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On assessment day I knew I wanted to showcase my Screendance in 005 as I wanted to incorporate this space into my piece some way. I went for low lighting to enhance the experience and to also have a small audience to keep it intimate and personal.

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During our reading week, I decided to take some time to reflect on my findings so far and to refilm any takes that I wasn't really sure on or knew that I could portray better. I still decided to keep it at night as I really liked the way my setting was when it was lit up with the lights at night.

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I decided to add an overall neutral wash to my video as it neutralises everything in the shot and allows the focus to remain on the choreography and not on the surroundings.

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I began editing my videos together to start creating my Screendance. As I was editing I'd find myself thinking about which music I wanted to use over the videos. Did I want to use music like Trisha Brown or strip it back and use sounds like Liz Aggiss? After much debate and trial and error, I decided to use the original sounds from my filming to create a tranquil setting and really immerse myself into the true Liz Aggiss style.

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Showing my point of view was a last minute decision for me as I wasn't too sure on the idea of it. However, after playing around with it and filming it from many angles to try and get the best view, I decided to keep it in my final edit of my Screendance as it adds another layer to it making it more immersive and personal.

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I filmed my Screendance purposely in sections where only part of me is visible as I enjoy the idea of the unknown and leaving it up to the audience's imagination as to what could the other parts of the body be doing now whilst we can only see what the arm is doing. I filmed like this for all of my Screendance, changing the perspective and view of my body.

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I enjoyed this idea of me walking around my cubed space as it shows the audience that I am limiting myself to this space and it brings Trisha Brown's cube concept into play as well. Furthermore, it is only in this shot where the audience are allowed to see all of me and not just parts of me.

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I decided to go for neutral clothing, taking inspiration from Trisha Brown's Newark piece, as they are all wearing simple grey unitards. Going for a neutral pallet allowed the focus to stay on the choreography instead of what I was wearing. The socks however, allowed me to highlight my feet and the choreography I was performing as they look small in the vast space.

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After changing my mind once more, I decided to film my piece for the final time, outside. I wanted to challenge myself by filming it without help. I set my tripod up and started coming up with ways I could position my camera to get the angles I want. I started off simple with my feet at the beginning and then the ideas started flowing.

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I decided to try the opening of my choreography on my hands to see what the concept of the idea would look like and to also add another perspective to my choreography.

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I decided to try and have someone film it for me so that it was smooth flowing and I could get the angles and perspectives I wanted. However, I found it more challenging than I thought it would be, to come up with the different transitions and the build up to them as I wanted all of my scenes to flow into each other.

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In this rehearsal I decided to try filming in 005 after much consideration and being undecisive between the idea of filming outside or inside. Talia helped me with the camera angles and I decided to go for a simple lighting (which is the same as what I had for my CP1 live performance).

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I began rehearsing my piece with the camera in the studio, to decide on the camera angles I wanted to incorporate in my Screendance and which ones I didn't. It also gave me a chance to see which angles would work and which didn't, that I had planned to use.

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Trisha Brown talking about her piece Newark

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Set and Reset by Trisha Brown | Tate Modern

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Trisha Brown’s major work of post-modern dance Set and Reset will be performed for the first time by the London-based dance company Rambert, who will showcase the fluid and unpredictable style of Brown’s original choreography.

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I made some tweaks to my original pitch idea to make it make more sense to me and give me more of a structure. I decided to change the location, which choreography from Trisha Brown I was going to use, and also to take inspiration from Liz Aggiss.

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This is Trisha Brown's Set and Reset choreography which is where I took inspiration for my Screendance from. The Set and Reset takes place in the way I edit my film and how it progresses throughout.

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Set and Reset: Trisha Brown’s Postmodern Masterpiece

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This is Trisha Brown's choreography, Newark, which I used in my CP1 and continue to use in my CP2.

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Trisha Brown - Newark (Ballet de l'Opéra de Lyon)

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During this week, I delved into my research on Trisha Brown. I used the Lotus Cube in my CP1 and knew I wanted to use it again as I really enjoyed using it in my previous choreography and it gave me a beginning point to help me choreograph.

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This article contains a small paragraph explaining the use of the camera and why they filmed it this way.

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Devised and choreographed by Liz Aggiss and Billy Cowie
and directed by David Anderson, Motion Control examines the synergy of camera and performer. Shot on 35mm, it explores from the camera's pov, the physical and emotional entrapment of the ageing and glamorous dancer in her private and personal spaces. The film is notable for hypersound foley overlaid with text and electro-opera.
Take one glamorous and ageing dancer. Trap her in the real world, then smash into her private reality. Control her movement, contain her emotion. Well you can try but she has already beaten you to it. With hypersound and super smart awareness submit to this bizarre journey of entrapment.
Motion Control national and international touring includes: British Council Dance for Camera Tour 2003/4: Macdonia, Korea, Tunisia, Taiwan, Thailand : Over 30 Film Festivals 2001 - 2005 including: Ultima Oslo, 10th Archipelago Festival Rome, TTV Italy, Videodance Thessaloniki, Naples, Sitges, LA Shorts, IMZ Monaco, 31st DFA New York, Shorts! Amsterdam, St Petersburg, Moscow, 36th World FilmFest Houston, Rio de Janeiro, Mediawaves Hungary, Berlin, 56th Cannes Film Festival, Framed Oporto Portugal. Canada 2002/4 tour includes Toronto, Durham, Owen Sound, Chelsey. 15 date UK Tour 2002/3 on 'Take 7' curated by South East Dance

Awards include
Czech Crystal Golden Prague Television Awards 2002
Honourable Mention Paula Citron Award Toronto 2002.
Special Jury Golden Award World FilmFest Houston 2003
Best Female Film Mediawaves 2003 Hungary

Television 2002-4: BBC2, NPS Netherlands, Finnish, German TV.

'A superb cinematic experiment that starts out from the conventions of video-dance but manages to go beyond'
Sitges International Festival Oct 2002

'Motion Control is a stunner'
The Globe and Mail Toronto Oct 22 2002

'a superb abstraction and exploration of qualities at the heart of Cowie and Aggiss' work' Tanzfilm - Ballettanz 2005

References for Motion Control
Aggiss, L. Cowie,B. Bramley, I. (2006) Anarchic Dance Routledge

Le Quesne, L (Autumn 2005) Liz Aggiss 3D Queen of Brighton Das Jahrbuch von Ballettanz - tanzfilm

Motion Control' can be seen on the DVDROM included within the book 'Anarchic Dance' by Liz Aggiss and Billy Cowie, with Ian Bamley. Routledge

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Devised and choreographed by Liz Aggiss and Billy Cowie and directed by David Anderson, Motion Control examines the synergy of camera and performer. Shot on 35mm, it explores from the camera's pov, the physical and emotional entrapment of the ageing and glamorous dancer in her private and personal spaces.

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Further research into Liz Aggiss and how she uses the camera within her screendances.

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I began my research with Liz Aggis as I knew I wanted to incorporate her work into my screendance as she uses the camera a lot in her pieces to create different perspectives and angles, to make the audience and viewers question what they are watching. This is something that I was trying to achieve with my piece.

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I presented my original pitch to Evelyn and Pam.