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The Art of Communication in a Complex World

Explore the intricacies of communication in art through Steve Paxton's insights from Dance Academy Arnhem in 2002. Delve into ancient philosophies and semiotic analysis of visual, chemical, and sensory aspects with a focus on perception, aesthetics, and symbolism.

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The Art of Communication in a Complex World

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  1. thesis: the world is already here. {all the time, with all of its complexity} art / communication is just making pointers to bring attention to certain aspects of it. heard from Steve Paxton in his lecture at Dance Academy Arnhem, Netherlands, 2002 老子 / Laŏ-Tzĭ, motto from the dàodéjīng道德經 / 도덕경 (ca. 400 before Chr.)

  2. ais-thesis ancient Greek: „taking for true“ → perception (today: „aesthetic / esthetic“) body senses → communication seeing, (visual) smell, taste, (chemical) hearing, touch, movement, ... (senses that we have not named yet) all related & anatomically unstable !!

  3. recognition - feedback receiver / recipient result of communication ... sender / expedient contact eXchange dialogue groping . . . … and reaching filling up the created structure with more content

  4. semiotic analysis model 1- syntactic = what is the form? for example: a plate of 8 corners, made of metal, white edge, plane painted red inside, has words STOP in white in the middle 2- semantic = what is the meaning? for the example above: „please stop here!“ 3- sigmatic = relation meaning – form? • icon imitation of... / resemblance for example: image of house, daily gesture >> DEGREE OF ICONICITY (resemblance) • symbol means something else, (needs shared code / language) for example: 한글, red rose for „love“ • index pointer / degree of sth. for example: city-map → STOP SIGN ☺ 4- pragmatic = relation to receiver? • signal from request to order → STOP SIGN ... • symptom communicate a state of existence → social context , (intended) result(s)

  5. for dance: 1- syntactic = what is the form? (e.g. Laban Movement Analysis: body, effort, time, space) movements, gestures, weight-shifts, touch, → phrases, groupings, stagecostume-design etc. who is performing? men, women? etc. 2- semantic = what is the meaning? ..... ☺ 3- sigmatic = relation meaning – form? • icon imitation of... / resemblance daily gesture, exaggerated moves, „abstract“ >> DEGREE OF ICONICITY (resemblance) • symbol means something else, (needs shared code / language) sign language, „OK“ (thumbs up) vocabulary of Asian dance theater styles ... • index pointer / degree of sth. for example: how high is the water-level? 4- pragmatic = relation to receiver? • signal from request to order → STOP SIGN (...) • symptom communicate a state of existence (aahhh....) Physical states…..

  6. also for performance: Six Viewpoints Mary Overlie originator → Anne Bogaert / SiTi Company „languages of theatre“ → postmodern analysis → NO set forms,as still is in traditional archaic theater examine them all separately Space Shape Time Emotion (→ symptom function in Semiotics!) Movement Logic /Narrative (→ semantics...!) →SySTEM(- iN)

  7. Why a postmodern approach...? 老子 / Laŏ-Tzĭ motto from the dàodéjīng道德經 / 도덕경 (ca. 400 before Chr.)

  8. Sources: • Hans Zender, Happy new Ears, 1990 • Directives for School teachers of Fine Arts, Germany, 1992 • Mary Overlie, Postmodern Mechanics *unpublished as yet • Mary Overlie, lecture demonstration, Dansacademie Arnhem, netherlands, 2002 (with 양승회, Tebby Ramasike, T. Körtvélyessy) • “I will eat your shadow!” catalogue for exhibition of Far Eastern Theatre, Düsseldorf, Germany • Steve Paxton, Lecture Dansacademie Arnhem, 2001 • Wikipedia (English & German…)

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