Working as a collaborative team, artists Wes Kline and Erika Lynne Hanson designed the installation Varied Choreographies (desert, dialogue, debris). Comprised of both computer-aided woven textiles and sound and video installation, Varied Choreographies investigates potentials for human movement and community within systems of meaning and interpretation. The work focuses specifically on movements in relation to desert modernism, the dance notation systems of Rudolf Laban, and the algorithms that generate digital loss and transformation.
All of the work in Varied Choreographies (desert, dialogue, debris) uses the concept of “translation” of choreographic notation to interrogate the viewer’s potential for movement through systems. The central investigation of the work focuses on the notation systems developed by early twentieth century choreographer Rudolf Laban. This early modernist system for translating any human movement utilized the form of the icosahedron, which uses twelve points to describe movement through space. For Laban, the icosahedron was the format for investigating space harmony, connecting the individual with “inherent” structures of the universe, enabling participants to form a bond through movement. Through a set of simple geometric glyphs placed spatially on a staff, complex gestures can be annotated. We use this notation system as a kind of ‘algorithm’ to provide a platform for the participant to imagine their own potentials for movement and connection.