No Longer Showing.
This new “choreographic machine” by Liz Santoro and Pierre Godard broadens research into the link between movement and text by drawing on the musicality of syntax. In search of another relay between text and movement , For Claude Shannon uses grammatical dependencies between words in a statement from computer science pioneer Claude Elwood Shannon  to recover a linguistic structure that, in turn, generates inexhaustible possibilities for choreographic sequences. Twenty-four discreet movement “atoms” for arms and legs serve as a movement lexicon from which a fixed number of inputs is randomly chosen each time the piece is performed. For each performance, four dancers must assemble and learn one particular choreographic outcome among the billions possible that cannot be rehearsed. They rely on the intimacy they have acquired with the fixed linguistic structure of the text and the intimacy they have acquired with one another. Engaging the resources of both their working and long-term memory, uncovering to the audience the pronouncement of the unknown, concealing the predicaments of entropy, they relentlessly switch circuits. Organized by Matthew Lyons as part of “From Minimalism into Algorithm.”
 Shannon’s master’s thesis, A Symbolic Analysis of Relay and Switching Circuits, introduced seminal ideas underlying the design of all digital computers.
 “The fundamental problem of communication is that of reproducing at one point either exactly or approximately a message selected at another point.” From A Mathematical Theory of Communication (1948) by Shannon.
February 18–20, 8pm
Conception: Liz Santoro and Pierre Godard
Music: Greg Beller
Costumes: Reid Bartelme
Light: Sarah Marcotte
With Marco D’Agostin, Cynthia Koppe, Liz Santoro, and Teresa Silva
Production: Fanny Lacour
For Claude Shannon is a co-production of The Kitchen, CDC Atelier de Paris-Carolyn Carlson, Théâtre de Vanves-Scène conventionnée pour la danse, CCN-Ballet de Lorraine, and Baryshnikov Arts Center, with the support of The Mertz Gilmore Foundation, DRAC Île-de-France, Arcadi, ADAMI, Centquatre-Paris, FUSED, and the Ménagerie de Verre Studiolab program. Additional support is provided by Howard Gilman Foundation, The Jerome Robbins Foundation, and The Harkness Foundation for Dance, and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council, New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and National Endowment for the Arts.
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