Journal articles on the topic 'Choreographic sketch'

The purpose of the article is to study and analyze the compositional features of a choreographic sketch; to examine the trends of formation of the principles of choreographic composition and production dramaturgy. The research methodology consisted in the organic combination of the basic principles of research: objectivity, historicism, multifactorness, consistency, comprehensiveness; to achieve the objectives of the research, the following methods of scientific knowledge were used: problem-chronological, concrete-historical, statistical, descriptive, logical and analytical. The scientific novelty of the work lies in the comprehensive analysis of the compositional features of a choreographic sketch and highlighting the main principles of composition and production dramaturgy. Conclusions. It was found that the uniqueness of creating a choreographic sketch as a small but complex independent story lies in the consideration of such components as ornamentality of dance, which makes the production meaningful and decorative; dance composition, which consists of dramaturgy, background music, choreographic patterns and angles. However, the top priority is the creative personality of the choreographer, their temperament, imagination, creative thinking, integrity of beliefs in setting the super-task, their courage to experiment for the sake of realizing extraordinary and innovative choreographic productions.

To transcend the idea of objectifying the body and its movements in gymnastics and its technique-based sessions and/or classes, we propose some reflection on the artistic and aesthetic aspects of gymnastics for the Gymnastics for All (GfA) program. Officially guided by FIG (Féderation Internationale de Gymnastique), it is common that GfA composition includes group performances in festivals, whether they are competitive or not. This article describes the journeys of two GfA teams that developed practitioner-centered, not coach-centered choreographies supported by the stages of creativity proposed by Kneller (1973).More than learning/doing or even learning/memorizing coded, standard sequences, it is essential to explore possibilities of dialogue between the individual and the various elements that surround him/her, by establishing a parallel between GfA features and the creative, collaborative choreographic process in the Arts (Dance and Theatre). The coach’s egocentrism is redefined, and he/she is stripped of the choreographer’s role e. The choreography should be considered a sketch and should inspire constant change. It will be influenced by what spectators thinks of it, how it can inspire other artists, and how participants will feel fulfilled by it. There should be endless opportunities. Shaping movement and connecting actions gradually reveal the proposed theme and give rise to technique and aesthetics: that is the major challenge of the choreographic process.

The aim of the article is to substantiate the role of folk dance in the process of formation of the creative potential of a student-choreographer. Methods of generalization and comparative analysis were used in the research process. The article identifies three pedagogical conditions for formation the creative potential of students-choreographers by means of folk dance. It is pointed out that promising planning for professional growth plays an important role in formation the choreographers’ creative potential. The expediency of involving students in creative experiments, which include the creation of their own choreographic sketches in the middle of the hall, as well as training exercises near the machine, is substantiated. It is noted that students' sketch work in folk-dance classes is characterized by the study of choreographic sketches on the basis of dance vocabulary. The essence of separate types of students-choreographers’ independent work is revealed. The authors point out that the development of creative thinking, creative imagination and fantasy requires the application of a set of creative tasks based on improvisation. Attention is drawn to the need for the use of interactive and information technologies. Classes with the introduction of interactive and modern information technologies maximally stimulate student-choreographer’s cognitive independence and creative activity.

Abstract: Jerome Robbins (1918–1998), known as the first important American-born ballet choreographer, set over sixty ballets and numerous pieces for Broadway during his lifetime. His success can be attributed not only to his assimilation of different choreographic styles, but also to his attentiveness to the music. He was equally adept at setting a wide variety of musical styles, ranging from Frédéric Chopin (viz., The Concert 1956), Leonard Bernstein (viz., West Side Story 1957), and J. S. Bach (viz., The Goldberg Variations 1971) to Alban Berg (viz., In Memory Of … 1985). If he excelled at realistic character portrayals in some settings, in others he created abstract visual realizations of the music. Although Robbins choreographed many musical styles throughout his career, he developed a special affinity for the music of Bach at the end of his life. It is notable that his final three new choreographies were all based on the music of Bach: A Suite of Dances (1994); Two& Three-Part Inventions (1994); and Brandenburg (1997). Moreover, Bach's music was the last that he heard before he died; the soft strains of a recording of Bach's French Suites reportedly filled the air as Robbins lay dying at his house on 81st Street in New York in 1998. Based on recordings, letters, essays, and other choreographic sketches, some unpublished, this essay examines Robbins's littlediscussed late Bach settings in relation to concepts of Late Style. While Robbins's settings of three final pieces by Bach might not be summative—that is, they might not be as epic, lengthy, and encyclopedic as his The Goldberg Variations from 1971—they can be seen as synthesizing a lifetime of choreographic styles, including ballet, modern dance, theater, and folk. Since they were all abstract realizations of Bach's music through movement, as opposed to narrative settings, Bach's music seems directly to have inspired Robbins's contrapuntal choreography. In turning to Bach for his final creative projects, Robbins was thus participating in certain ways of thinking about art that Edward Said has claimed can be associated with artistic Late Style, including counterpoint and fragmentation. In addition, aspects of the rhythmic energy and stylistic pluralism so central to Bach's music became muses for Robbins's multi-stylistic choreographies late in life, even as he displayed both nostalgia for the past and a newfound interest in youth and youthfulness. In drawing connections among the last works of Robbins, the music of Bach, and theories of Late Style, this essay provides one of the first explorations of concepts of Late Style in relation to choreography, an art form in which the aging body and the artistic work are closely linked. In addition, it contributes new knowledge not only about the late choreographies of Robbins, but also about movement responses to Bach's music, and ways in which Bach reception has intersected with characteristics of Late Style.

Project-based work is common within “precarious” working contexts. Within contemporary dance, short-term funding opportunities often result in the production of “sharings,” works in progress, and one-off performance events. This paper considers the relationship between the outputs of projects and the ontology of choreographic “works.” Drawing on Frédéric Pouillaude's conception of choreographic works as both public and resistant, I examine entities produced through projects, which, borrowing a term from choreographer Hamish MacPherson, I label “work-sketches.” Furthermore, I reflect on the correlation between “immaterial labor” and the concept of the choreographic work, thinking through the commodity form of work-sketches and probing the relationship between socioeconomic contexts and dance work ontology.

The article presents an analysis of the methods of teaching classical dance as a backbone knowledge in the process of teaching students of choreographic areas of universities of culture. The main task of higher education in the field of choreography is the formation of a «complete» model of a graduate in the unity of performing and pedagogical qualities. At the same time, in the context of introducing standards for teachers, the main task of the training is the question «How to teach to dance?», which puts forward the tasks of scientific understanding of the teaching methods as an important condition for the formation of the pedagogical competence of future graduates. The main methodological setting of the research is the presentation of modern practice of choreographic education and teaching classical dance as a system in which all elements are conditioned and subordinated to performing and pedagogical tasks. The relevance of studying the methods of teaching classical dance in higher educational institution is determined by the conditions of the modern stage, which is characterized by the introduction of educational standards as an expected result of the quality of training of future choreographers; expansion of the nomenclature of profiles and directions of choreographic training; introduction of professional standards for teachers in the field of choreographic art. Classical dance at all stages of formation and development of choreographic education in universities is the foundation of training future professionals in the field of dance, a discipline that forms the performing practical skills and abilities of the dancer; «Lexical» basis of the future choreographer-producer, creator of choreographic combinations, sketches, compositions and performances; scientific and theoretical foundation of methods of teaching choreographic disciplines. The possibility of successful implementation of tasks in accordance with the requirements of modern educational standards of training students-choreographers in higher education is due, inter alia, reliance on internal prerequisites for development, which are determined by historical traditions of teaching classical dance methods A. Ya. Vaganova. XX – early XXI century. researchers stand out as the most important in the development of classical dance.

In the article the author considers game technologies in the process of choreographic training of children of primary school age. Implementation of these technologies is a training game that allows to reveal and develop the creative abilities of children who are engaged in choreography and to form in them choreographic skills and abilities. The significance and components of the training game, its goals and possible results in the pedagogical process are determined. Implementation of theatrical training-play for children of primary school age during choreography promotes the development of cognitive processes; release from muscle clamps, which will allow children to learn about their body, its capabilities and freely control it; liberation from psychological clamps, compression, fear of expressing their creativity in motion; formation of a cohesive creative team, where joy for the success of others, mutual assistance, understanding, mutual support and collective creativity prevails; development of emotionality and expressiveness of movements; development of facial expressions. The development of acting skills during staging is easier and more productive, because the child, having acquired the necessary knowledge, practicing the basic acting skills in exercises and sketches, can realize their acquired acting potential in a particular choreographic number. In our opinion, it is expedient to organize the development of acting skills of young children in choreography classes with the help of a special training-game that combines pedagogical, theatrical and game techniques. For children of primary school age, play activities are quite relevant, so theatrical play training will be a natural form of its existence and development. Training helps children discover their potential and not lose themselves in the process of growing up, maintain openness and sincerity, purity and perfection of the child, understanding this world through love. The game method is dominant, as the game process facilitates the process of memorizing and mastering exercises by younger students, as well as arouses interest in classes. The components of theatrical training-game are considered, which reveal to some extent the acting abilities of young choreographers: 1. Games for the formation of a cohesive team and dance pairs are mainly represented by group games or games in pairs, which form in children collectivism, elbow feelings and responsibility for partners. 2. Games for the development of creativity and expressiveness. Games promote the development of a child's memory, develop the stability of voluntary attention, improve creative activity. 3. Games to remove psychological clamps. Exercises and games to relax different muscle groups – «Sausages», «Bird Trap», «Disco» – should be included in classes to remove muscle and psychological clamps in children. 4. Games to build confidence on stage. Аll this in a set of special techniques and elements of theatrical training-play, gives the young choreographer the opportunity to realize his acting skills on stage and, accordingly, the manifestation of a higher level of choreographic performance.

The article deals with pedagogical methods that ensure the creative development of adolescent students through the art of choreography. The importance of the art of dance in working with a children's choreographic group is determined. The article notes that the modern world is characterised by a focus on digitalisation and automation, but art classes allow you to experience personal emotions, which is important for modern students to feel and understand the beauty of the work done and transform its energy into creative achievements. The main problem of our research is to study the methodological and theoretical system of prominent Ukrainian choreographic teachers and the use of effective methods in the creative activity of future choreographic art specialists. The purpose of the study is to substantiate the pedagogical possibilities of choreographic art in the creative development of adolescent students in the study of classical, folk and contemporary dance. The determining condition for success in creativity is systematic, hard work that requires mobilisation of spiritual forces and maximum concentration. The harmonious combination of dance and pantomime, music and poetry, plasticity of movements and drama of a literary work into a single whole is an important factor for the aesthetic education of the individual, his or her creative development and value attitude to reality. The authors note that in recent years, the relevant disciplines have been increasingly introduced into educational institutions, performing a number of functions, namely: educational, cognitive, creative dialogue and co-creation, which significantly affects adolescents, increases their self-esteem, and promotes the need for self-development. It has been established that the art of dance is an integral part of the culture of the Ukrainian people, and Ukrainian choreographic art has its own powerful, original voice in the world of culture and art. The pedagogical innovations of our choreographers are widely known outside Ukraine, and they are known and respected in the world. The article highlights the pedagogical methods successfully used by contemporary teachers Radu Poklitaru, Larysa Tsvetkova and others in their work. These include methods of individual approach to each student, improvisation and experimentation, use of multimedia technologies, trainings, business games, situational tasks, master classes, problem-based learning, and creative forms of work (combinations, sketches). The experience of well-known teachers has shown that the art of choreography opens up a wide scope for the development of the creative potential of the individual, allows to introduce creative elements into dance education and upbringing along with performance practice.

The purpose is to study the artistic and pedagogical talent of Vasyl Vasyliev (Vasyl Vasyliev-Humanyk) (1898-1987), an artist of the Kyiv State Theatre of Musical Comedy, Honoured Artist of Ukraine. The methodology of the study is based on the following scientific approaches: general historical (outlining the historical and socio-cultural context of the formation and development of the artist's creative personality); analytical (studying historiographical sources); the method of analogy (to establish the relationship of creative approaches similarity) and survey (collecting information in the form of a telephone interview); systematic (studying V. Vasyliev's creative activity in the unity of performing and pedagogical creativity); historical and biographical (determining the main stages of V. Vasyliev's activity for the sequence of events). Scientific novelty. The study is the first attempt to collect, systematise, and analyse the information found about V. Vasyliev's creative and pedagogical activities and to assess the master's contribution to the development of Ukrainian theatre art in the mid-twentieth century. For the first time, archival photographic materials were introduced into scientific circulation, which complemented the understanding of the artist's creative path. Conclusions. The multifaceted talent of V. Vasyliev made a significant contribution to the development of musical theatre in the twentieth century. The collected and analysed materials testify to the unique talent of the comic performer V. Vasyliev, which was clearly manifested in the embodiment of leading roles on the stage of the Kyiv State Theatre of Musical Comedy. V. Vasyliev was an unsurpassed master of creating realistic images on stage; the methodology of working on a role involved psychological analysis of the role, studying the motivation of the character's psychological state with the determination of individual psychological motivations for behaviour on stage. The peculiarities of the performing style include a realistic approach to creating stage images, a preference for the "school of pretence", a unique organic combination of dramatic vocal and choreographic performing talent on stage, wide use of external expressive means, the ability to improvise with a partner, and the accurate use of comic and sketch techniques. During ten years of cooperation with the training theatre studio at the Kyiv Operetta Theatre, V. Vasyliev proved to be an extraordinary teacher. In his work with the students, he successfully combined the methods of actor's work on the role, characteristic of both the "school of experience" and Stanislavsky's system, and the representatives of the "school of pretence".

Here is analyzed Dostoevsky’s Crime and Punishment not as being translated into choreography, but from the point of view of Dostoevsky’s own “choreography” of visualized metaphors of movements, constituting the encoded text of the novel. In the article “choreography of text” means verbal description of various motions, gestures, and positions, whereas “text of choreography” means the way one could interpret their message. In other words, it means the reading of presented visible actions as another unwritten though indirectly expressed text. Dostoevsky often refers to visuality and instead of words he describes silent movements. These movements are symbolic, and they silently speak of inner experiences, emotions, and thoughts, presented in a form of clearly visible events of the external world. A “sketch” to Crime and Punishment from the point of the “choreography of text” in the context of Raskolnikov’s doubleness is The Double, in which the whole fifth chapter is a recording of a complex, dynamic “dance” of bifurcation. Like the story, the novel concerns the inner life of the main character, the difficult path of one Raskolnikov to the other. This metaphysical path is shown as physically existing, and contradictory movements of the hero’s soul gain visibility while going through it. It seems the writer truly possesses not only the art of the words but also the one of choreography and can speak about the most essential things using body language. Sometimes the culmination points of the leading message of the novel are expressed in short but deeply symbolic words, and at times they are rather shown than spoken. Considering that the actual meanings of the text are not lying on the surface, but are concealed behind symbolic words and movements, these details require close attention and a thorough analyses which the essay is dedicated to.

The article highlights the possibilities of applying elements of theatre arts in the process of preschool and primary school teachers professional training. In particular, it reveals the issue of forming musical and choreographic competence in students by means of various forms, types and methods of drama. The main forms of musical and choreographic competence formation in preschool and primary school teachers are practical and laboratory classes (disciplines “Pedagogy”, “Fundamentals of pedagogical creativity”, “Fundamentals of stage and screen art with teaching methods”, “Organization of theater activity in preschool education institutions”, “Methods of music education”, “Musical art with methods of teaching”, etc.) and extracurricular forms of students’ theater activity (drama societies, drama studios, etc.).
 Important types of drama activities in the process of training future preschool and primary school teachers are staging and dramatization, within which it is advisable to use different methods of forming students’ musical and choreographic competence: music-motor and drama games, staging of fairytales and songs, improvisation on a given theme-image, sketches, etc. Their use contributes to the development of a holistic set of musical and choreographic abilities, formation of singing skills, stage and dance movements, upbringing of future teachers’ performance culture and so on.

A three-dimensional auxiliary system serves as a foundational framework for spatial analysis and modeling in various fields. This system serves as a fundamental tool for visualizing and manipulating three-dimensional data, allowing researchers, designers, and engineers to accurately represent and analyze complex structures and environments. Dance creation is a multifaceted artistic process that involves choreographing movements, sequences, and gestures to convey ideas, emotions, and narratives through bodily expression. This paper uses the advanced automated application model for the dance creation with the 3D-auxiliary system for the choreography. The constructed model incorporates statistically integrated Principal Component Analysis (PCA) for the computation of features in the dance creation movement prediction. Finally, the estimation of the statistically integrated PCA model is applied over neural network modeling for the classification of features in the dance creation. With the estimated PCA model values statistical correlation between the PCA features are estimated and classified for the different dance types. The examination is based on the classification of dance movement dynamics, patterns, and stylistic elements for the dance creation. Simulation estimation demonstrated that a constructed statistical 3D auxiliary system was effectively involved in the dance movement prediction with the classification of features through a neural network for the dance movement prediction. The PCA model uses the 5 features to evaluate the auxiliary points of the dance movement in the reference human video. Through the analysis of the PCA features with the statistical values the outline sketch of the dance is framed and dance movement are created.

Abstract The choreography of George Balanchine has long been described as “musical.” By applying music-analytic tools to patterns in dance, this essay analyzes relationships between dance and music in Balanchine's Concerto Barocco, set to J. S. Bach's Concerto for Two Violins (BWV 1043). Choreomusical notation and annotated videos offer readers the chance to sketch-dance, to feel in their own bodies the movements in relation to the music. Balanchine's choreography maps both specific patterns of pitch and rhythm from Bach's score—sometimes synchronized to the music and sometimes displaced temporally—and general patterns of motivic development and metric manipulation. Balanchine's use of funky rhythms resonates with his characteristic on-top-of-the-beat step timing, offbeat visual accentuation, and jazz-dance-inspired movements, attesting to the adoption of both Africanist and Europeanist musical techniques in the formation of an American neoclassical ballet.

This article centers on Osip Mandelstam’s reading of his 1922 lyric «Я по лесенке приставной», which I consider in light of declamation studies of the time and the subsequent observations on vowels made by linguists who discounted those studies. I first provide a sketch of the work of Sergei Bernshtein and Sofia Vysheslavtseva, two declamation theorists who were personally acquainted with Mandelstam and whose work both informed and was, in turn, informed by his declamations. I then go on to reflect on what we can glean from the way Mandelstam reads his lyric. Taking my cue from Bernshtein’s and Vysheslavtseva’s emphasis on the motor experience of poetry and from Mandelstam’s own privileging of vowels in his reading, I chart the movement of the tongue that the articulation of these vowels demands. This reveals what might be called choreography in the mouth – gestural patterns that lead into a somatic experience of the poem and provide it with an additional layer of structure. I close by thinking about what is lost when the oral realization of a poem is disregarded.

The article is the first attempt to recreate the history of the emergence and early existence of the final ballet by Prokofiev. The composer worked on this opus from July 1948 until the last day of his life. The article analyses the conception, the formation of the ideological basis and choreography of the ballet based on a range of documentary evidence that has never been studied before. It includes sketches of the libretto and musical themes, scores and piano transcriptions, diary notes, letters, business documents as well as transcripts of theatrical discussions of the ballet after Prokofiev’s death. The evidence clearly shows that the creators of the performance perceived it at all the stages of development as a promising and significant step forward. Another interpretation of the Russian national theme had a clearly defined social backbone, spectacular stage “miracles” and a touching lyric thread. All these promised success even at the stage of project approval. Nevertheless, the premiere of the The Tale of the Stone Flower did not create much hype. The Bolshoi Theater ran only 17 performances of the ballet— the premiere on February 12, 1954, the last performance on April 28, 1955. The literature on the ballet is scarce. A few studies, reviews and memoirs generally leave an impression of a creative failure. It may seem surprising, but this clumsy and ponderous performance did not give way to any theatrical legends or usual “jokes”. Possibly, the necessary bibliographic layer simply did not have time to form, since the impressions of the premiere were soon supplanted by an extremely bright, spectacular, and innovative second production (1957, the Kirov Theater), which really became a landmark event. To understand the reasons for what happened, it is not enough to trace the appearance of the musical text. Prokofiev, who worked in close collaboration with the choreographer L.M. Lavrovsky, composed and instrumentalized only the first edition of the score. The composer passed away on the eve of those changes that usually turn an integral musical canvas into a ballet performance, where music plays a far from dominant role. Thus, of special interest for us are the details of how the ballet was written. For decades, these data have been outside the scope of musicological research.

<strong>J&ouml;rg U. Lensing</strong>, composer and director.&nbsp;Artistic Director at the THEATER DER KL&Auml;NGE. In 1987 he founded the THEATER DER KL&Auml;NGE in D&uuml;sseldorf. Since 1987 he has continued to work as a director, choreographer and composer for theatre music for until now 27 productions of this theatre; several compositions of incidental music for theatres and movies. Since 1990: film compositions and sound design for nearly all the films of German film director Lutz Dammbeck. 1992: guest lecturer in drama direction at the Bauhaus Dessau. Since 1996: Professor for &quot;Sound Design&rdquo; at the Dortmund University of Applied Sciences and Arts. Art Style Magazine&#39;s Bauhaus Special Edition <strong>Historical Bauhaus Stage Productions Actualized for Our Time</strong> Translated by Don MacDonald What does this model offer our generation and social discourses of today? For a start, the sketches and reports as well as the texts continue to inspire. One can hardly escape the enthusiasm of the texts and reports, one senses a painful emptiness in the face of today&rsquo;s visionlessness and individual inner conflict of present-day society. One longs for community, for the affirmation of a vision, for the optimism that through one&rsquo;s own actions, one can work on a concept for a new humankind in a better, more peaceful society. And isn&rsquo;t it more reasonable and more satisfactory to work on optimistic, hopeful utopias rather than to design dystopias, to succumb to defeatism or even nihilism? At the moment in Germany, the current celebrations of &ldquo;100 Years of Bauhaus&rdquo; are also undergoing a strong dismantling regarding the &ldquo;good image&rdquo; of the Bauhaus of the twenties: &ldquo;Women were discriminated against, Gropius was pretentious, after 12 years of existence the Bauhaus itself was a grand failure&rdquo; etc. Who does this iconoclasm serve? Must the last positivist utopia of the &ldquo;golden twenties&rdquo; also be&nbsp;destroyed, only because we find ourselves once again in times of a despairing humankind?&nbsp;The THEATER DER KL&Auml;NGE, which I founded and still run today in D&uuml;sseldorf, did not do this and will not do this. On the contrary: In the foundation year of 1987, we seized the opportunity and took on both &ldquo;The Mechanical Ballet&rdquo; of 1923 by Kurt Schmidt&rsquo;s troop as well as the never-before realised sketch of &ldquo;Mechanical Eccentricity&rdquo; by the Bauhaus master Laszlo Moholy-Nagy. &nbsp;

In performances in Atlanta; Philadelphia; Washington, DC; Los Angeles; Rio de Janeiro; Chicago; and Denver in 2012, Ms. Lauryn Hill carved out space to voice black rage. In videos uploaded to YouTube, Hill sings, raps, talks, and riffs varied renditions of the song “Black Rage (Sketch),” a remix of Richard Rodgers and Oscar Hammerstein II's “My Favorite Things.” During her November performance at the Electric Factory in Philadelphia, drumbeats punctuated Hill's rapping and singing. Her performance took the audience on a journey meant to leave no one behind; it moved from the highly choreographed rendition of the song with musical accompaniment and Hill acting as lead vocalist and band conductor to her slowly speaking the lyrics of the song and occasionally offering analysis of her words over the shouts and applause of audience members. She explains the line “when I'm feeling sad,” saying “that's a depressive mood.” As the title of her song suggests, in each reiteration Hill issues a different draft of the song, sketching her sound, mood, tempo, and emphasis with each new audience. Although renditions of the song shift, the lyrics consistently recount the physical, psychic, economic, and environmental vulnerability of black people in the United States. The lyrics transform the original song's references to beloved objects—“blue satin sashes” and “snowflakes”—into ironic things such as “Black human packages tied up in strings,” which Hill described in her Philadelphia performance as a reference to bureaucracy but which also resonates with familiar images of lynching. Shifting from the original song's depiction of the curative capacity of things to offset feeling bad, Hill explains that her set of things prevents fear: “I simply remember all these kinds of things and then I don't fear so bad!”

The article discusses the concept of art composition, that functioning in practice music teachers, teachers of fine arts and literature, teachers of choreography and theater. However, the theoretical foundation of art-composition and content of the concept has not yet been the subject of a special study. At the same time, comprehension of innovative approach in educating to the art, maintenance of artistic education characterized by an orientation on studying - man with a modern world view, it is necessary. A necessity of enriching of thesaurus of school pedagogics was clear, actual terms, art composition behaves to the number of that. This study contributes to the problem of a more general nature - the possibility of using polyart creative activities as a means of identification and learning of gifted children. The originality of the art-composition - in the innovative thinking of the modern author, whose seeking to portray the world is not the way it sees, but the way it understands. Results of the creative work can be presented in different art forms, not excluding sketches, improvisations, postmodern games with the text. The pedagogical value of the art-composition: the teacher can visually track the progress of the child in the field of aesthetic perception, associative thinking and the work with the material.

This article stages a dialogue between Giorgio Agamben�s theory of gesture and the 2016 reconstruction of Merce Cunningham�s 1964 choreography, Winterbranch. This juxtaposition encourages a comparison between Agamben's and Cunningham's respective approaches to the semiotics of dance, the way that dance can generate meaning but also evade meaning in a way that Agamben deems "proper" to the "ethical sphere." For Agamben, dance is composed of what he calls "gestures" that have "nothing to express" other than expressivity itself as a "power" unique to humans who have language. For Cunningham, dance is composed of what he calls "actions," or at other times "facts"�discrete and repeatable movements sketched in the air that reveal the "passion," the raw or naked "energy" of human expressivity before that energy has been directed toward a specific expressive project. I will look more closely at what Cunningham means by "actions," and to what extent they can be considered "gestures" in Agamben's terms; I will also explore the "ethical sphere" opened by the display of mediality, the "being-in-a-medium" of human beings. What, then, do dance gestures expose that ordinary gestures do not? Why would such an exposure be �ethical� in Agamben�s terms? And why would (his notion of) the ethical rely on a stage?

There are limited curricular options for medical students to engage in art-making during their training. Yet, it is known that art-making confers a variety of benefits related to learning. This qualitative study utilises a visual methodology to explore students’ art-making in the context of the cardiovascular sciences. The existence of a multiyear repository of medical/dental student generated, cardiac-inspired art, collected over 6 years, provided the opportunity to explore the nature of the art made. The aim was to categorise the art produced, as well as the depth and breadth of understanding required to produce the art. The data set included a wide variety of titled art (paintings, photographs, sketches, sculptures, collages, poetry and music/dance). Systematic curation of the collection, across all media, yielded three main categories: anatomical renderings, physiology/pathophysiology renderings and kinesthetic creations (music/dance/tactile). Overall (medical and dental) student-generated art suggested a high level of content/process understanding, as illustrated by attention to scientific detail, integration of form and function as well as the sophisticated use of visual metaphor and word play. Dental students preferentially expressed their understanding of anatomy and physiology kinesthetically, creating art that required manual dexterity as well as through choreography and dance. Combining art-making with basic science curricular learning invited the medical and dentistry students to link their understanding to different modes of expression and a non-biomedical way of knowing. Subsequent incorporation of the student-generated cardiac art into lectures exposed the entire class to creative pictorial expressions of anatomy, physiology and pathophysiology.

INTRODUCTION. Monthly literary and artistic illustrated magazine “Zhar-ptitsa”, published from 1921 to 1925. in Berlin, in 1926 – in Paris, is a successor to the traditions of such magazines of the early twentieth century as “World of Art”, “Golden Fleece”, and is of scientific value as an additional source of information on the study of the theatrical life of the Russian Abroad. The purpose of the study is to conduct a detailed analysis of the magazine’s articles related to the creative activities of representatives of Russian ballet in exile.MATERIALS AND METHODS. The basis is taken from digitized versions of the magazine, posted in the public domain on the website “Presidential Library named after B.N. Yeltsin”. All 14 “Zhar-ptitsa” magazines were analyzed. Both articles related to the activities of representatives of Russian ballet in emigration, as well as various types of illustrations: photographs, drawings, reproductions, etc., were studied in detail.RESULTS AND DISCUSSION. It was revealed that in many issues of the magazine there are no articles devoted to Russian ballet, but there are photographs of ballet dancers in stage costumes and images, drawings related to ballet art, reproductions of sketches for ballet performances, which are also of scientific value in the reconstruction of ballet scenography, the study of this period of history. Four issues of the magazine “Zhar-ptitsa”, no. 1, no. 2, no. 10, no. 11, contain articles dedicated to the art of ballet: the work of M.M. Fokina, A.M. Pavlova, E.P. Eduardova, as well as B.G. Romanov and his choreographic group “Russian Romantic Ballet”.CONCLUSION. Despite the abundance of scientific articles devoted to the periodicals of the first wave of Russian emigration, information related to the history of Russian ballet remains poorly studied. The co nducted research introduces into scientific circulation materials dedicated to Russian ballet, and placed on the pages of the periodical of Russian emigration – “Zhar-ptitsa”. It seems promising to further study the journals of Russian emigration for the analysis of articles related to the history of Russian ballet.

The article considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of our narrow topic. The works of Edouard Degas are devoted to the study of the artworks of Russian, but mainly the foreign art critics, however, they do not consider in an in-depth section of ballet themes, paying it not enough attention, despite the fact that it is the first significant experience and even a kind of experiment in the world of fine arts. The aim of the article is to trace the creative activity and special interest of E. Degas in the subject of dance. To reveal and analyze the artist's creative method on exemplary works. To prove the importance of his graphic and pictorial works in the popularization of ballet as art. To work out, clarify and supplement the methodological aspects of approaches to the interpretation of the ballet theme and trends of its development in the creative process by analyzing the specific works of E. Degas which are in museum and private collections. The complex analysis from the viewpoint of art history and theater studies enables us to reveal the genre fusion reflected in the stylistics of the romantic ballet epoch, refracted in the everyday life of dancers at rehearsals and in dance classes, as portrayed by the artist. The author refers to various works of E. Degas, which convey the peculiarities of his impressionistic creative method, accurately capturing the specifics of the French school of classical ballet. The author analyzes his method, which in many respects differs from other impressionist masters, who depicted landscape views and life of Paris and its suburbs in open spaces. It is a fragmentary and at the same time large, unrehearsed, casually seen world of dance in its most varied manifestations, enclosed within the walls of the theater. The paper shows that the searching creative thinking peculiar to Edgar Degas introduces new ways of observing and depicting in the sketches and finished works different and simultaneously canonical poses and movements of the dancers in solitary figures and ensemble groups conditioned by the specificity of classical choreography. In spite of one common theme, the artist resolves different creative compositional and coloristic tasks in depicting the backstage theatrical life. On the basis of the interdisciplinary nature of the subject the author engages with a wide range of issues, covering not only methodological, but also substantive aspects (names of the depicted, composition and dance technique, performing manner, rehearsal atmosphere, ballet costumes, interior architecture of the theater, etc.). Based on a study of a number of works, the author formulates the main visual characteristics of the ballet artistic images and their unique conceptual embodiment. The possible ways of using such artistic experience in the practice of ballet theater are outlined.

Elia Suleiman, born in Nazareth in 1960, is the first Palestinian filmmaker to be selected for the "official competition" of the Cannes International Film Festival: his Divine Intervention: A Chronicle of Love and Pain was not only one of the twenty-one films out of 939 entries chosen for the fifty-fifth festival in May 2002, it also won the Jury Prize and the Interna tional Critics Prize. Suleiman had already come to the attention of the 2001 Cannes Festival, where his short Cyber Palestine was shown at the "Directors' Fortnight." Though without formal training, Suleiman has been winning prizes since his first film, a short entitled Introduction to the End of an Argument, won the award for best experimental documentary-USA in 1991. This was followed by his 1992 short Homage by Assassination, which won a Rockefeller Prize. By the time he made his first full-length movie, Chronicle of a Disappearance (which won the prize for the best first-feature at the 1996 Venice International Film Festival), his style was already well developed: a progression of sketches——witty, surreal, ironic, often devastating——and a virtual absence of narrative; in the case of Chronicle, a main character (a filmmaker called E.S., played by Suleiman himself) appears in a number of the episodes, most of which shed harsh light on life in Nazareth, but his presence seems more accidental than part of a storyline. Film critic Stanley Kaufman of the New Republic called Chronicle of a Disappearance "a film of the absurd. If Ionesco had been a Palestinian and a filmmaker, he might have made it." While his recent film, Divine Intervention, is still very much an assemblage of vignettes, it does nonetheless have a semblance of narrative: a "central character" (again, a filmmaker named E.S., again played by Suleiman) shuttles between his hometown of Nazareth, where his father, beset by business woes, has a heart attack and lies dying; his apartment in East Jerusalem, where he is working on a screenplay; and a checkpoint between East Jerusalem and Ramallah, where he holds tender but wordless meetings in a parked car with his lover, a Ramallah woman hemmed in by borders and closures. In one of the checkpoint scenes that combines the visual beauty, whimsy, humor, and satire characteristic of the film, the hero inflates a large red balloon bearing the smiling visage of Yasir Arafat and releases it, creating havoc among the soldiers. Taking advantage of the ensuing confusion, the hero and his lover manage to speed through the checkpoint, while the camera follows the balloon as it soars over the landscape toward Jerusalem, floating over the rooftops of the Old City and past the Church of the Holy Sepulcher to a light on the Dome of the Rock. When Divine Intervention won the Jury Prize at Cannes, the New York Times (27 May 2002) called it "a Keatonesque exploration of the large and small absurdities of Palestinian life under occupation." And indeed, despite the humor, moments of tenderness, and laugh-out-loud sight gags, the film presents an all-too-realistic picture, pitiless and meticulous, of the devastating impact of occupation on Palestinian society both in Israel and in the occupied territories. Suleiman is witty and light, but dead serious; allergic to preaching, propaganda , and clichéé, but highly political. The underlying grimness of the film is relieved not only by the humor but by resort to fantasy: the hero, cruising a long a highway, casually tosses an apricot pit out of his car window and a tank blows up; a stunningly beautiful woman (the hero's lover) strides through a checkpoint, mesmerizing the soldiers with her fierce beauty, and a military watchtower collapses. The most elaborate such sequence is the spectacular "Ninja scene," a violently beautiful and stylized choreography wherein the same woman is imagined as a guerrilla fighter who dispatches (seemingly bloodlessly) a whole phalanx of Israeli sharpshooters who have been firing at her effigy in a shooting range. The meaning of the images, whose connectedness one to the next is not always immediately apparent, can leave the spectator temporarily puzzled; the New York Times of 7 October 2002 called them "cinematic riddles and visual puns, delivered in elegant deadpan." The cumulative impact, however, is clear, and the images themselves linger long after the film ends. New York Times critic A. O. Scott, while noting the film's "appearance of randomness," adds that there is "an oblique, elegant sense of structure here" and that "the interlocking series of setups, punch lines and non sequiturs add up to something touching, provocative, and wonderfully strange." Divine Intervention currently is being shown throughout Europe and will be opening in the Middle East and Israel in January 2003. Shown at the New York Film Festival in October 2002, it will open commercially in the United States in January. Suleiman, in Paris for the opening of his film, was interviewed by Linda Butler, associate editor of JPS, on 26 September 2002.

Directed by Feng Xiaogang, Ye Yan ("The Banquet") is an amalgamation of visual styles and narrative tropes: a detailed period epic developed from a mere historical sketch; a lush and stately study of court intrigue that favors whisper over decree; an artfully choreographed wuxia film that tempers precisely constructed sequences of action and movement with the subtleties of Chinese theatrical forms; and a reciprocation of Chinese cinematic influence on Western action films. As a generic hybrid, Ye Yan effectively establishes its rules of appropriation and balances them against a complex network of audience expectation and influence: a wuxia rooted in the literary-psychological rather than mytho-historical tradition; a film formally designed and structured, yet informed by the latest trends in wirework and CGI; Hamlet, and yet not Hamlet. At the same time, wary of overwhelming spectators in its whirlpool of source and influence, the film unsuccessfully attempts to outdo its virtues as its tightly wound, majestically paced narrative unravels.

AbstractTranslation of proteins by the ribosome regulates gene expression, with recent results underscoring the importance of translational control. Misregulation of translation underlies many diseases, including cancer and many genetic diseases. Decades of biochemical and structural studies have delineated many of the mechanistic details in prokaryotic translation, and sketched the outlines of eukaryotic translation. However, translation may not proceed linearly through a single mechanistic pathway, but likely involves multiple pathways and branchpoints. The stochastic nature of biological processes would allow different pathways to occur during translation that are biased by the interaction of the ribosome with other translation factors, with many of the steps kinetically controlled. These multiple pathways and branchpoints are potential regulatory nexus, allowing gene expression to be tuned at the translational level. As research focus shifts toward eukaryotic translation, certain themes will be echoed from studies on prokaryotic translation. This review provides a general overview of the dynamic data related to prokaryotic and eukaryotic translation, in particular recent findings with single-molecule methods, complemented by biochemical, kinetic, and structural findings. We will underscore the importance of viewing the process through the viewpoints of regulation, translational control, and heterogeneous pathways.

The article explores the creativity work of Pavel Goncharov (1886–1941) – a ballet artist and a painter who is not as well-known among masters of Russian modernism, but is an interesting author of the late 19th to early 20th century, who created a unique series of graphic works dedicated to Russian ballet. By focusing on the artistic characteristics of the modernist style, the author notes that it began its development in architecture, decorative and applied arts, graphics, and extended to choreography, including classical dance. The interaction of related arts (graphics and ballet) led to the formation of synthetic visual images, which are analyzed in the article in morphological, stylistic, and compositional contexts. Using primarily historical and cultural and typological research methods, the author identifies a number of directions in Pavel Goncharov’s visual creativity: character actor images, sketches for the Firebird ballet, autolithographs for Fyodor Lopukhov’s The Greatness of the Universe dance symphony, and book graphics for ballet publications. Analogies are drawn with the aesthetics of the painters of the World of Art movement, whose graphic works included a theatrical concept, manifested in the drawn silhouette imagery, striking poses and gestures, actorly sensibility, and theatricality of costumes. The conclusion is drawn that the dance plasticity of modernism, borrowing many elements of graphic language at the turn of the 19th and 20th centuries, created versatile artistic and stylistic techniques, one example of which is the figurative format of Pavel Goncharov’s works, possessing an individual system of expressive means.

&#x0D; &#x0D; &#x0D; Working drawings are produced, when a house is designed, to envisage an imagined building. They are a tangible representation of an object that has no tangible existence. These working drawings act as a manual for constructing the house; they represent that which is to be built. The house comes into being, therefore, via this set of drawings. This is known as documentation. However, these drawings record the house at an ideal moment in time; they capture the house in stasis. They do not represent the future life of the house, the changes and traces the inhabitants make upon a space, nor do they document the path of the person, the arc of their actions, within the space of the house. Other types of documentation of the house allow these elements to be included. Documentation that is produced after-the-event, that interprets ‘the existing’, is absent from discourses on documentation; the realm of post factum documentation is a less examined form of documentation. This paper investigates post factum documentation of the house, and the alternative ways of making, producing and, therefore, thinking about, the house that it offers. This acknowledges the body in the space of architecture, and the inhabitation of space, and as a dynamic process. This then leads to the potential of the‘model of an action’ representing the motion and temporality inherent within the house. Architecture may then be seen as that which encloses the inhabitant. The word ‘document’ refers to a record or evidence of events. It implies a chronological sequence: the document comes after-the-event, that is, it is post factum. Within architecture, however, the use of the word documentation, predominantly, refers to working drawings that are made to ‘get to’ a building, drawings being the dominant representation within architecture. Robin Evans calls this notion, of architecture being brought into existence through drawing, the principle of reversed directionality (Evans 1997, 1989). Although it may be said that these types of drawings document the idea, or document the imagined reality of the building, their main emphasis, and reading, is in getting to something. In this case, the term documentation is used, not due to the documents’ placement within a process, of coming after the subject-object, but in referring to the drawings’ role. Other architectural drawings do exist that are a record of what is seen, but these are not the dominant drawing practice within architecture. Documentation within architecture regards the act of drawing as that process upon which the object is wholly dependent for its coming into existence. Drawing is defined as the pre-eminent methodology for generation of the building; drawings are considered the necessary initial step towards the creation of the 1:1 scale object. During the designing phase, the drawings are primary, setting out an intention. Drawings, therefore, are regarded as having a prescriptive endpoint rather than being part of an open-ended improvisation. Drawings, in getting to a building, draw out something, the act of drawing searches for and uncovers the latent design, drawing it into existence. They are seen as getting to the core of the design. Drawings display a technique of making and are influenced by their medium. Models, in getting to a building, may be described in the same way. The act of modelling, of making manifest two-dimensional sketches into a three-dimensional object, operates similarly in possessing a certain power in assisting the design process to unfurl. Drawing, as recording, alters the object. This act of drawing is used to resolve, and to edit, by excluding and omitting, as much as by including, within its page. Models similarly made after-the-fact are interpretive and consciously aware of their intentions. In encapsulating the subject-object, the model as documentation is equally drawing out meaning. This type of documentation is not neutral, but rather involves interpretation and reflection through representational editing. Working drawings record the house at an ideal moment in time: at the moment the builders leave the site and the owners unlock the front door. These drawings capture the house in stasis. There is often the notion that until the owners of a new house move in, the house has been empty, unlived in. But the life of the house cannot be fixed to any one starting point; rather it has different phases of life from conception to ruin. With working drawings being the dominant representation of the house, they exclude much; both the life of the house before this act of inhabitation, and the life that occurs after it. The transformations that occur at each phase of construction are never shown in a set of working drawings. When a house is built, it separates itself from the space it resides within: the domain of the house is marked off from the rest of the site. The house has a skin of a periphery, that inherently creates an outside and an inside (Kreiser 88). As construction continues, there is a freedom in the structure which closes down; potential becomes prescriptive as choices are made and embodied in material. The undesignedness of the site, that exists before the house is planned, becomes lost once the surveyors’ pegs are in place (Wakely 92). Next, the skeletal frame of open volumes becomes roofed, and then becomes walled, and walking through the frame becomes walking through doorways. One day an interior is created. The interior and exterior of the house are now two different things, and the house has definite edges (Casey 290). At some point, the house becomes lockable, its security assured through this act of sealing. It is this moment that working drawings capture. Photographs comprise the usual documentation of houses once they are built, and yet they show no lived-in-ness, no palimpsest of occupancy. They do not observe the changes and traces the inhabitants make upon a space, nor do they document the path of the person, the arc of their actions, within the space of the house. American architects and artists Elizabeth Diller and Ricardo Scofidio have written of these traces of the everyday that punctuate floor and wall surfaces: the intersecting rings left by coffee glasses on a tabletop, the dust under a bed that becomes its plan analog when the bed is moved, the swing etched into the floor by a sagging door. (Diller &amp; Scofidio 99) It is these marks, these traces, that are omitted from the conventional documentation of a built house. To examine an alternative way of documenting, and to redress these omissions, a redefinition of the house is needed. A space can be delineated by its form, its edges, or it can be defined by the actions that are performed, and the connections between people that occur, within it. To define the house by what it encapsulates, rather than being seen as an object in space, allows a different type of documentation to be employed. By defining a space as that which accommodates actions, rooms may be delineated by the reach of a person, carved out by the actions of a person, as though they are leaving a trace as they move, a windscreen wiper of living, through the repetition of an act. Reverse directional documentation does not directly show the actions that take place within a house; we must infer these from the rooms’ fittings and fixtures, and the names on the plan. In a similar way, Italo Calvino, in Invisible Cities, defines a city by the relationships between its inhabitants, rather than by its buildings: in Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or grey or black-and-white according to whether they mark a relationship of blood, of trade, authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain … Thus, when travelling in the territory of Ersilia, you come upon the ruins of the abandoned cities without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form. (Calvino 62) By defining architecture by that which it encapsulates, form or materiality may be given to the ‘spiderwebs of intricate relationships’. Modelling the actions that are performed in the space of architecture, therefore, models the architecture. This is referred to as a model of an action. In examining the model of an action, the possibilities of post factum documentation of the house may be seen. The Shinkenchiku competition The Plan-Less House (2006), explored these ideas of representing a house without using the conventional plan to do so. A suggested alternative was to map the use of the house by its inhabitants, similar to the idea of the model of an action. The house could be described by a technique of scanning: those areas that came into contact with the body would be mapped. Therefore, the representation of the house is not connected with spatial division, that is, by marking the location of walls, but rather with its use by its inhabitants. The work of Diller and Scofidio and Allan Wexler and others explores this realm. One inquiry they share is the modelling of the body in the space of architecture: to them, the body is inseparable from the conception of space. By looking at their work, and that of others, three different ways of representing this inhabitation of space are seen. These are: to represent the objects involved in a particular action, or patterns of movement, that occurs in the space, in a way that highlights the action; to document the action itself; or to document the result of the action. These can all be defined as the model of an action. The first way, the examination of the body in a space via an action’s objects, is explored by American artist Allan Wexler, who defines architecture as ‘choreography without a choreographer, structuring its inhabitant’s movements’ (Galfetti 22). In his project ‘Crate House’ (1981), Wexler examines the notion of the body in a space via an action’s objects. He divided the house into its basic activities: bedroom, bathroom, kitchen and living room. Each of these is then defined by their artefacts, contained in their own crate on wheels, which is rolled out when needed. At any point in time, the entire house becomes the activity due to its crate: when a room such as the kitchen is needed, that crate is rolled in through one of the door openings. When the occupant is tired, the entire house becomes a bedroom, and when the occupant is hungry, it becomes a kitchen … I view each crate as if it is a diorama in a natural history museum — the pillow, the spoon, the flashlight, the pot, the nail, the salt. We lose sight of everyday things. These things I isolate, making them sculpture: their use being theatre. (Galfetti 42–6) The work of Andrea Zittel explores similar ideas. ‘A–Z Comfort Unit’ (1994), is made up of five segments, the centrepiece being a couch/bed, which is surrounded by four ancillary units on castors. These offer a library, kitchen, home office and vanity unit. The structure allows the lodger never to need to leave the cocoon-like bed, as all desires are an arm’s reach away. The ritual of eating a meal is examined in Wexler’s ‘Scaffold Furniture’ (1988). This project isolates the components of the dining table without the structure of the table. Instead, the chair, plate, cup, glass, napkin, knife, fork, spoon and lamp are suspended by scaffolding. Their connection, rather than being that of objects sharing a tabletop, is seen to be the (absent) hand that uses them during a meal; the act of eating is highlighted. In these examples, the actions performed within a space are represented by the objects involved in the action. A second way of representing the patterns of movement within a space is to represent the action itself. The Japanese tea ceremony breaks the act of drinking into many parts, separating and dissecting the whole as a way of then reassembling it as though it is one continuous action. Wexler likens this to an Eadweard Muybridge film of a human in motion (Galfetti 31). This one action is then housed in a particular building, so that when devoid of people, the action itself still has a presence. Another way of documenting the inhabitation of architecture, by drawing the actions within the space, is time and motion studies, such as those of Rene W.P. Leanhardt (Diller &amp; Scofidio 40–1). In one series of photographs, lights were attached to a housewife’s wrists, to demonstrate the difference in time and effort required in the preparation of a dinner prepared entirely from scratch in ninety minutes, and a pre-cooked, pre-packaged dinner of the same dish, which took only twelve minutes. These studies are lines of light, recorded as line drawings on a photograph of the kitchen. They record the movement of the person in the room of the action they perform, but they also draw the kitchen in a way conventional documentation does not. A recent example of the documentation of an action was undertaken by Asymptote and the students at Columbia University Graduate School of Architecture in their exhibition at the Venice Biennale of Architecture in 2000. A gymnast moving through the interior space of the pavilion was recorded using a process of digitisation and augmentation. Using modelling procedures, the spatial information was then reconstructed to become a full-scale architectural re-enactment of the gymnast’s trajectory through the room (Feireiss 40). This is similar to a recent performance by Australian contemporary dance company Chunky Move, called ‘Glow’. Infra-red video tracking took a picture of the dancer twenty-five times a second. This was used to generate shapes and images based on the movements of a solo dancer, which were projected onto the floor and the dancer herself. In the past, when the company has used DVDs or videos, the dancer has had to match what they were doing to the projection. This shifts the technology to following the dancer (Bibby 3). A third way of representing the inhabitation of architecture is to document the result of an action. Raoul Bunschoten writes of the marks of a knife being the manifestation of the act of cutting, as an analogy: incisions imply the use of a cutting tool. Together, cuts and cutting tool embrace a special condition. The actual movement of the incision is fleeting, the cut or mark stays behind, the knife moves on, creating an apparent discontinuity … The space of the cut is a reminder of the knife, its shape and its movements: the preparation, the swoop through the air, the cutting, withdrawal, the moving away. These movements remain implicitly connected with the cut as its imaginary cause, as a mnemonic programme about a hand holding a knife, incising a surface, severing skin. (Bunschoten 40) As a method of documenting actions, the paintings of Jackson Pollack can be seen as a manifestation of an act. In the late 1940s, Pollack began to drip paint onto a canvas laid flat on the floor; his tools were sticks and old caked brushes. This process clarified his work, allowing him to walk around it and work from all four sides. Robert Hughes describes it as ‘painting “from the hip” … swinging paintstick in flourishes and frisks that required an almost dancelike movement of the body’ (Hughes 154). These paintings made manifest Pollack’s gestures. As his arm swung in space, the dripping paint followed that arc, to be preserved on a flat plane as pictorial space (Hughes 262). Wexler, in another study, recorded the manifestation of an action. He placed a chair in a one-room building. It was attached to lengths of timber that extended outdoors through slots in the walls of the building. As the chair moved inside the building, its projections carved grooves in the ground outside. As the chair moved in a particular pattern, deeper grooves were created: ‘Eventually, the occupant of the chair has no choice in his movement; the architecture moves him.’ (Galfetti 14) The pattern of movement creates a result, which in turn influences the movement. By redefining architecture by what it encapsulates rather than by the enclosure itself, allows architecture to be documented by the post factum model of an action that occurs in that space. This leads to the exploration of architecture, formed by the body within it, since the documentation and representation of architecture starts to affect the reading of architecture. Architecture may then be seen as that which encloses the inhabitant. The documentation of the body and the space it makes concerns the work of the Hungarian architect Imre Makovecz. His exploration is of the body and the space it makes. Makovecz, and a circle of like-minded architects and artists, embarked on a series of experiments analysing the patterns of human motion and subsequently set up a competition based around the search for a minimum existential space. This consisted of mapping human motion in certain spatial conditions and situations. Small light bulbs were attached to points on the limbs and joints and photographed, creating a series of curves and forms. This led to a competition called ‘Minimal Space’ (1971–2), in which architects, artists and designers were invited to consider a minimal space for containing the human body, a new notion of personal containment. Makovecz’s own response took the form of a bell-like capsule composed of a double shell expressing its presence and location in both time and space (Heathcote 120). Vito Acconci, an artist turned architect by virtue of his installation work, explored this notion of enclosure in his work (Feireiss 38). In 1980 Acconci began his series of ‘self-erecting architectures’, vehicles or instruments involving one or more viewers whose operation erected simple buildings (Acconci &amp; Linker 114). In his project ‘Instant House’ (1980), a set of walls lies flat on the floor, forming an open cruciform shape. By sitting in the swing in the centre of this configuration, the visitor activates an apparatus of cables and pulleys causing walls to rise and form a box-like house. It is a work that explores the idea of enclosing, of a space being something that has to be constructed, in the same way for example one builds up meaning (Reed 247–8). This documentation of architecture directly references the inhabitation of architecture. The post factum model of architecture is closely linked to the body in space and the actions it performs. Examining the actions and movement patterns within a space allows the inhabitation process to be seen as a dynamic process. David Owen describes the biological process of ‘ecopoiesis’: the process of a system making a home for itself. He describes the building and its occupants jointly as the new system, in a system of shaping and reshaping themselves until there is a tolerable fit (Brand 164). The definition of architecture as being that which encloses us, interests Edward S. Casey: in standing in my home, I stand here and yet feel surrounded (sheltered, challenged, drawn out, etc.) by the building’s boundaries over there. A person in this situation is not simply in time or simply in space but experiences an event in all its engaging and unpredictable power. In Derrida’s words, ‘this outside engages us in the very thing we are’, and we find ourselves subjected to architecture rather than being the controlling subject that plans or owns, uses or enjoys it; in short architecture ‘comprehends us’. (Casey 314) This shift in relationship between the inhabitant and architecture shifts the documentation and reading of the exhibition of architecture. Casey’s notion of architecture comprehending the inhabitant opens the possibility for an alternate exhibition of architecture, the documentation of that which is beyond the inhabitant’s direction. Conventional documentation shows a quiescence to the house. Rather than attempting to capture the flurry — the palimpsest of occupancy — within the house, it is presented as stilled, inert and dormant. In representing the house this way, a lull is provided, fostering a steadiness of gaze: a pause is created, within which to examine the house. However, the house is then seen as object, rather than that which encapsulates motion and temporality. Defining, and thus documenting, the space of architecture by its actions, extends the perimeter of architecture. No longer is the house bounded by its doors and walls, but rather by the extent of its patterns of movement. Post factum documentation allows this altering of the definition of architecture, as it includes the notion of the model of an action. By appropriating, clarifying and reshaping situations that are relevant to the investigation of post factum documentation, the notion of the inhabitation of the house as a definition of architecture may be examined. This further examines the relationship between architectural representation, the architectural image, and the image of architecture. References Acconci, V., and K. Linker. Vito Acconci. New York: Rizzoli, 1994. Bibby, P. “Dancer in the Dark Is Light Years Ahead.” Sydney Morning Herald 22 March 2007: 3. Brand, S. How Buildings Learn: What Happens after They’re Built. London: Phoenix Illustrated, 1997. Bunschoten, R. “Cutting the Horizon: Two Theses on Architecture.” Forum (Nov. 1992): 40–9. Calvino, I. Invisible Cities. 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West Sussex: Academy Editions, 1997. Hughes, R. The Shock of the New: Art and the Century of Change. London: British Broadcasting Corporation, 1980. Kreiser, C. “On the Loss of (Dark) Inside Space.” Daidalos 36 (June 1990): 88–99. Reed, C. ed. Not at Home: The Suppression of Domesticity in Modern Art and Architecture. London: Thames &amp; Hudson, 1996. “Shinkenchiku Competition 2006: The Plan-Less House.” The Japan Architect 64 (Winter 2007): 7–12. Small, D. Paper John. USA: Farrar, Straus and Giroux, 1987. Wakely, M. Dream Home. Crows Nest, NSW: Allen &amp; Unwin. 2003. &#x0D; &#x0D; &#x0D; &#x0D; Citation reference for this article&#x0D; &#x0D; MLA Style&#x0D; Macken, Marian. "And Then We Moved In: Post Factum Documentation of the House." M/C Journal 10.4 (2007). echo date('d M. Y'); ?&gt; &lt;http://journal.media-culture.org.au/0708/04-macken.php&gt;. APA Style&#x0D; Macken, M. (Aug. 2007) "And Then We Moved In: Post Factum Documentation of the House," M/C Journal, 10(4). 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