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  • CHOREOGEOGRAPHY
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   CHOREGEOGRAPHY
   
   "I must walk. It's a crucial aspect of my work too - not just observing dance, but
   how I navigate and feel places, how I hear sound. It's a sense of the streets, the
   movement in the enviroment, the politics of the place, the socio-economic and
   human atmosphere.
   
   'Choreogeography' developed as a term to sum up or explain how movement
   and sound is mapped in various enviroments within my film space. Like
   Psycogeography, but in movement. It explores the socio-economic context of
   dance, narrative and sound in cinema, without words. It asks us to feel the space.
   
   That space might be virtual, as in LINE DANCE (2004), which digitally explores
   two dimentional figures in three dimensional space with 24 motion capture
   cameras, or live on location video as in ROUTES (2008) or staged in a studio, on
   35mm film as in BIG HAIR (2001).
   
   It's related to how geographical space locates itself in my mind. An extension of
   place and time, like a map. Sound is crucial to this architecture, like a grounding
   - a root, or the maybe the echolocation of dolphins?
   
   So I guess that I use choreogeography as an instinctive process: a methodology
   to map enviroments through existing movement, sound and architecture. It just
   Kind of evolved."