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Fractal is Dance

Fractal geometry is characterized by self similarity and endless iteration. Using dance, the human experiences the fractal as a simple form that varies by repeating an infinite range of combinations. Using this experimental process, dance interrelates all the human systems and has the outcome of simplifying the entire experience in a melodic form of metaphor.

Dance is a friendly entry point for using the fractal. Actually dance is already built on the fractal with its full experience in every direction, every mood, every dynamic, every rhythm.

Dance is defined as the principles that were selected through evolution and hard wired along with music into the earliest humans. Dance movement is similar to music which uses only twelve notes and is infinitely able to express in melodic statements the unity of a person, a generation, a people.

The artistic process like the scientific process is built on simple elements that are combined into an infinite number of experiments. Dance deserves our focus because it uniquely interconnects every human system physical, personal, motivational. Dance goes beyond mechanics to the quality of movement and to the interrelationship of emotion and the building of the self.

Fractal concepts are applied in dance by the use of pattern, interconnecting signals throughout the entire person through perception, rhythm, timber, and melody.

Pattern are added to pattern down to the smallest size and to the slowest speed. Basic shapes are triangles and spirals.

Signals are differentiated through the nervous and limbic systems. Signals initiated from specific areas of the spine define movement qualities and dynamics of mood and emotion.

Quality is defined as variations of initiation and extension giving concepts such as sustained or staccato, flicking and floating.

Dynamics is a use of increase and decrease, emphasis to initiate force or ease.

Anticipation precedes initiation with either arc or continuing line. The variations interrelate the processes of perception, integration of new forms as they emerge, and the process of metaphor to simplify and express the building of the self and the community.

Rhythms are constructed of sound and silence. Rhythms are visualized with shape using a binary mode made of short and long durations.

Timber is identified with imagery of sensation, color and taste.

Melody is the formation of a metaphor to represent a person, a people.

Perception differentiates incoming signals and builds awareness and interconnection of each human system. Perception may begin with the eyes, ears, nose, taste, skin, then progress to the sense of chemical and electrical modulations within the body, then may become interrelated to the processes of anticipating and initiating transformations and finally to the building of the self through metaphor. Perception may be within a range of both familiar or unfamiliar experience. All experiences are integrated through fractal processes of identifying simple forms, varying these forms in infinite repetition of combinations.
Tim Hurst 09/06/15

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What’s a Brain Split to a Dancer?

In a movement meditation I came across the reason my mind seems to freeze. It is the reason I apply too much force when trying to learn new patterns and why I retreat to improvisation that allows space for me to try variations of the pattern.

Playing with eye movements, I followed one hand with one eye and then closing that eye followed my hand with the other eye. I discovered two completely different worlds in my experience of each eye. My left eye followed an expansive fluid flowing world. My left eye moved easily in all directions and my emotion was joyous and curious. My right eye was limited in its movement, resisting peripheral movement.

Comparing the two eyes in a panoramic movement from one side to the other, I again felt the difference. With my left eye, I felt the fluidity of movement and the ability to vary the speed from extremely slow to fast. With my right eye, there was more limitation. I was surprised that every action seemed to be a command with a pause between each directed movement. The effect was jerky and abrupt movement.

From the Anat Baniel Method, the description of this difference might mean a problem with my brain mapping my body. Baniel suggests that recognizing differences in movement is a first step to remapping the brain.

Following her process, I brought attention to my two eyes and began to build the puzzle pieces that would distinguish the different experiences of my left eye and right eye. It is almost like conversing with both experiences gives the brain the time to map the difference and begin an integration period that connects those areas of the brain.

The difficulty became apparent in the panic feelings I felt when exploring the experiences of my right eye. I needed some movement that would allow me to follow my right eye without building more panic.

I chose an image of fractal movement that begins as purposeful and immediately follows multiple variations. My wish is that with this image I can distinguish the differences in the experiences of using both eyes.

Fractal movement begins with a simple curved movement. The same movement is repeated with an added curve somewhere near the middle of the move. The variation can be a bump or a semicircle or a loop. The second movement with the variation is repeated adding another curve on the first variation bump, semicircle, or loop.

At this point, the brain begins to play with adding loops upon loops that become circles upon loops in a playful movement that never ends. My brain can not conceive and direct this level of complexity but with play I am asking myself to allow a continuous flow of experiences.

This is extreme yet I found some responsiveness in both eyes. I hope to explore what is needed for both eyes, whether beginning the process many times help or if panic arises.

The image is not related to Anat Baniel Method but I will use the principles of attention, extremely slow movement, and variation.
Tim Hurst 11/09/17

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Fractal Dance Poems

Fractals of my heart, I have many questions of you.
I have been dancing with you all these years. My mentor Deborah Hay guided me to you. We experienced you as the intelligence of every cell. I know myself as you, with our masterful curves forming beauty and ugliness beyond my imagination, beyond my ability to consciously create or imitate. Oh yes, my questions.

How is it that we know each other this well?
Are you the art of my life?
Are you instead the integral, the essence, the endless and simplest replication of myself?

What must it be for you to vary my kaliedascope every moment?
Am I that recognizable in any form? Or is it I that recognize?

I have wanted to ask for so long.
Do I send you the lines of chaos and the filigree of delight?
Rather is it that I open my gates to relished addictions that conflict my curved lines and you register them?

And finally for today at least, how is it that a simple addition or subtraction takes me a life time and yet you form my images long before a batting of my eye.
Tim Hurst 03/18/17

My Dear Fractal,
You can surely teach me of your filigree,
winding the hidden wave lengths of life.

I want to live as you live with minute variations
of spiral and helix and double helix in to “n” infinity.

I want to shape minute configurations into myself
willingly welcomed and cherished.

You know well my mind, a master at switching wave lengths yet
a known trickster in the realm of story telling.

You surely can teach me to live with unpremeditated conciseness
while monitoring for the nurture insisted for life.

Yes I suppose I will need to practice diligent courage to ride above the fresh challenges of each wave. And I may well need to consult with life itself for assistance.

Can you? Surely you can teach me.

Poem to My Fractals
If I took a curve with a deviation by loop or spiral,
And if I repeated a deviation on every edge of the remaining curves,
Then the melody would be a filigree
Worthy of any mosque or scroll, any India quarter-tone sonority.

For my self, a flight through the trees would bathe my eyes
In deviations of intimate and distant flickerings of light
From leaf edges large and small.

My cells would bathe in the multiplying fractals refreshing love beyond my only hopes.
Tim Hurst. 07/13/17

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Dance a Fractal

A fractal is a pathway, a shape the reveals an experience of nature’s beauty as both simple and complex, as direct and intricate.

As a dancer, movement can follow a line or a curve. Since dance is a unique study of the curve, how do we express a fractal. A simple curve gives way to a loop within the curve. Repeating this refreshed pattern gives way to another loop within the loop. The variation continues until a simple curve refreshes itself with all the experience of the previous fractal.

The improvisational dancer is familiar with following one movement that builds upon another. The surrender to the fractal image is allowing loops to recur and vary with every curved movement of any part of the body. The variations then can involve every direction and every level of intensity or color to name only a few possibilities.

Loops upon loops, circles upon spirals, all reveal pathways and different levels of experience.

With the dancer, every part of the body can create a fractal dance, each unique with contrapuntal melodies and interplaying rhythms.
Tim Hurst 08/21/17