A <call for talks> for the first ever workshop on ...
# linking-together
i
A call for talks for the first ever workshop on Choreographic Programming at PLDI this summer. Deadline next Friday.
i
Alternative link (that works for me): https://pldi24.sigplan.org/home/cp-2024 For a moment I thought it was about dance notation, like Labanotation 😅 https://en.m.wikipedia.org/wiki/Labanotation
i
Thanks — fixed the link in my post too.
a
Yes I was excited to see a choreographic workshop at PLDI
(Laban was a bit of a Nazi choreographer)
If anyone's interested in the other kind of choreographic programming, here's a journal article I recently wrote with Kate Sicchio https://www.cambridge.org/core/journals/the-drama-review/article/live-notation-for-patterns-of-movement/CD9BC7EF97B132E90F71F078A3EA2F8E
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i
(Laban was a bit of a Nazi choreographer)
https://en.m.wikipedia.org/wiki/Rudolf_von_Laban
Following a rehearsal of choreography he had prepared for the 1936 Summer Olympics in Berlin, Laban was targeted by the Nazi party. He eventually found refuge in England in 1937.
a
Yes he choreographed for Hitler but the regime rejected him (rather than vice versa)
Not to dismiss his work, just good to acknowledge these things. From my paper with Kate: "Reviewing related historical and contemporary approaches to movement notation allowed us to reflect upon and bring together the different histories of code and choreography. A key reference point in the representation and notation of human exertion as effort can be found in Effort: Economy in Body Movement written by choreographer Rudolf Laban in collaboration with management consultant F.C. Lawrence in 1947. The book proposes a systematic, seemingly elegant way to categorize human efforts in movement, through a combination of elements such as time, weight, and space. Effort is as applicable to industrial time-and-motion studies as it is to dance choreography. We should also note that Laban’s earlier work was as choreographer for Hitler and Goebbels, until his work on the 1936 Olympic games was rejected (the Nazis rejecting Laban, rather than vice versa). While this theory arose from white supremacy and Fordism, it continues to be influential in choreographic research and practice."
I do enjoy his work on efforts etc though. I just think it's a shame when references begin and end with a single problematic white male so often.. Ignoring much longer and richer histories
(sorry for the topic drift)
d
this has been my major motivation recently There seems to be a bit split between top-down, where you describe a global choreography (generate a program per actor) vs generating global properties (c hecking guarantees by combining the behavior of different actors)
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