Word: logics
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Dates: during 1970-1979
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...what effect the media contribute to the work. The video sets hardly command one's attention, and the taped narrative leaves a vague impression beside the vividness of the dance action. (Words with dance are curious--the way words make sense springs from a rhythm so different from the logic of dance that they pass by like soap-opera dialogue, which probably is half their purpose.) In the second section, with the projection equipment shut off, the three dancers begin to emerge as distinct personalities: Connie Chin flirts with a fold-up chair, Tom Krusinky with a push skooter...
...this particular dance, embracing the original meaning of "modern dance"--an individual's self-expression. Irrelevant to his dance is the whole notion of choreography--that qualities exist in a dance that can be recreated by other dancers in other places. Paxton's expression doesn't follow the logic of choreography. The pleasure simply comes in watching the idiosyncrasies of one dancer dancing...
...sententious prose style. In the end, Proteus manages to get itself destroyed-too big for its breeches as it were. But not before it effects a kind of reincarnation: the child Christie conceives looks exactly like the one she lost to cancer. There are enough holes in the logic of Demon Seed's plot to drive twelve Proteuses through. Indeed, like Audrey Rose, it presents the best possible argument against reincarnation. Who wants a second lifetime full of movies like these? Richard Schickel
Lancelot's sexual cosmology has a curious logic which he later applies to all history including his own. But it includes a view of women that harks back to the era of courtly love, "It is no longer possible to 'fall in love'," he says early on, "But in the future and with the New Woman it will be." His focus is too narrow: he conceives of the New Woman rather than a New Voice, or a New Person. About the position of women in his future utopia he sounds suspiciously like Stokely Carmichael...
...primarily to Chopin, and expertly so. Here he turns to Beethoven with a dream technique that more than meets the virtuoso demands of both works. But unlike many a prizewinner, he has much more than dexterity going for him. Ax controls the music completely, not it him. Such ease, logic and warmth suggest that he is a Beethoven pianist to keep...