Delany and Kim Stanley Robinson as perceptual avatars and dance partners for Ralph Lemon; Marianne Vitali; James Foster; and Janet Cardiff and George Bures Miller. Constructing an expanded notion of the choreographic; Joy explores how choreography as critical concept and practice attunes us to a more productively uncertain; precarious; and ecstatic understanding of aesthetics and art making.
#1390129 in eBooks 2014-11-20 2014-11-20File Name: B00OA9S5ZO
Review
0 of 0 people found the following review helpful. The Laws of Harmony and ProportionBy Saxon HenryIn 1997; Stoddard published The Decoration of Houses; her expansion of the ideas first put into print by one of her heroines; Edith Wharton; who published a book with the same title in 1897 (with co-author Ogden Codman; Jr.). In her homage to Wharton; Stoddard begins her Foreword with this superb Ralph Waldo Emerson quote: “Love of beauty is taste…the creation of beauty is art.†With it she gracefully furthers her point that Wharton’s book became a revolutionary bible for professional designers and architects stateside and abroad who were determined to turn the creation of beauty into an art form.I find it quite fascinating that the first book penned by a Pulitzer Prize-winning author the caliber of Edith Wharton was a decorating book; one that changed thinking about interior design for all time; no less.- See more at: http://saxonhenry.com/harmony-and-proportion/#sthash.Ifd15g7D.dpuf7 of 7 people found the following review helpful. poor qualityBy EveThe quality of printing and of the pictures was very poor. It seemed to be a second hand photocopy of an original book.0 of 0 people found the following review helpful. This book is a historical jewel of the archives of ...By Dale McCuneThis book is a historical jewel of the archives of the balance between architecture and interior design / decoration. The approach is dated; of course; but it still sets the parameters and rules for the arrangement of rooms and their decoration. It is still in print for a reason.
