FOLLOW THIS: Norah Zuniga Shaw
by Rashmi Nemade
Have you ever wondered what your thoughts look like? I mean, really look like—to your eyes. I don’t mean how neural connections look in the brain, but what it would look like if your thoughts were translated into something physical. What shapes, sizes, formats, colors and patterns would your thoughts take? And could anyone else make sense of it?
This type of inquiry can be called physical thinking. It’s what the intercultural and interdisciplinary team of Norah Zuniga Shaw, William Forsythe and Maria Palazzi has been working on for almost a decade. In 2009, this team published a screen-based work titled Synchronous Objects for One Flat Thing, reproduced. Using dance as a starting point for visualizing thought, the team data-mined the choreography of William Forsythe. The deep dive unearthed alignments, cues and themes that are repeated and fragmented and recombined.
Zuniga Shaw shared this work in her 2009 TEDxColumbus talk “Animating Choreography.” As she explains: “It’s like an ecosystem. There are patterns and agency: there are animals and plants that abide by a day-night cycle and those that do the opposite; there are elements of the ecosystem that are synchronized by seasons and temperatures, while other parts are unaffected; and there is simultaneous complexity in parts of this ecosystem as well. They all coexist together and, yet, separately. It’s a complex structure.”
In Forsythe’s dance, One Flat Thing, reproduced, there are multiple performers dancing around and interacting with multiple tables (the flat thing, reproduced several times) and each other. To capture data of the dance, the team used video of a performance and interviews with the dancers. The interviews capture data about cues given and received during the dance and the flow of interactions that result. The video shows visual patterns, for instance an arc created by arms and then by a head, then again by feet, emerges as one motion at different times in different directions by different bodies. The similarity is the arc, the complexity brought by changing times, body parts, directions, etc. This teasing out of a complex structure is how a simple aesthetically pleasing movement becomes a complex ecosystem that can be examined for deeper understanding of relationships and visual counterpoint.
The results—the ecosystem of this dance, so to speak—are shown in a fluid, discovery-based website which can be explored by both novice and expert. The data are showcased as alignment annotations, cue visualization, concept threads, movement densities, 3D alignment forms, motion volumes and performance architectures, among other visualizations. Artworks in their own right, they are absolutely beautiful and captivating interpretations of the dance. Essentially, the data flows from dance to data to visual objects also in motion.
In 2014, Zuniga Shaw published a companion book Synchronous Objects: Degrees of Unison. In it, she writes, “This just happens to be dance, it could be mathematics, it could be architecture, it could be the movement of pedestrians on the city streets or the patterns in the tree canopies above our heads. What else might this dance look like? A storm of themes, a cacophony of difference, a polyphony of relationships, systems of organization, degrees of unison, patterns emerging and receding, isometries, fleeting forms of agreement.”
Since its 2009 launch at the Wexner Center for the Arts, the Synchronous Objects project has toured as a hybrid exhibition/workshop/lecture event to numerous sites in Europe and Asia with producing support from the Goethe Institute.
Zuniga Shaw is currently collaborating with Maria Palazzi and choreographers Bebe Miller and Thomas Hauert on a project called Motion Bank: TWO. The two choreographers work separately, yet both use improvisation and engage directly with the nature of human consciousness and how the dancers work with their habits, tendencies, impulses and memories in action. In isolating their working strategies, Zuniga Shaw and her collaborators bring the viewer into a direct encounter with the dancing mind and the thinking body—hence, the term “physical thinking.”
So, it’s possible to do more than just wonder what your thoughts look like. Simply develop a physical manifestation of whatever you’re thinking of and then tease out the visual counterpoint. Simple…or complicated. Either way, it’s an extraordinary exercise that can take you into much deeper thinking and awareness.
Rashmi Nemade is principal at BioMedText, Inc.
Photo credits for Synchronous Objects and Motion Bank:Two: The Ohio State University and The Forsythe Company