Choreographing An Algorithm — Part 3

Not So Fast

Wait… I got a little ahead of myself with my last post. I was excited to get moving!

Even though I was ready to tackle the Longest Common Subsequence algorithm, I still needed to thoughtfully assign movements and movement qualities to the sequences and subsequences first.

Generally, I improvise movements based on the space I’m in and the sounds, sights and smells and the feelings that arise from those sensory receptors. This algorithmic endeavor is much more calculated and constrained, but constraints can be fun and useful!

Enter Laban Movement Analysis, which is a system for describing, documenting and interpreting human movement. It has many applications but I’ve chosen to narrow in on its tools to describe energy dynamics. For every character in the sequences I’ll be working with, I used this table of effort factors and effort elements to decide what type of energy effort fit best.

Energy dynamics as described with Laban Movement Analysis

This process is subjective and I based it on the shape and the perceived weight of each character.

Here’s what I came up with:

Assigned effort elements to characters based on their shape and perceived weight (this is subjective)

Okay now I’m ready to make a video. This is going to be way tougher than I had imagined. I’ll essentially be splitting my body in half and doing sometimes the same and sometimes different movements with the two halves, at the exact same time. Kind of like rubbing your belly and patting your head at the same time.

Wish me luck!