“Engaging with Synchronous Objects as a choreographer, I was very interested in how choreographic thinking is a way of knowing that offers new insight into other fields from geography, to computer programming, to architecture. I was also interested in the ways that other fields shed light on my own choreographic practices and turn my understanding of choreography inside out. In the process of creating I seek to undo what I think I know choreography is so that I can be open to inventive ways of working. Interacting with the Synchronous Objects website is a chance to re-think what choreography is, from a series of actions, to an example of counterpoint, to a study of the responsibilities and dependencies among a group—and the list goes on.

Up-ending my assumptions of what choreography is has several practical consequences that are evident as I create in the studio. Using the Synchronous Objects’ Counterpoint Tool, for instance, invites me to play with new ways of organizing the movement of a group through space or relating my limbs to each other in surprising ways. Synchronous Objects has expanded what choreography can look like and act like, and this alone has had a significant impact on how I think about my choreographic process. From the work of the interdisciplinary team that came together to create Synchronous Objects I come away with an inspiring methodology for collaboration. Congregating around common interests from a variety of angles yields not only insight into each distinct field, but articulates areas where expertise overlaps. What would it mean for my process if I asked an architect or geographer to join in, incorporating their sense of space and place into my work? What would it mean for an architect to consult me on a crowd’s movement through space before she designed an atrium in a hotel lobby? Synchronous Objects invites me to broaden my definition of the choreographic act into other fields, and notice the many ways that actions are organized, be it in the editing room of a filmmaker, or on the drawing board of a city planner. With one foot in the studio, and the other in several diverse disciplines, I feel inspired to jump into making a new piece with the desire to look for choreography everywhere.” —Lillian Skove

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—Norah