Kinesphere - C Instruments

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The examples he gives are the films of Charlie Chaplin and Buster Keaton, though both drew on the staged performances of the vaudeville and burlesque theater. It is motion. The expression of a sensation. Yet the implications for Fuller's rejection of this established order, in the late nineteenth century but in the same city, were not the same as those greeting Martin in the s.

Fuller wrote her book in English in while living in Europe. Initially published in French as Quinze ans de ma vie , the work was then translated back into English and republished in Possible modes of viewing performance would soon expand—indeed, Fuller would be involved in the making of at least three experimental films beginning in Perhaps not. It would not be until the mids that the gist of the Fuller v.

Bemis case was set aside by incorporating a performative index of emotional expression as evident in movement and, by implication, the kinesthetic and proprioceptive into the repertoire and scope of United States copyright law. Yet while Martin followed Fuller in defining dance as movement or motion , their understandings of movement radically differ.

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The latter alludes to the terms of property ownership, in both legal and epistemological terms. In this sense, the modernist impulse to see movement everywhere was circumscribed by a return to a classical concept of property that could, bluntly put, distinguish between movement and circulation and, at the same time, would discern an eternal form in the promiscuous profusion of movement and relation. The continuity of uninterrupted to which Martin refers is a qualitative consistency whose model is an unchanging body moving through space Newtonian physics.

Philosophically, this concept of motion draws on an Aristotelian metaphysics of movement as the auto-catalytics of bodies in possession of souls. By that account, a body can preserve its unique and inherent properties throughout movement and in a changing world. For Aristotle, artifacts such as technological instruments and enslaved people lack the capacity for self-movement; instruments and slaves were defined as such by not containing the principles of generation and motion within themselves.

Without an Aristotelian understanding of substance it would be impossible to describe modern dance as a unique, aesthetic object and, simultaneously, link that epistemological understanding of property with its legal-economic significance for property rights claims. Fuller instead reaches for a theory of movement that is relational, experimental, and kinetic—and endeavors, but fails, to ensure a proprietary claim.

Martin closes the aesthetic, teleological circle between being and becoming by declaring that modern dance is the actualization of a substance that was always inherent. To an even greater degree, dance, ballet and mime were abandoning figures and poses to release values which were not posed, not measured, which related movement to any-instant-whatever. While reviewers tended to describe her performances in figural or symbolic terms as the fleeting appearance of, say, a flower or a flame , her own descriptions consistently eschewed representational references and expressionism in favor of characterizations of technique.

If modern physics, mathematics, and modern dance emerged around the same time and in similar places, so too did self-described fascist movements and parties. This is not to suggest that they each followed the same trajectory or disposition, excepting where they did.

Neither Fuller nor Laban were much concerned with narrative. Yet where Fuller abandoned narrative in order to experiment at the limits of movement and sensation, for Laban, narrative was less significant than staging a subliminal appeal for the restoration of presumably ideal forms.

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Fuller performed her last dance in Six months later, he directed that the entire school should be Aryanized. The Serpentine Dance hinted at an exoticism, but was often read as sublimation in the chemical sense: a phase transition between a solid body and a gaseous apparition, without quite passing through a liquid state. If the Serpentine Dance emerged in the turbulence of transatlantic crossings and the ports of empire, its characterization as a rapid circuit from a fixed body to air would treat liquescence as an inclination or step toward the figural, a referential tendency toward the affirmation of ideal forms rather than delight in afformation.

Too queer to make sense, it would seem. The dancer is not a woman dancing, for these juxtaposed reasons: that she is not a woman, but a metaphor summing up one of the elementary aspects of our form: knife, goblet, flower, etc. Fuller did not, then, exist outside the circuits of production, including that of written texts. While she had become famous in Europe for performing the Serpentine Dance , her work in New York was routinely dependent on male managers and producers with whom she had contracted and, as was routine, according to which it was possible for them to sell or lease her on to other theaters. Fuller had taken to refusing to honor such transfers—her circulation between men, as it were—unless she had signed the contract herself. In any case, it was one of these contractual disputes which led to her to bring a suit against the chorus girl Minnie Renwood Bemis, in what we now know of as the case of Fuller v. Bemis As others have pointed out, the Fuller v. Bemis case also illustrates the ways in which the proprietary claim over the performance of this dance—and, indeed, modern dance itself—was staked in the contested contractual margin between the properties of whiteness, women as property, and the unnamed working women of burlesque.

It also sought, but failed to, as Anthea Kraut and others have argued, fully distance the Serpentine Dance from the sexualized, working bodies of the variety stage 44 while simultaneously trading in the exoticism that passes for novelty within the formal market.

Without the latter, Whitehead contends, there is no impetus to creativity, including in the techniques of reason. Whitehead is not alone in ascribing to the mythical figure of Odysseus an iconic status in philosophy as the legend of a practical, seafaring reason juxtaposed with that derived from transcendental knowledge—one that, more or less explicitly, treats the well-defined, patrimonial property of the sovereign household or oikos as the normative condition of formal, categorical reason. Adorno and Horkheimer describe Odysseus melancholically. The oikos has long-furnished philosophers with a naturalized, patrimonial aesthetics of the selective preservation of heritable, unique properties.

It links economic and legal norms of property ownership with the ostensibly certain, categorical knowledge of the properties of the material world that is otherwise in flux. Put another way, the contract is asymmetrical and incomplete. Gouache, ink, and pencil on paper.

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Costakis Collection. When a fluent vocabulary of infrastructure does emerge in the mid-twentieth century, it does so at the edge of a classical, renaissance Platonism, and one which verges on the apologia for dictatorship in the eighth book of The Republic. It becomes, then, a speculative aesthetics of a potentially lucrative, motivating catastrophe whose objective is the restoration of a hierarchically ordered, unchanging universe.

Even so, it remained an obscure term until some time after the close of the Second World War, and did not assume its present significance until after the wars in Southeast Asia in the mid-twentieth century. It might be noted here that the association of infrastructure with utility or welfare, its conceptualization in the humanities and social sciences, is far more recent than its history in engineering and military theory. From the late s, the social sciences begin to grapple with a question about the physics of movement—the movements of populations beyond regular forms, beyond borders.

But it nevertheless begins as a theory of warfare. In a press conference at the close of the war in Korea, then-US President Eisenhower famously set out the theory of the falling dominoes. So you could have a beginning of a disintegration that would have the most profound influences. It was used to bolster the case for US support for the coup in Guatemala in , and would go on to shape US military thinking about Latin America.

The imaginary of proximate, modular pieces of extended imperial possession teetering on the brink of system-wide collapse was, however, by no means restricted to the US. Instead of the game-theoretic presentation of strategic choices that assigns an immanent, interactive role to players within a game, there is instead one extrinsic, causal instance or event that knocks over a piece, any piece. It serves as a vivid depiction of sequential, mechanical collision and causation involving the contiguity of modular objects, one where the initial node is no longer a node within a game of strategic choices but an event that can be explained as either intentional or non-intentional.

Laban movement analysis

The first node is nevertheless construed as kinetically, inevitability determinative of the endgame by dint of an interdependence brought about by physical proximity, arrangement, and mechanical laws. Contemporary supply-chain logistics elaborates on this initial shift in understandings of movement, connection, and causality through the addition of one or more Cartesian coordinates and therefore introduces complexity in risk profiling, along with the topological restraint of preserving functions through continuous movement and transmission.

But this theory of circulation and movement did not emerge recently or even in the twentieth-century. Military infrastructure serves the sovereign will but is not to be confused with its extension, which is instead represented on the battlefield, according to Clausewitz, by the ordered hierarchical ranks of officers.

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  6. One favors doctrine, the other standards. Jomini emphasizes a complex chain of causes rather than the singular, almost divine-like cause that floats outside and above the field of battle. It ushers in a nascent version of complexity alongside a military theory in which infrastructure rather than political will is seen as decisive to the conduct, facility, and, not least, the very meaning of warfare. Jominian warfare begins from contingent base points, from the very thing that Clausewitz sought to eliminate as accidental or inessential to the course of reasoning scientifically and philosophically about warfare.

    It is rather in the treatment of zones and lines of operations as a dynamics of forces reliant upon critical points that, unlike the Clausewitzian theater of war, are not synonymous with the command center. That which is crucial to the continuous transmission of power, or conversely, that whose destruction makes that transfer discontinuous, is the concept of criticality as it is more or less understood today.

    Hayek followed in the steps of Adam Smith and Francis Hutcheson in arguing that political regulation infringed on the teleological unfolding of the foundational and natural laws of the oikos the presumably analogous and statistically aggregated households, landed estates, and companies in the wealth of nations.

    But if, in The Accumulation of Capital , Luxemburg insisted that the circuit of capital the extended reproduction of total social capital was a necessarily open system, her characterization of revolution is remarkable. Still, as such, it also suggests an opening in the seemingly tautological circuit that, in law and economics, legitimates property claims but, at the same time, therefore also marks a contested threshold of appropriation that may or may not restore the foundation of property rights.

    Throughout this discussion, a mutually reinforcing distinction has been drawn between the logic of property and that of appropriation. There is in other words a distinction made between the categorical logic that obtains in and rationalizes economic and legal concepts of property rights by resorting to ostensibly well-founded yet metaphysical premises without sure foundation, and on the other hand the relational, contingent, complex, pragmatic, and nonlinear logic of infrastructure that is capable of integrating estimates of uncertainty and stochastic movements in frontier circumstances.

    For her, the circuit of capital implied, necessarily, an open if cramped system—in her terms, the circuit involved the extended reproduction of total social capital, one that presupposed a frontier of exploitation and colonial warfare.