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2025 on Tumblr: Trends That Defined the Year

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Make - Do Some practice pieces from 2009
From Zen Dance:
"The lotus blossom is pure, but its roots are embedded in mud."
"Ignore the music, just concentrate," Dr. Lee, prancing across the dance floor, exhorts them. Later she tells me that different music is played at every rehearsal, since she doesn't want her dancers to become slaves to any particular movement. They must stay strong and free and make each moment their own.
"She is quick to point out that her creation is still evolving, since she has not yet "overcome" the world. She is still practicing to deal with everyday problems and to achieve happiness."
"Lee insists that dance meditation has two separate aspects, one artistic and one therapeutic. "Healing dance" is an aspect of rehabilitation therapy via exercise, but it is based primarily on learning how to breathe. The process begins in the lower abdominal region, but, through dance, practitioners learn how to transfer the energy elsewhere in the body and eventually to incorporate it into their mind."
Zen Dance is "beyond religion, it manifests all of reality. It is an embodiment of meditation in motion, or movement creation," as well as spiritual practice and physical conditioning. But, like life, it is also ephemeral: "Dancing is painting on air."
"Artists are the food for other artists."

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The musicologist Roy Howat has observed that the formal boundaries of La Mer correspond exactly to the golden section. Trezise finds the intrinsic evidence "remarkable," but cautions that no written or reported evidence suggests that Debussy consciously sought such proportions.
Phi (In)Harmonic Polyrhythm Metronome
For Ann (rising) by James Tenney

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PHI
Divine Proportion
          The Divine Proportion has recently received a great deal of attention by virtue of its inclusion in a popular novel penned by Dan Brown. Novels aside, the Divine Proportion, also referred to variously as the Golden Proportion, the Golden Mean, or simply as Phi (f) is an interesting Geometric concept, and the fact that it occurs in nature with astounding regularity makes it even more intriguing. History is somewhat fuzzy concerning man’s discovery of the Divine Proportion and his comprehension of its significance. One interesting version of history attributes its discovery to Theano , the wife of Pythagoras who inherited the role held by her husband as leader of the Pythagorean mystery school following his death. Other versions insist that the Divine Proportion was understood by man and incorporated into his architectural works many centuries before this.
           I will not belabor the many instances in which the Divine Proportion manifests itself in creation but will instead discuss its basic concept and its mathematical derivation as a prelude to my discussions of the Vesica Pisces, which is closely associated with the Geometric construction of Phi.
           The Divine Proportion refers to a certain proportional relationship between the length of two lines which results when that line is divided into its mean and extreme ratio (i.e. when the ratio of the short part to the long part is the same as the long part to the whole). The actual value of the Divine Proportion (f) is a certain instance of an incommensurate number, said to be irrational. The exact numerical value of irrational numbers such as the square root of three, Pi, and Phi cannot be determined because their calculation creates an infinite series of non – repetitive digits. They are, in effect, numbers of infinite dimension, which none-the-less manifest themselves in reality.
           The closest approximation for the value of Phi is nominally 1.618, or more exactly expressed is
           AB:AC::AB:(AB+BC)
Extension from a circle to the plane
Putting the Tai Chi Symbol on the unit circle of a complex plane and applying a reciproque complex mapping of type z -> 1/z you extend the mathematical idea and properties of this symbol to the whole plane (figure 13). The image of a Collatz splitting is particularly fascinating (figure 16). If you change the semicircles from the yy diameters to different arcs, you get very interesting separation lines for the plane which have a strong graphical or even artistic appeal (figures 14 and 15).  Â
Kinespheric Scaffolding
Five Regular Polyhedra as Kinespheric Scaffolding (Rev. from J.S.Longstaff 1996)
The five regular polyhedra are most often used as kinespheric scaffolding in choreutics. They represent the most symmetrical and regular divisions of three-dimensional space. (Sometimes called "Platonic solids" since they were written about by Plato) Geometric characteristics of a "regular" polyhedra (only 5 are possible):
all surfaces the same shape
all edges same length
all angles the same size
(8 sides, 6 corners) (undifferentiated) (20 sides, 12 corners) (6 sides, 8 corners) (4 sides, 4 corners)

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Choreutics
Choreutics Deflection Theory (revised from Longstaff, 1996, IVA.40)
A theory can be identified in choreutics which posits that:
Dimensional and diagonal orientations serve as conceptual prototypes of pure directional stability and pure directional mobility respectively, while actual body movements occur as “deflections” between the idealised pure dimensions and pure diagonals, that is, mixtures of stability and mobility.
The spatial aspects of bodily movements and positions are mentally conceived in terms of easily imagined dimensional and diagonal prototypical directions whereas actual body movements occur as deflections of the dimensions and diagonals, referred to as “inclinations” . General Statements The deflection theory in choreutics has not been concisely stated but is alluded to in various places where dimensions and diagonals are considered to be mental prototypes while deflected “inclinations” occur in actual body movement
“Because the body limits the fulfilment of perfect three-dimensional shapes that pure diagonals would offer, most three-dimensional shapes are created through modified diagonals . . . These are available to the body.” (Bartenieff and Lewis, 1980, p. 33) “The principles of choreutics can easily be developed by taking the cube as the basis of our spatial orientation. The conception of the cube as a basis is not a compromise but a fundamental principle [ie. conceptual prototype] of our orientation in space. In practice, harmonious movement of living beings is of a fluid and curving nature which can be more clearly symbolised by a scaffolding [ie. kinespheric network] closer to a spheric shape [ie. the icosahedron].” (Laban, 1966, p. 101) “The [spatial] order within a cube - when looked upon purely as a space form without relationship to the body or its uses - is easily comprehended because of the right angles and equal edges. [However] If we relate our moving body to this [cubic] order we shall at first meet with some difficulties.” (Ullmann, 1966, p. 139)
The “difficulties” arise since actual body movements do not conform to the shape of a cube. Bartenieff and Lewis (1980, pp. 89-91) report that pure dimensional oriented movements, pure diagonal oriented movements, or movements purely within one of the Cartesian planes “rarely appear in pure form” but that they sometimes may be observed in small isolated gestures. Instead of dimensions or diagonals it is observed that actual body movements occur along inclinations: “Such inclinations of the pathways of our gestures which have combined directional values [ie. primary, secondary, tertiary spatial components] are very frequent. In fact they are the rule rather than the exception.” (Ullmann, 1971, p. 17) “One of the essential discoveries which arose from the study of movement is that of the crystalline structure of man’s movement possibilities. I found this out very early . . . that people, in spite of their differences of race and civilisation, had something in common in their movement patterns. This was most obvious in the expressions of emotional excitement. I observed that in these patterns certain points in space around the body were specially stressed. In joining these points, I arrived at a regular crystal form . . . an icosahedron . . . . . . Man is inclined to follow the connecting lines of the twelve corner points of an icosahedron with his movements in travelling as it were along an invisible network of paths.” (Laban, 1951, pp. 10–11)