Analívia Cordeiro

M 3x3, 1973, Computer Dance </br> M3x3 (1973), The video M3x3 (1973) by Analivia Cordeiro is accredited with being the first Brazilian video art piece, as well as, being the first videodance piece. This historical work, in black and white, is a pioneer in computer dance. It pushes the limits of the new and, at the time, unexplored practices in a society with little access to technology.
M 3x3, 1973, Computer Dance
M3x3 (1973), The video M3x3 (1973) by Analivia Cordeiro is accredited with being the first Brazilian video art piece, as well as, being the first videodance piece. This historical work, in black and white, is a pioneer in computer dance. It pushes the limits of the new and, at the time, unexplored practices in a society with little access to technology. 1/8
M3x3, 3 channel installation, 1973, 6.29 min.
M3x3, 3 channel installation, 1973, 6.29 min. 2/8
M3x3 Installation, 1973, frame side point of view
M3x3 Installation, 1973, frame side point of view 3/8
Cambiantes, 1976, Video still </br> Cambiantes (1976) is one of three computer dances for video, created by Analivia Cordeiro. It is a research on interaction between the human movement and video, using computer and programmed in Fortran IV language. Cambiantes is a high contrast, black&white video that redesigns the rectangular shape of the video monitor (or display) through geometric forms, as triangles, that penetrates the scene. Inside this space, the dancers move based on right angles and diagonals performed by the body. The sound is an electronic music by the Brazilian composer Raul do Valle.
Cambiantes, 1976, Video still
Cambiantes (1976) is one of three computer dances for video, created by Analivia Cordeiro. It is a research on interaction between the human movement and video, using computer and programmed in Fortran IV language. Cambiantes is a high contrast, black&white video that redesigns the rectangular shape of the video monitor (or display) through geometric forms, as triangles, that penetrates the scene. Inside this space, the dancers move based on right angles and diagonals performed by the body. The sound is an electronic music by the Brazilian composer Raul do Valle. 4/8
Cambiantes, 1976,  Camera Takes Drawing
Cambiantes, 1976, Camera Takes Drawing 5/8
Nota Anna, frame shot </br> Nota Anna is the result of decades of research in choreography and teaching of movement for adults and children, plus theoretical studies in the visual arts, video art, anatomy, physiology, neurology, movement analysis. This search has two stages: first the generation of movement through computer (1973 76) which focused on video dance area and the second that expanded the sphere of dance to any form of corporal expression. Nota Anna intended to any type of motion like dance, everyday movements, sport and even other animals.
Nota Anna, frame shot
Nota Anna is the result of decades of research in choreography and teaching of movement for adults and children, plus theoretical studies in the visual arts, video art, anatomy, physiology, neurology, movement analysis. This search has two stages: first the generation of movement through computer (1973 76) which focused on video dance area and the second that expanded the sphere of dance to any form of corporal expression. Nota Anna intended to any type of motion like dance, everyday movements, sport and even other animals. 6/8
Materialization of Sight II, 2016, white poliamide, 25,5 x 28,5 x 18,3 cm (source  volley by Pelé) </br> Three unforgettable kicks: the bicycle performed by Pelé, recorded in video at 1968; a volley performed by Pelé, recorded in video at 1968; and the yokogueri kekome by Bruce Lee, recorded on film in the '60s. These kicks are presented as sculptures, drawings and videos. At first glance it is difficult to identify these movements in the works, as these are decoded by a movement notation called Nota Anna.
Materialization of Sight II, 2016, white poliamide, 25,5 x 28,5 x 18,3 cm (source volley by Pelé)
Three unforgettable kicks: the bicycle performed by Pelé, recorded in video at 1968; a volley performed by Pelé, recorded in video at 1968; and the yokogueri kekome by Bruce Lee, recorded on film in the '60s. These kicks are presented as sculptures, drawings and videos. At first glance it is difficult to identify these movements in the works, as these are decoded by a movement notation called Nota Anna. "Nota Anna, in its current stage, it is undoubtedly an instrument that allows the recording and visualization of motion, direct and natural. With its evolution, probably by incorporating computer vision techniques and artificial intelligence, Nota Anna probably could become also a powerful analysis tool and motion design. "(Luiz Velho, Associate Researcher of Pure and Applied Mathematics Institute, April 1998). This quote from almost twenty years ago suggests a development of this form of writing movement, which in fact is the research this presentation shows, as one possibility of artistic creation as sculpture, drawing and video. As an artist, I envisioned that this purely computational resource could turn into real sculptures. A totally unique and genuine design. UNFORGETTABLE KICKS 7/8
Concept of Abstraction I, 2016, white poliamide, 25,5 x 21,6 x 18,5 cm (source  bicycle by Pelé)
Concept of Abstraction I, 2016, white poliamide, 25,5 x 21,6 x 18,5 cm (source bicycle by Pelé) 8/8

Dancer, choreographer and architect, Analívia studied dance under Laban’s Method in Brazil and modern dance at Alvin Nikolais, Merce Cunningham, Gus Solomons Jr., Viola Farber Dance Studios in New York. Later, she studied the corporal conscience method Eutony, in Brazil. Graduated in Architecture at University of São Paulo, Brazil; master degree in Multimedia at State University of Campinas, Brazil and PhD at Comunication and Semiothics at PUC-SP, pos-doctorate at Federal University of Rio de Janeiro UFRJ, Brazil.

One of the computer dance world pioneers and Brazilian video-art pioneer (1973), she created multimedia performances and videos; published a book/video Nota-Anna: an electronic notation of human movement based on the Laban Method, about her movement notation software Nota-Anna, developed Classes of body awareness online – DuCorpo, and a method to learn reading/writing Portuguese online – alegriadeler.

Her videos were exhibited in several events like: International Festival of Edinburgh, 1973; XII Bienal de São Paulo, Brazil, 1973;The Bat-Sheva Seminar on Interaction of Art and Science, Jerusalém, 1973; LatinAmerica 74 at Institute of Contemporary Arts, London, 1974; LatinAmerican Films and Video Tapes at Media Study of State University of New York, 1974; Arte de Sistemas in LatinAmerica at International Cultureel Centrum, Belgium, 1974; Latin America 74 at Espace Cardin, Paris; and at Galleria Civica D’Arte Moderna, Italy, 1975; International Conference Computer & Humanities/2 at University of Southern California, 1976; WGBH – TV Public Channel, 1976; 20th American Dance Guild Conference, 1976; Art of Space Era at Von Braun Civic Center of Huntsville Museum of Art, 1978; Brasil Séc.XX, Brazil, 1984; Arte e Tecnologia, Brazil, 1996; 27th Annual Dance on Camera Festival, New York, 1998; Festival Il Coreografo Elettronico, Italy, 1999; International Seminar Invenção, Brazil, 1999; The 1999-2000 Sawyers Seminar at University of Chicago, 1999; L’Ombra dei Maestri – Rudolf Laban: gli spazi della danza, Università degli Studi di Bologna, Italy, 1999; JavaOne Sun’s 2001 Worldwide Java Developer Conference, San Francisco and 2003 JavaOne; Made in Brazil, 2003/5, Brazil, Dança em Pauta, 2005, Brazil, “Cinético-Digital”, 2005; 2005NokiaTrends, 2006 Dança em Foco, Mostravideo Subjetividades, 2007 Brazil, SIGGRAPH; Bienal Mercosul, 2009  2011 Zonas de Contato, Paço das Artes; ¨Manuara¨ no MuBE, São Paulo, Brasil, ARCO art fair, winner of the BEEP de Arte Electronica prize, Madrid 2015; Expanded Senses, B3, Frankfurt, 2015;  Moving Images Contours, Tabakalera, San Sebastian, Spain, 2015.

She has taught courses of movement analysis in fashion and psychology colleges and is the curator of the state of her father’s art work, Waldemar Cordeiro.

Her work is included in museums collection like Museu de Arte Contemporânea da Universidade de São Paulo, Brasil; Museum of Concrete Art, Ingolstadt, Germany; Museo Reina Sofia, Madrid, Spain; Paul Getty Museum, Los Angeles, USA; archive of BEEP de Arte Electronica Prize, Madrid, Spain; archive of the Bauhaus artist, Oskar Schlemmer, Germany.