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Writer: Thomas Cunningham
Biography: Screenwriter/Producer/Podcaster/Photog/Musician. Write dope shit w/ @DirectorPatrick. Dogs, Film, MMA. @CarlosBDog's Dad. Progressive. Revolutionary. Introvert.
Germany / 158 Vote / writers - Alla Kovgan / Director - Alla Kovgan / Ashley Chen.

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"Hmm, I don't remember that one. It mustn't be that important. " This article is about a subject from outside Hideo Kojima 's core "Metal Gear Saga. " It has some level of canonicity within the continuity, but reader discretion is advised. [? ] Lt. Cunningham (formerly known under the codename of Boa) was a member of FOX during the time of the San Hieronymo Incident in 1970. He had an artificial leg which replaced the one he lost in a mission, and was FOX's interrogation specialist. Biography Early life and career During his career in the CIA, Cunningham suffered a grievous wound to his left leg that required it to be amputated, and fitted with a prosthetic. Afterwards, he was transferred to a desk job at Langley, much to his consternation and anger. At an unspecified time, he learned some of the details regarding the true nature of The Boss 's "defection" in 1964, making him despise the CIA even more, since The Boss had been revered by many as "the Mother of the Special Forces. " Eventually, Cunningham was scouted by the United States Department of Defense to try and smear the CIA's reputation, and he agreed, wanting to pay the CIA back for removing him from active duty. As a member of FOX, Cunningham's unique Sneaking Suit color was yellow. San Hieronymo Incident Main article: San Hieronymo Incident Lt. Cunningham, circa 1970. In 1970, Cunningham, utilizing the " Perfect Soldier " Null, had Naked Snake ( Big Boss) kidnapped and brought to the former Soviet missile base on the San Hieronymo Peninsula, along with drugs to keep him sedated during the trip there. Cunningham's reputation as an expert in interrogation preceded him, as Snake was able to identify him after only hearing his name. He demanded that Snake tell him the location of the missing half of the Philosophers' Legacy. After Snake told Cunningham to ask the CIA as they were the ones who took it from Snake six years prior after Operation Snake Eater, Cunningham struck him with an electrified baton and pressed his artificial leg into Snake's groin, explaining that his methods of persuasion were to "apply the right type of pain, to the right degree, at just the right location. " He then revealed to Snake that the CIA had only received half of the Legacy after 1964, and thus they suspected that he had stolen the other half. When Snake further denied any knowledge of its location, Cunningham struck him again with the baton and then departed (although not before hinting that while his being there was part of an official FOX mission, it soon wouldn't be). Cunningham also mentioned a weapon that was capable of obliterating every major city in the Soviet Union within earshot of a Soviet soldier, causing him to report it to a comrade about what he heard (to which they disparagingly referred to Cunningham as a "tight-assed peg leg") at least one day prior. [1] Sometime after Snake's and Roy Campbell 's escape from imprisonment, Cunningham, along with Ursula and Gene, conducted an aerial search of the area aboard a Hind A gunship. He also radioed forces on the ground, demanding to know why they hadn't caught Snake or Campbell yet, and threatened that he would make them regret it if the prisoners got away. He then ordered them to call Python and have him lead a search unit, as well as to keep the research lab secure. Cunningham, Ursula, and Gene later arrived at the lab, where he asked the research staff about Null's status, adding that had brought along Elisa to help speed up the preparation of his culture tank. However, he was caught unaware by the collapse of some nearby scaffolding, with only Gene's and Ursula's precognition saving him at the last second. Cunningham on his personal flying platform. After Snake attempted to infiltrate the missile silo, Cunningham arrived with a number of FOX soldiers to recapture him, telling him that he had been "quite a handful. " He then knocked Snake unconscious by whipping him with the butt of his rifle, catching him off guard after having just fought with Null. He later used the same rifle to try and get Null to stand down with the stance that his mission was complete. Snake was taken to the guest house, where he was stripped of his clothing, tied to a chair, and tortured further by Cunningham in the presence of Gene. Though Gene felt that information extracted via torture was unreliable, Cunningham reassured him that his treatment of Snake wouldn't even qualify as such, seeing as he was a former FOX member. He then proposed the use of a recently-developed truth serum to force Snake to reveal where the other half of the Legacy was, with the side-effect of acting as an anesthetic. Gene initially opposed the idea, feeling that truth serum was just as unreliable, and asked why Cunningham why he was in such a rush to get the information. Cunningham replied that he felt it was necessary from an efficiency standpoint, with Gene ultimately agreeing to the plan, but only under the condition that he would talk to Snake first. Sometime later, Cunningham was tipped off by Ursula that Snake would escape with the help of his men during a rescue mission. With this knowledge, he ambushed Snake aboard his customized flying platform, and attempted to force some answers from him by using his soldiers as target practice (as well as inadvertently giving a hint at his true loyalties). Elisa, after stealing a transport truck, knocked Cunningham off of his platform, although not before he noticed her. He also ordered for the present FOX soldiers to attempt to stop the truck, although the truck ultimately escaped. Cunningham after being defeated by Naked Snake. After successfully infiltrating the silo complex, and proceeding to the launch control room aboard a cargo elevator, Snake was once again confronted by Cunningham piloting his flying platform. It was then that Cunningham revealed the truth to Snake: while he feigned loyalty to Gene, he was actually working under direct orders from the Pentagon. His objective was to force Gene to deploy the Intercontinental Ballistic Metal Gear and launch a nuclear strike on the Soviet Union, and thus, tarnish the CIA's reputation as an efficient organization (or, as Cunningham put it, "The CIA'd lose face and the military's influence will start to soar"), as well as to erase any evidence of what happened by destroying the missile base afterwards. He explained about his loss of faith in the CIA due to his past experience, and attempted to gain Snake's cooperation, but the latter refused to take part in the Pentagon's plot and attacked Cunningham (with Cunningham declaring Snake as "a real traitor"). Cunningham fought Snake using the gatling gun, side-winder missiles and laser of his flying platform. However, Cunningham was defeated, lamenting Snake's decision to disobey his mission, as both he and Snake would have received "the highest honors a soldier could achieve", he then attempted to destroy the base with a Soviet-made Davy Crockett, intending to take Snake down with him, but his platform was badly damaged during the previous battle, causing it to explode, killing Cunningham before he could launch it. Shortly thereafter, Gene expressed pity that Cunningham had died without ever realizing that he had been used. Personality and traits Cunningham, despite his possessing an artificial leg, possessed a tremendous amount of physical strength, as evidenced by his preparing to fire the Davy Crockett by hand, as the Davy Crockett normally requires a tripod to use. During the San Hieronymo Incident, he was shown to be determined regarding finding the Legacy. However, it was implied that this was all an act. He was largely motivated by desires of revenge against the CIA in his actions due to his mistreatment under them. He also held a large degree of respect for The Boss, in large part due to her status as the Mother of Special Forces, which also acted as another factor in his desire for?revenge against the CIA. He was also a decent pilot, as evidenced by his manning a Hind during the search for the then-recently escaped Naked Snake and Roy Campbell. He was also shown to be sarcastic, which was evident by his berating the present FOX soldiers at the Guest House by yelling "Don't just stand there, stop them! " when Snake and his resistance were about to escape due to the timely intervention of Elisa. Despite formally acting as a member of FOX, he did not wear the FOX logo on his uniform, which could have been a hint about his true allegiance for the Pentagon. Behind the scenes Cunningham shares his name and a similar facial appearance with the Benson Cunningham character from Snatcher, although their clothing and roles are drastically different. Also, the North American password to recruit him is a direct reference to Snatcher (JUNKER). Cunningham's accidental divulgence of information to Snake that the latter hadn't known previously resembles Colonel Volgin 's "backward" interrogation of Snake in Metal Gear Solid 3: Snake Eater. Both assumed that Snake knew more than he was willing to let on, with Cunningham letting slip that the Pentagon was somehow involved with the events of the San Hieronymo Incident. When Cunningham encounters Snake at the Silo Complex's freight elevator in Portable Ops, he mentions that Snake had been following a script written by the Pentagon and another individual, whom he does not name. He also mentions that the unnamed individual "was right" about Snake's skills. Ocelot's later reference to Zero's script, in a conversation with the Major after the game's end credits, implies that the latter was the individual in question. The fight with Cunningham was briefly shown in the montage accompanying Liquid Ocelot 's explanation of the war between Outer Heaven and the Patriots in Metal Gear Solid 4: Guns of the Patriots. Portable Ops recruitment To unlock Cunningham outside of a password, the player needs to not only defeat Cunningham non-lethally, but also defeat him before January 1, 19
A remarkable achievement by filmmaker Alla Kovgan, spending seven years to make this classic tribute to the late dancer/choreographer Merce Cunningham.

Working with both archive footage and valuable sound recordings, she conjures up the avant-garde artist through recordings of his work, his philosophy of his art and comments by many close collaborators including notably John Cage and Robert Rauschenberg. Not meant as a biopic, film concentrates on spectacularlhy cinematic (in 3-D) new performances of many of his dances, executed by members of his company, which disbanded in 2011, after Merce's death in 2009. At a q&a following the screening, Kovgan indicated that Wim Wenders' innovative 2011 3-D dance film about German choreographer Pina Bausch inspired her to take on this formidable project, finally starting shooting in Stuttgart in 2015 with principal photography taking place in 2018. Her use of 3-D technique is outstanding, resulting in gripping visual images, enhanced by the accompaniment of the original dance scores by John Cage and others. For a novice like me, not overly familiar with Merce's achievements, the movie brings his dance to life and points to how 3-D technology can be used artfully rather than as a gimmick, or its current excuse to permit higher price points for movie admissions to films, both animated and action-oriented, that should play just as well if not better in 2-D on large screens.

Cunningham full movie full. I'm IN LOVE with this dude and his style. this takes the original and just. elevates it somehow. Nice pickin' too. Merce Cunningham Merce Cunningham in 1961 Born Mercier Philip Cunningham April 16, 1919 Centralia, Washington Died July 26, 2009 (aged?90) New York, New York Occupation Dancer, choreographer Years?active 1938?2009 Partner(s) John Cage [1] Website Mercier Philip " Merce " Cunningham (April 16, 1919?? July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He was notable for frequent collaboration with artists of other disciplines, including musicians John Cage, David Tudor, Brian Eno, and Radiohead; graphic artists Robert Rauschenberg, Bruce Nauman, Andy Warhol, Roy Lichtenstein, Frank Stella, and Jasper Johns; and fashion designer Rei Kawakubo. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance. As a choreographer, teacher, and leader of the Merce Cunningham Dance Company, [2] Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d'Imobilité, Kimberly Bartosik, Flo Ankah, Jan Van Dyke, Jonah Bokaer, and Alice Reyes. In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham's work and the celebration and preservation of his artistic legacy. [3] Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale and a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France. Cunningham's life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company. Biography [ edit] Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham, [4] into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap class from a local teacher, Mrs. Maude Barrett, whose energy and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him a clear understanding of musicality that he implemented in his later dance pieces. [5] He attended the Cornish School in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement. [6] During this time, Martha Graham saw Cunningham dance and invited him to join her company. [7] In 1939, Cunningham moved to New York and danced as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his lifelong romantic partner and frequent collaborator until Cage's death in 1992. [8] In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company. Over the course of his career, Cunningham choreographed more than 200 dances and over 800 "Events, " or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center 's first performance, instigating what would be a 25-year collaborative relationship with the Walker. In his performances, he often used the I Ching in order to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s. In 1968 Cunningham and Francis Starr published a book, Changes: Notes on Choreography, containing various sketches of their choreography. He continued to lead his company until his death, and presented a new work, Nearly Ninety, in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday. [9] Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. He died in his home at the age of 90. [10] Merce Cunningham Dance Company [ edit] Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the Company has forged a distinctive style, reflecting Cunningham's technique and illuminating the near limitless possibility for human movement. The original company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In 1964 the Cunningham Dance Foundation was established to support his work. [11] MCDC made its first international tour in 1964, visiting Europe and Asia. [11] From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage. On July 20, 1999 Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham's 80th birthday. [12] In its later years, the company had a two-year residency at Dia:Beacon, where MCDC performed Events, Cunningham's site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham's newest work, Nearly Ninety, at the Brooklyn Academy of Music. The Company concluded its farewell tour on December 31, 2011 [13] with a performance at the Park Avenue Armory. [14] Artistic philosophy [ edit] Collaboration [ edit] Still frame from Loops, a digital art collaboration with Cunningham and The OpenEnded Group that interprets Cunningham's motion-captured dance for the hands. Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians. Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used stochastic (random) procedures to generate material, discarding many artistic traditions of narrative and form. Famously, they asserted that a dance and its music should not be intentionally coordinated with one another. [15] After his death, John Cage was succeeded in the role of music director by David Tudor. After 1995, MCDC's music director was Takehisa Kosugi. MCDC commissioned more work from contemporary composers than any other dance company. Its repertory included works by musicians ranging from John Cage and Gordon Mumma to Gavin Bryars as well as popular bands like Radiohead, Sigur Rós and Sonic Youth. [16] The Company also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous "Combines" reflect the approach he used to create décor for a number of MCDC's early works, served as the Company's resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Liz Phillips, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol. Chance operations [ edit] John Cage and I became interested in the use of chance in the 50s. I think one of the very primary things that happened then was the publication of the " I Ching, " the Chinese book of changes, from which you can cast your fortune: the hexagrams. Cage took it to work in his way of making compositions then; and he used the idea of 64?the number of the hexagrams ?to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow?say a particular sound?what did the I Ching suggest? Well, I took this also for dance. I was working on a title called, "Untitled Solo, " and I had made?using the chance operations?a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff. ?? Merce Cunningham, Merce Cunningham: A Lifetime of Dance, 2000 Cunningham valued the process of a work over the product. Because of his strong interest in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work Suite by Chance he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time. [17] Although the use of chance operations was considered an abrogation of artistic responsibility, [18] Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from repertory, while those that do were

Cunningham Full movie page imdb. Cunningham full movie. Cunningham full movie english. Un article de Wikipédia, l'encyclopédie libre. Merce Cunningham (né Mercier Philip Cunningham le 16 avril 1919 à Centralia dans l' État de Washington aux États-Unis et mort le 26 juillet 2009 à New York) est un danseur et chorégraphe américain. Son œuvre a contribué au renouvellement de la pensée de la danse dans le monde. Il est considéré comme le chorégraphe qui a réalisé la transition conceptuelle entre danse moderne et danse contemporaine [ 1], [ 2], [ 3], notamment en découplant la danse de la musique, et en intégrant une part de hasard dans le déroulement de ses chorégraphies. Biographie [ modifier | modifier le code] Merce Cunningham fait partie d'un courant artistique, l' art moderne, qui a affecté le monde des arts plastiques, de la musique et dans une moindre mesure celui de la danse. Merce Cunningham commence sa carrière de danseur chez Martha Graham, l'une des grandes figures de ce qui s’appelait alors la ? modern dance ?. C’est donc dans ce contexte que Cunningham, poussé par son compagnon le compositeur John Cage, va composer ses premières pièces. Il quitte la compagnie de Graham en 1945 et crée ses premiers solos. En 1953, il fonde sa compagnie, la Merce Cunningham Dance Company (MVDC) au Black Mountain College. En 2002, Merce Cunningham reçoit à Monaco, pour l'ensemble de sa carrière, le Prix Nijinski remis par Robert Rauschenberg. Utilisation du hasard [ modifier | modifier le code] En 1951, sa pièce 16 danses pour soliste et compagnie de trois va marquer le premier pas dans une autre direction que celle du retour au moi profond. Cunningham utilise le hasard (ou aléatoire) pour composer cette danse: il jette des pièces pour déterminer l’ordre des sections de la danse. L’utilisation du hasard lui permet de prendre des décisions esthétiques de manière objective et impersonnelle. On peut dire que ce moyen d’arriver à la création, non par intuition, instinct ou goût personnel, a été une sorte de point de non-retour dans la conception chorégraphique de Cunningham. Cette idée d’utiliser les procédés de hasard pour composer a été d’abord mise en œuvre par le compositeur John Cage, compagnon de Cunningham pendant plus de 50 ans jusqu’à son décès en 1992 [ 4]. Le cercle d’artistes gravitant autour de Cage et Cunningham se composait entre autres de plasticiens comme Robert Rauschenberg et Jasper Johns, de compositeurs comme Earle Brown, Morton Feldman, David Tudor, pour ne citer qu’eux. Tous ces artistes étaient des gens profondément ancrés dans leur temps. On pourrait dire que ce sont des artistes ??urbains?? qui ne tournent pas le dos aux impressions sonores et visuelles émanant de la vie citadine, ni aux innovations technologiques de leur temps. Ainsi, comme dans la vie, dans les chorégraphies de Cunningham coexistent la danse, la musique, l’œuvre plastique, qui, travaillées chacune de leur côté, sont superposées le jour du spectacle en une rencontre artistique ouverte. Cunningham veut qu'aucune forme ne prédomine sur l'autre en scène, mais qu'elles forment un tout [ 5]. Pourquoi cette utilisation du hasard dans ces œuvres? C’est un moyen de se surprendre soi-même, d’aller au-delà de son propre ego, de sortir de ses habitudes. Le but de la danse de Cunningham est de donner à voir le mouvement et son organisation dans l’espace et dans le temps. Il n’y a pas de sens caché dans les chorégraphies de Cunningham et c’est à chacun de trouver son chemin dans son œuvre. Le spectateur est appelé à être actif, puisqu’il n’y a pas de sens qui lui soit donné, il est libre de voir ou d’entendre ce qu’il veut, selon son propre désir. On pourrait dire que la danse de Cunningham serait une danse de l’intelligence par opposition à la danse de l’émotion de la modern dance. C’est une danse pudique qui tient l’émotion à distance. Libre à chacun d’éprouver du plaisir à ces jeux de collage que sont les chorégraphies de Cunningham et de son équipe. En dehors du hasard, c’est le traitement du temps qui est spécifique chez Cunningham. Ce n’est plus le temps de la musique que l’on suit, mesure à mesure, mais c’est le temps du chronomètre. Les séquences de danse ont telle ou telle durée. Chaque cellule a sa propre musicalité dans ses rapports des mouvements entre eux et avec ceux des autres. La musicalité est interne au mouvement et à celui qui le danse, elle n’est pas imposée de l’extérieur. Le rapport à l’espace est très spécifique également. Ce n’est plus celui de la perspective. Chaque danseur est son propre centre. L’espace se fait et se défait, se tisse sous les yeux des spectateurs, libre à eux de choisir ce qui les intéresse plutôt que de fixer le danseur étoile au centre de la scène. Du point de vue de la technique du mouvement, Cunningham utilise les mouvements des jambes qui sont proches du classique dans leur forme, mais l’intention et l’énergie qui les animent se situent dans un autre registre, d’autant que s’y ajoutent des mouvements de dos choisis de manière aléatoire et qui l’utilisent dans toutes ses directions possibles: en avant, en arrière, sur les côtés, sur les diagonales avant et arrière… Ainsi, danser chez Merce Cunningham demande une grande disponibilité mentale, une maîtrise de son corps non rigide, il faut avoir l’esprit toujours vigilant pour danser cette danse. C’est d’ailleurs en cela qu’il serait difficile de dire que la danse de Cunningham est abstraite, car c’est bien le corps qui est utilisé très loin dans ses possibilités, y compris dans ses rapports à l’intelligence. Cunningham a été l’un des premiers chorégraphes à s’approprier l’usage de la caméra pour filmer la danse, non comme un témoin de travail, mais comme un objet visuel en soi. Contribution à la réalisation d'un logiciel d’écriture du mouvement [ modifier | modifier le code] En 1989, Merce Cunningham collabore avec des chercheurs en informatique de l' Université Simon Fraser aux États-Unis pour la création d'un logiciel, nommé ??Life Forms??, permettant d'écrire des mouvements chorégraphiques. Ce logiciel possède trois rôles. Le premier est de pouvoir enregistrer des exercices ou des enchaînements à partir de cellules chorégraphiques informatisées se substituant aux notations choréologiques. Le deuxième est de générer à partir de ces données une chorégraphie originale et aléatoire, ce qui constitue la base du travail historique de Cunningham. Enfin le troisième est de créer des images à partir de capteurs de mouvements posés sur les danseurs et traités par l'informatique. Pour Merce Cunningham, ce logiciel est la rencontre entre la logique binaire des sciences informatiques, les théories scientifiques développées par la physique contemporaine et les théories développées par la pensée philosophique du Yi King [réf.?nécessaire]. Le spectacle emblématique de l'utilisation de ce logiciel dans la démarche de création est Biped, créé en 1999. Théorie [ modifier | modifier le code] C'est avec Merce Cunningham que commencent à se poser les problèmes de la danse moderne. Il n'y a plus de fil conducteur, plus forcément d'histoire. Vite rejoint par John Cage, il va creuser le mouvement et bouleverser les codes de la scène: tous les points de l'espace ont la même valeur, pourquoi ce rapport binaire entre la danse et la musique, chaque danseur est un soliste, il n'y a plus un chœur et un seul soliste… Il est à la charnière entre la danse moderne et postmoderne et n'entre dans aucune des deux catégories. Son travail sera utilisé dans la danse postmoderne pour le mettre en branle ou pour le continuer, avec l'idée que tout mouvement a une valeur égale. Merce Cunningham essaye de se défaire des coordinations du corps et tire au hasard des éléments du corps et des directions. Il expérimente alors des mouvements inconnus. On est en 1948 avec Untitled Solo. C'est une danse assez verticale qui décompose le mouvement sur l'axe fort de la colonne. C'est plus de l'ordre de la figure que de l'énergie circulante dans le corps. L'intérêt créatif réside dans le chemin qui mène d'une figure à l'autre. Ce travail sur l'aléatoire le conduit à faire appel à des informaticiens et à créer Lifeform, un logiciel qui crée et modélise sous la forme d'un petit personnage virtuel, des mouvements aléatoires, dans un ordre aléatoire. Le problème de la chute suivie du saut résume bien la difficulté de la mise en œuvre, et même ces erreurs sont acceptées. De la même façon, il fait travailler séparément son équipe sur la musique, sur les costumes et l'éventuel décor lumineux, et réunit l'ensemble le jour de la représentation. Ainsi il casse l'association danse-musique et travaille sur les durées. Avec Biped en 1999, il met en scène pour la première fois le logiciel Lifeform. Impact dans le monde de la danse contemporaine [ modifier | modifier le code] Un grand nombre
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Once you said “Joyce lynn” all I could think of is “Build a boo with Joyce”.