CHOREO

GRAPHY

CHOREO

GRAPHY

THIS BOOK IS PUBLISHED ONCE A YEAR BY APENA

A CURIOUS AND DECEPTIVE TERM

To reduce choreography to a single definition is not to understand the most crucial of its mechanisms: to resist and reform previous conceptions of its

d e f i n i t i o n .

D E F I N

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

I T I O N .i t s

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

chukh a chukh a chukh eee ta ta ta ta tachukhfiiiimm--fiiimmm

the word itself, like the processes it describes, is

ELUSIVE

AGILE,

to prohibit or constrain the substitution or mobilization of terms within this domain is counterintuitive

MAD

DENINGLYe e e e e

pam pam pam pam

c h i i i i i i i - - - - - a a a a

- - - -

a a a .

“ g o o d ”

U N I M A G I N E A B L E .

ACTION UP

pkkknaaaa - hh - ta ta tashhwwwwmmm

pkkknaaaa hhh

chukh a chukh a chukh eee ta ta chukh

fiiiimm--fiiimmm

---

---

yammm - - - - - -

khrrr khr khrrr ch khr

fshhhumm -- fshhhumm

“yes”. “goood”.

fshhhumm--fshhhumm

---

---

ON ACTION

shhwwwwmmm

THERE IS NO

CHOREOGRAPHY AT

LEAST NOT AS TO

BE UNDERSTOOD

AS A PARTICULAR

I N S T A N C E

REPRESENTING A

UNIVERSAL OR

STANDARD TERM.

ch

ii

ii

ii

i-

--

--

aa

aa

.A

tttk .tttk .tttk .

I d e a l l y , choreographic ideas in this form would draw an attentive, d i v e r s e r e a d e r s h i p that would e v e n t u a l l y u n d e r s t a n d and, hopefully, champion the i n n u m e r a b l e manifestations, old and new, of choreographic thinking.

A choreographic object is not a substitute for the body, but rather an a l t e r n a t i v e site for the understanding of potential instigation and organization of action to reside.

EEE TA TA TA TA

v i u m - p a

Choreography is the term that presides over a class of ideas:

action.

an idea is perhaps inthis case a thought or suggestion as to a possible course of

Each instance of choreography, is ideally at odds with its PREVIOUS DEFINING INCARNATIONS as it strives to testify to the PLASTICITY and wealth of our ABILITY TO RE-CONCEIVE and detach ourselves FROM POSITIONS of

C E R T A I N T Y .

THIS BOOK IS ONE OF TWO COPIES MADE BY ANDREA PENA.

It is an exploration of the relationship of choreography a science and form, through the functional use of sound. A play between two fonts, Orator and Didot is representative of the interconnected nature of such art practice, where one belongs to the other and the other belongs to one.