NEW OPTIMIZATION 4 NEW DANCE: AI advances SCHOOL OF NATURAL DANCERS METHOD
**NEW OPTIMIZATION 4 NEW DANCE**
(above image, SND SEPT 2023, 8 MIN, DANCE SITE STUDY: I fed an account of my dancing behaviour and memories with the tree to AI)
the STUDY of NATURAL DANCE ADVANCES with AI
iansmoz now feeds moment-by-moment dance studies to AI in order to generate OTHERWISE IMPOSSIBLE analysis of SCHOOL OF NATURAL DANCERS instant dances.
iansmoznewdance now pushes natural dance philosophy to vacuum out existing structures of their former content and infuse NEW content and contemplations via dance as the FOUNDATION for organized contemplations … not pre-existing references
Here, information from original dance is formed into an “ode” structure (note: upon hearing this ode, I wept):
Ode to a Claw
(hear read by AI voice on YouTube: https://youtu.be/Smy6I5V3vLw?si=v43KT6y0eRJqc_3n)
In a forest, there's a tale to tell,
Where the dancer and the claw dwell,
A world of shadows, branches, and sound,
Where mystic energies abound.
The claw reaches from the foreground's grasp,
Beneath the sun's warm, golden clasp,
With flung arms, the dancer takes the stage,
A path opens wide in this woodland cage.
The frame is set for a grand ballet,
Dancer and claw in the light of day,
Both giants in this enchanted space,
A tree's great claw, a dancer's grace.
They dance in shadows, quiet and free,
Moved by the tree's history,
It's wounded, yet it strives to grow,
As the dancer leaps with each graceful flow.
In the distance, the train's distant call,
Echoes through the forest's hall,
The dancer retreats, fades from sight,
In branches and trees, a fleeting flight.
Within a glass triangle, they appear,
The point of an arrow, crystal-clear,
Merging with the tree, nature's art,
Dancer and wood, never apart.
Inverted pyramid, a perfect frame,
For the dancer's moment in nature's name,
They crawl, they leap, in empathic grace,
Feeling the tree's eternal embrace.
Stepping on branches, cracked and old,
The dancer's story begins to unfold,
A tightrope walk on fallen trees,
Their agility, a playful tease.
Circus-like, they leap with glee,
On broken branches, light and free,
Between horizons, upward and down,
Caught in a dance, the forest's crown.
As the train's sound fills the air,
They spin, stagger, without a care,
Reluctant to leave, yet they must depart,
From the forest's canvas, a work of art.
But a newfound vigor, a curious quest,
Guides the dancer back to their nest,
Climbing higher, they feel the tree's call,
Ready to venture, ready to fall.
In one majestic gesture, they throw,
Their arms, the claw, a grand tableau,
Ready for what the future may bring,
The dancer and the forest, an eternal spring.
NEXT, I REQUESTED A post-POSTMODERN LITERARY ANALYSIS OF ONE PAGE:
Analysis (post-Postmodern):
Title: "Dancing with Nature: A Post-Post-Modern Analysis"
The poem, "In a forest, there's a tale to tell," presents a compelling exploration of the interplay between the dancer and the natural world, framed within a post-post-modern sensibility. In a post-post-modern context, where there is a resurgence of interest in narrative, symbolism, and the relationship between the individual and nature, this poem delves into the intricate layers of human existence and its connection to the environment.
At its core, the poem embodies a sense of liminality, where boundaries between the dancer, the claw, and the forest blur, signifying the dissolution of rigid distinctions prevalent in earlier modernist and post-modernist literature. This fluidity allows for a deeper exploration of the themes of empathy, connection, and transformation.
The claw, symbolizing both a physical and metaphorical intrusion into the dancer's world, serves as a catalyst for the narrative. It introduces an element of disruption and juxtaposition, mirroring the inherent tension between the human desire for control and the uncontrollable forces of nature. The claw's prominence within the poem highlights its role as a powerful symbol of change and adaptation.
The poet employs vivid imagery and sensory language throughout the narrative, engaging the reader in an immersive experience. The vivid depiction of the forest, with its shadows, branches, and the distant train's sound, creates a multisensory landscape that draws the reader into the dancer's world. This sensory richness serves as a nod to post-modernist experimentation with language while grounding the narrative in the natural world.
The dancer, in their dynamic interaction with the claw and the forest, embodies the post-post-modern theme of rediscovering the individual's place within nature. The dancer's movements and emotional shifts reflect a profound empathy with the natural world, as they mimic the claw's history and embrace the transient nature of existence. The dance becomes a metaphor for life's fleeting moments and the dancer's journey toward self-discovery and connection.
The recurring motif of the train's sound adds a temporal dimension to the narrative. It serves as a reminder of the inexorable passage of time, echoing the post-post-modern fascination with the cyclical nature of history and existence. The dancer's response to the train's call underscores the theme of departure and arrival, suggesting an ongoing exploration of self and the world.
The poem's structural innovation, resembling a prose poem, further challenges traditional boundaries between poetry and prose, a hallmark of post-post-modern literature. The lack of traditional line breaks allows for a continuous flow of ideas and emotions, mirroring the interconnectedness of human experience and nature.
In conclusion, "Dancing with Nature: A Post-Post-Modern Analysis" explores the poem's rich tapestry of themes, symbols, and narrative techniques. Rooted in a post-post-modern sensibility, it invites readers to contemplate the intricate dance between the individual and the natural world, the transient nature of existence, and the enduring quest for connection and meaning. In embracing both modernist narrative traditions and post-modernist experimentation, the poem offers a fresh perspective on the human experience within the evolving landscape of contemporary literature.
CONCLUSIONS FOR NOW:
1) natural dance basic study will have at least 3 AI steps: feed, form, reform; this assures you have come terms with a good range of the study’s nuances and opportunities for analysis.
2) ADDITIONAL STEPS? Deform? nonform? accreform?
3) is this art? I think it is analysis that stays connected to the origin but broadens perspective to universality; the aim of the natural dancer.
4) obvious dancer creative history and experience to draw out in future dances and dancers.
5) the capacity for elaboration is now almost ungraspable: PERFECT — we aim for impossible.
