~ a growing collection of scores, ontologies on circling, circles and other geometries...

Eshkol-Wachman Movement Notation 1950s
Avraham Wachman, The system of reference: Intermediate cardinal planes I: perpendicular horizontal planes, 1950s
John G. Harries, Conical movement, 1950s
John G. Harries, Conical movement, 1950s.
100 Anti-Theses magazine cover 1997
100 Anti-Theses, 1997
Drawing for Circle Trisha Brown 1973
Drawing for Circle, Trisha Brown, 1973.
Teatro Oficia BR 79
Reabertura do Teatro Oficina, São Paulo Brazil, 1979.
Pina Bausch, Cravos 1983.
Pina Bausch, Cravos 1983: Que tem a forma de círculo. Circular. Correr de boca em boca. Difundir-se, divulgar-se, espalhar-se.
Laban movement analysis (LMA) effort graph
Laban movement analysis (LMA) effort graph with effort elements labeled.
Eshkol-Wachman Movement Notation
Eshkol-Wachman Movement Notation (EWMN), 1958: The notation utilizes a spherical system of coordinates, similar to latitude and longitude on a globe.
George Crumb. Star-Child, 1977.
George Crumb: Star-Child, 1977. 'Music of the Spheres' played by the strings, made up of chords built of perfect fifths. This melody 'moves throughout the work in a circular and therefore static manner..' Bruns, 2005
Toru Takemitsu: Study for Vibration, 1962.
Toru Takemitsu: ‘Study for Vibration’, 1962. “The performance may start at any point of the perimeter no matter clockwise or counterclockwise."
Yvonne Rainer, score notebook.
Yvonne Rainer, score notebook, 1960-62: "I’ve made all kinds of scores, either lists of materials or rules about how they were to be used, and a few graphic scores." Rainer stripped away the gestural conventions of dance or theatre narrative in an attempt to formulate new kinds of 'social scripts'.
Eshkol-Wachman Movement Notation (EWMN), 1969. Eshkol-Wachman Movement Notation (EWMN), 1969: To document transitions between static positions the system takes into consideration the type of movement, amount of movement, spatial orientation and sense (clockwise or anti clockwise), of the movement. Anne Teresa De Keersmaeker In Real Time space patterns drawing.
Anne Teresa De Keersmaeker: In Real Time, 2005. These shapes were taped out on the studio floor and used to create complex space patterns.
Simone Forti, Zero, 1975.
Simone Forti, Zero, Performance documentation, Parco Theater, Tokyo, Japan, 1975.
Lucinda Childs, score for Melody Excerpt, 1977
Lucinda Childs, score for Melody Excerpt, 1977: graphic scores are the basis of Childs work, indicating floor patterns and sequence.
Anne Teresa De Keersmaeker, 2013
Anne Teresa De Keersmaeker, 2013: "Time can be thought of as both linear and cyclical. That which we call ‘now’ is, in fact, a permanent tipping point; a balancing act between memory and anticipation, leaning back and forth between the ghost image of the past and a desire towards the future."
Willie Anku, 2000
Willie Anku, 2000: "Circles and Time: A Theory of Structural Organization of Rhythm in African Music".
Score by Myriam Gourfink for dancer Jérôme Bel.
Myriam Gourfink for dancer Jérôme Bel: Glossolalie, 1999. Created in three phases: (1) research stage for the movement, together in the studio; (2) a period of atomizing the body postures and creating sequences with the help of a computer program, by Gourfink alone; (3) again together with Jérôme Bel who reembodied the score.
Merce Cunningham: Summerspace, 1958 Notation 1950s
Merce Cunningham: Summerspace, 1958. The drawing contains the idea for the whole piece: six dancers, six entrances, each dancer will make all 21 possilbe crossings of the space using 21 different kinds of movement phrasing. The order of events was derived from chance operations.
Chorostasi
The term chorostasi denotes "threshing floor", after the end of harvesting it was clean and used for dance celebrations. Chorostasi gave both the name choros (dance in Greek) and the circular arrangement of the movement in the dance.
Spinning Jenny, 1764
Andamento em torno. Girar. Andar à volta. Andar em circulação. Andar à volta de. Que volta ao ponto de que partiu. Círculo vicioso. (fig.: Spinning Jenny, 1764)
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