Notation — A Formal Excursion
Alphabet Encoding


What is communication? Although covering the general literature about communication theory is beyond the scope of this short paragraph, we will nevertheless make a short excursion to one of the approaches taken around the middle of the 20th century on this topic. The seminal paper by Claude Shannon outlines an approach to A formal theory of communication The key ingredients are senders, encoders, signals, decoders, receivers and noise. We have used Shannons 1948 paper as a starting point to investigate certain aspects of communication, as it has been abstracted in that theory.

The Game

As part of a communication game we have split up into two groups, each of which tries to efficiently communicate some information. In our case we considered the English alphabet as the source of information that ought to be transmitted. So each party had to encode the letters of the alphabet as efficiently as possible. Here we opted for a binary encoding, which is convenient for computer-readible signals. The encoding is achieved via a binary decision tree, meaning that each group has to construct a series of yes-or-no questions that uniquely single out each letter of the alphabet.

Encoding length :

Notation — Dialectic Attempts


In the project „Atlas of Smooth Spaces“ we explore how to notate, communicate and compose space phenomena across audio-corporeal artistic practices. In a sub-laboratory named „Dialectic attempts of a eurhythmician and a complexity scientist“ we worked towards a notation of perceptive processes related to a performers multifaceted expressions in her performance space/ sphere in the context of eurhythmics-performance. This we conducted from the performers inside view as well as the outside view of a complexity scientist. The work “Etude d`espace” was an artistic output connected to the concept of „Nullspace”. Following a number of questions the Dalcroze score served as a starting point: what is in the center of a eurhythmicians artistic routine? How do movement and sound meet in space? How does a eurhythmician connect her identities as an instrumentalist and mover and which kind of output is generated by her body archive as mover-instrumentalist? What role does listening play in this? How is space being created through the lense of a musical score?

Link to the Notation
A Formal Excursion