User:Inge Hoonte/annotations: Difference between revisions

Latest revision as of 10:57, 6 July 2012

Logbook

I'm keeping a logbook of my current voyage, accompanied by my friend and steersman Kybernetes. I've copied a page below.

Outline

My written thesis 'Steps to Under/Up the Stairs' (working title) is a three-tiered report on:
- The project Under/Up the Stairs
- How this project relates to my previous work
- How Under/Up relates to theory, and work by selected artists and authors

One thread of the thesis follows the development of my current project Under/Up the Stairs. Under/Up is a project and event space in staircases and stairwells coordinated in collaboration with Noe Kidder in Brooklyn, NY. Under/Up embraces the transitory and in-between nature of these spaces, which include the shifting boundaries between private and public, absence and presence, hiding and revealing. As such, the project explores various aspects of "networked" through analog, physical, as well as telematic presence, in the form of letters, emails, conversations, recordings, video, performance, try-outs, openings, and unexpected visitors to the space.

The first Under/Up event was the installation of the stereo sound composition From Absence to Presence, which I recorded on my stairs in Rotterdam, and installed on Noe's staircase in Brooklyn. The audience was seated in between the speakers, causing the sound of footsteps to almost move through them as it panned from left to right. Underneath her staircase, several of my text-based works on paper were displayed. The second event was the screening of Noe's short film What We Call Music, which she made in response to my poem Cage's Cave / Cave's Cage. I installed a projector on the first landing, and projected Noe's film above the first flight of the staircase. The audience was seated on the second flight, turning the steps into theater seating. Also on view were several of her poems in a small chapbook, a hand-written letter, and a poem in the form of a cut-up word game, installed in my windowsill.

In developing Under/Up, I reflect on my previous experience in on/offline performance, and the challenges that arise within both telematic and non-computer mediated connections. There's the attempt and/or failure to capture live experience, including the attempt and/or failure to communicate a live experience to a remote audience. And then there's my own performance anxiety, which ties in with a desire to facilitate an interesting audience experience. I'm often left with a certain disappointment (although it's hard to describe what I was expecting) which results in a feeling of emptiness or disconnectedness. With Under/Up I try out different settings for on/offline performance to find out what role the process of audience, collaborator, and participant feedback plays, as well as feeding my own learning moments back into the loop.

Last November, I worked with the boundaries and overlap between on/offline within the project Is This On?, which I coordinated with Birgit Bachler for UpStage 11:11:11, an online, browser-based performance event. Over the course of three collaborative workshops and performances, we actively tried pushing physical matter onto the web stage, and vice versa. We played with the idea that the operating system which a computer user interacts with is actually a person inside the machine.

The eventual documentation of this event is a moving screen capture, a video of a flash animation on a website. What happened live in the room, the interaction between participants that wasn't revealed online, wasn't part of the online performance, nor the screen capture. Additionally, Helen Varley Jamieson, the co-creator of UpStage, mentioned that the audience really has to be present online, the specific night of the event, on the website, to watch the performances unfold according to the schedule. Viewing the screen capture isn't the same experience. You're not there, right in that moment.

This brings me to liveness, and the liveness of the live, the raw emotion of an experience. I will expand on this topic by looking briefly at Tino Sehgal's work, and a more detailed review of my participation in a workshop he guided during Sonic Acts. Throughout the thesis I will relate the conversational, experimental, learning by doing, process-based nature of the project, to Gregory Bateson's process to come to an ecology of mind. The exploratory, selfcorrective mechanisms are very much part of developing the project. Moving through thought and practice. Mostly reflecting on his Metalogues, and chapter V on Epistemology and Ecology, I will relate Sehgal's workshop to talk about similar processes in my own project: navigating around ideas, experiences, and formation of knowledge, intersubjectivity, and the learning process. As much as it's about a dialog between my collaborator and I, it's also dialog between my own gut and mind, knowing and unknowing.

Inspired by Theo Ellsworth's Capacity, IC-98's Foucault's Sleep, and Kybernetes, or mythological foundation of cybernetics, I will relate my ideas along the format of an archipelago. By approaching Ideas as Islands, I will investigate and chart the landscape and vast waters of the brain and body. I will talk about repetition, circling around ideas, revisiting ideas as a journey (Bateson, Sehgal), as if in a boat, navigating around the island, looking at the problem from different angles. How relating sequences and devising narrative structure foster relationships between subjects, bring an experience, new perspective, sedimentation, growth, an ecology of mind (Bateson).

ANNOTATIONS

Theory Content

Gregory Bateson Steps to an ecology of mind

IC-98 Foucault's Sleep: Models for a proposal

Tino Sehgal Sehgal Masterclass

Notes on Cybernetics cybernetics

Form of the essay as book

Keith A. Smith Structure of the visual book

Florike Egmond, Het Visboek, De wereld volgens Adriaen Coenen

Adriaen Coenensz., Visboeck

Portulan by Barbara Ramseier, a voyage from the mediterranean sea to the pacific ocean

Theo Ellsworth Capacity

Sophie Calle Appointment with Sigmund Freud

Emily Ward and Ian White We are behind

The Trip The Trip

Laurence Bach the Paros Dream Book

PLANNING

What I have sofar: about 700w on Bateson (intro, chapter V); 500w on Sehgal workshop; bits & pieces on Under/Up: 700w.

March 21-22 -> reread chapter V+VI Bateson, annotate

March 23-28 -> retrace development Under/Up the Stairs, add up to 1500-2000w

emails
notes from tutorial meetings
memory

March 25 -> finish report Sehgal workshop -> is this just another version of Metalogues? It is a similar set up but it's multi-player. So the ego and the way you play is of more importance than in Metalogues.

March 28 -> Aim: 2000w all together. Print & draw connections, figure out how it ties together

March 29-30 -> 700w previous practice, small descriptions and how they tie in to this

April 1-8 -> pick Bateson back up and relate back and forth to project dev txt (500 -> 1000w)

April 9 -> assess, take stock

April 18-> 4000w

May 2 -> 6000w

[NOTES]

March 1

Infographic data moves a sculptural installation / ocean wave simulation

Feb 29

Janet Zweig - great installations with printers, printed matter, books. Public art installations, sometimes interactive, or generated by the public.

Artists Books online.... resource.

Jan 23

The Empty Stage on Beckett and contemporaries
The Empty Space = at KB Den Haag info.

Danny: Dirk Raijmaker, monografie; Wavelength, film; laboratorium.

Oct 24

Magda.... Aym will fw link. How to deal with data info and relate to perf & exp writing. Perf writing program in Plymouth.

Martha Rossler -- series of postcards Bronson's reflecting on personal narrative, pan out. Pick out details of the past and trying to make sense of things, relate diff events. Correspondence being a space of fiction.

Renee: inventory. Aym: cabinet curiosity elitist.

I'm realizing the curiosity cabinet reference isn't correct. It's about the idea of such personal collections for me, the meditative space, the one-on-one relationship with experiences and people. Not the elitist posh aspect of being able to build a room like that in your castle.

Where curiosity lies and curating begins.

Lynne Heller: Simon Anderson, Concrete Poetry, Fluxus. Mail Art class I took in Chicago.

Oct 19

Steve: non-linearity, personal experience

Daan: ontwapenend

Amy's notes during presentation Oct 17

Simon: Raw and emotion approach to work. the desire for it because it's still lacking.
to write this into the description of the work.
homemade mysticism- Harry Everett Smith new york. animator. alchemical symbols. obsessive collector of ukranian easter eggs. collected folk songs. mid century. William Blake figure who saw unity in the world/universe.

(Inge) People who live close to the margin. Dip in and out of insanity, the fringes, quirky stuff. Holding balance and intention. Crossing the line. Need the ups and downs! Creativity as function of dysfunction. Control boundaries.
Quay Brothers, Philly/London. Puppet films, Streets of Crocodiles.
Anthony Storr - book on creativity.

Associative thinker <--> Analytical thinker.

Look for hidden connections. Invisible glue to hold it all together.

@@ Line 1: / Line 1: @@
+===Logbook===
+I'm keeping a logbook of my current voyage, accompanied by my friend and steersman Kybernetes. I've copied a page below.
+[[File:islandofconfirmation(sketch).jpg | 500px]]
 ===Outline===
-The written thesis is a three-tiered report on:<br/>
+My written thesis 'Steps to Under/Up the Stairs' (working title) is a three-tiered report on:<br/>
 - The project Under/Up the Stairs<br/>
 - How this project relates to my previous work<br/>
-- How Under/Up relates to theory, and work by selected artists<br/>
+- How Under/Up relates to theory, and work by selected artists and authors<br/>
-One thread of the thesis follows the development of my current project Under/Up the Stairs. This is a project and event space in staircases and stairwells coordinated in collaboration with Noe Kidder in Brooklyn, NY. The first event was the installation of a stereo sound composition, which I recorded on my stairs in Rotterdam, and installed on Noe's staircase in Brooklyn. Underneath her staircase, several of my works on paper were displayed. The second event was a screening of Noe's short film, which she made in response to my poem Cage's Cave / Cave's Cage. Also on view were several of her poems in a small chapbook, a hand-written letter, and a poem in the form of a cut-up word game, installed in my windowsill.
+One thread of the thesis follows the development of my current project [http://ihoonte.hotglue.me/underupthestairs Under/Up the Stairs]. Under/Up is a project and event space in staircases and stairwells coordinated in collaboration with Noe Kidder in Brooklyn, NY. Under/Up embraces the transitory and in-between nature of these spaces, which include the shifting boundaries between private and public, absence and presence, hiding and revealing. As such, the project explores various aspects of "networked" through analog, physical, as well as telematic presence, in the form of letters, emails, conversations, recordings, video, performance, try-outs, openings, and unexpected visitors to the space.
-We had a few responses from people who want to be involved, and we invited two people ourselves as well. The idea is that the Rotterdam node will be a host venue during the graduation show, broadcasting/hosting/screening an event live. It's very much a project that develops and falls into place as I investigate and question directions and possibilities for it. Tracking these conversations and considerations with my collaborator, as well as audience, and people connected to the PZI environment, is part of the thesis. What feels right? What's next? What makes sense? Sometimes you have to do just do things to then realize later what they meant or how they fit or didn't fit.
+The first Under/Up event was the installation of the stereo sound composition From Absence to Presence, which I recorded on my stairs in Rotterdam, and installed on Noe's staircase in Brooklyn. The audience was seated in between the speakers, causing the sound of footsteps to almost move through them as it panned from left to right. Underneath her staircase, several of my text-based works on paper were displayed. The second event was the screening of Noe's short film What We Call Music, which she made in response to my poem Cage's Cave / Cave's Cage. I installed a projector on the first landing, and projected Noe's film above the first flight of the staircase. The audience was seated on the second flight, turning the steps into theater seating. Also on view were several of her poems in a small chapbook, a hand-written letter, and a poem in the form of a cut-up word game, installed in my windowsill.
-This project partly sprung from my frustration with online performance. Earlier in the year, it seemed to make sense to head in that direction, and explore how to bring online and physical performance closer together. I partly managed to do this with the project Is This On? which I coordinated last November as part of the UpStage 11:11:11 event. I've been involved in online performance projects a few times, it doesn't make me an expert, but what often bothers me is the fact that I feel some sort of emptiness or disconnectedness. Even more than with the ephemerality of live performance, capturing the moment seems impossible. What happened online, is in some ways still an extension of our mind. It didn't exist in our bodily plane, and the experience of performing as well as experiencing entered your body in a different way. How is this emptiness similar or different to live, physical performance, with an audience and response in the room? I don't always knew who was there, the process of feedback interests me.
+In developing Under/Up, I reflect on my previous experience in on/offline performance, and the challenges that arise within both telematic and non-computer mediated connections. There's the attempt and/or failure to capture live experience, including the attempt and/or failure to communicate a live experience to a remote audience. And then there's my own performance anxiety, which ties in with a desire to facilitate an interesting audience experience. I'm often left with a certain disappointment (although it's hard to describe what I was expecting) which results in a feeling of emptiness or disconnectedness. With Under/Up I try out different settings for on/offline performance to find out what role the process of audience, collaborator, and participant feedback plays, as well as feeding my own learning moments back into the loop.
-Within this thesis and the project itself, documenting the development as well as the events themselves is incredibly challenging and important. In some ways this reminds me of the concerns of the Fluxus and Conceptual Art movements in the 60s and onward. Helen Varley Jamison, the co-creator of UpStage, mentioned that you really have to be there, on the website, to watch the performance unfold. Viewing the screen capture isn't the same experience. You're not there, right in that moment.
+Last November, I worked with the boundaries and overlap between on/offline within the project Is This On?, which I coordinated with Birgit Bachler for UpStage 11:11:11, an online, browser-based  performance event. Over the course of three collaborative workshops and performances, we actively tried pushing physical matter onto the web stage, and vice versa. We played with the idea that the operating system which a computer user interacts with is actually a person inside the machine.
-This brings me to liveness, and the liveness of the live, the raw emotion of an experience. I will expand on this topic by looking briefly at Tino Sehgal's work, and a more detailed review of my participation in a workshop he guided during Sonic Acts.
-Placing project in context: relating the conversational, experimental, learning by doing, process-based nature of the project, to Gregory Bateson's process to come to an ecology of mind. The exploratory, selfcorrective mechanisms in developing the project. The process of arriving, getting there, moving through thought and practice. Mostly reflecting on his Metalogues, and chapters V and VI on Epistemology and Crisis, I am going to talk about navigating around ideas, experiences, and formation of knowledge, the learning process, as the projects defines itself.  In some ways it's a dialog between the gut and the mind, knowing and unknowing, how ratio can prohibit one from moving forward as well as push one forward if one pushes oneself.
+The eventual documentation of this event is a moving screen capture, a video of a flash animation on a website. What happened live in the room, the interaction between participants that wasn't revealed online, wasn't part of the online performance, nor the screen capture. Additionally, Helen Varley Jamieson, the co-creator of UpStage, mentioned that the audience really has to be present online, the specific night of the event, on the website, to watch the performances unfold according to the schedule. Viewing the screen capture isn't the same experience. You're not there, right in that moment.
-Repeatedly revisiting the same ideas, from various angles and with input from my source material will bring a red thread, diverging paths leading to new insights and already acquired knowledge. I will question the term nonlinearity, as in my opinion every person has their own linearity. I will get to this by way of Joel Ryan's ideas Knowing When, a lecture on how the body and brain work together to organize the performer's objective sense of time.
+This brings me to liveness, and the liveness of the live, the raw emotion of an experience. I will expand on this topic by looking briefly at Tino Sehgal's work, and a more detailed review of my participation in a workshop he guided during Sonic Acts.
+Throughout the thesis I will relate the conversational, experimental, learning by doing, process-based nature of the project, to Gregory Bateson's process to come to an ecology of mind. The exploratory, selfcorrective mechanisms are very much part of developing the project. Moving through thought and practice. Mostly reflecting on his Metalogues, and chapter V on Epistemology and Ecology, I will relate Sehgal's workshop to talk about similar processes in my own project: navigating around ideas, experiences, and formation of knowledge, intersubjectivity, and the learning process. As much as it's about a dialog between my collaborator and I, it's also dialog between my own gut and mind, knowing and unknowing.
-Inspired by IC-98's Foucault's Sleep, I will relate my ideas along the format of an archipelago. By approaching Ideas as Islands, I will investigate and chart the landscape and vast waters of the brain and body. I will talk about repetition (Smith), circling around ideas, revisiting ideas as a journey (Bateson, Sehgal), as if in a boat, navigating around the island, looking at the problem from different angles. How relating sequences and devising narrative structure (Smith, Calle) foster relationships between subjects, bring an experience, new perspective, sedimentation, growth, an ecology of mind (Bateson). Through Bateson, I will focus on human pattern recognition, systems design, learning while doing, connecting mind and body.
+Inspired by Theo Ellsworth's Capacity, IC-98's Foucault's Sleep, and Kybernetes, or mythological foundation of cybernetics, I will relate my ideas along the format of an archipelago. By approaching Ideas as Islands, I will investigate and chart the landscape and vast waters of the brain and body. I will talk about repetition, circling around ideas, revisiting ideas as a journey (Bateson, Sehgal), as if in a boat, navigating around the island, looking at the problem from different angles. How relating sequences and devising narrative structure foster relationships between subjects, bring an experience, new perspective, sedimentation, growth, an ecology of mind (Bateson).
@@ Line 37: / Line 42: @@
 Keith A. Smith [[User:Inge Hoonte/Structure of the visual book | Structure of the visual book]]
+Florike Egmond, Het Visboek, De wereld volgens Adriaen Coenen
+Adriaen Coenensz., Visboeck
 [http://www.portulan.net/book/ Portulan] by Barbara Ramseier, a voyage from the
@@ Line 50: / Line 59: @@
 Laurence Bach [[User:Inge Hoonte/Paros Dream Book | the Paros Dream Book]]
 ===PLANNING===
@@ Line 62: / Line 70: @@
 * memory
-March 25 -> finish report Sehgal workshop
+March 25 -> finish report Sehgal workshop  -> is this just another version of Metalogues? It is a similar set up but it's multi-player. So the ego and the way you play is of more importance than in Metalogues.
 March 28 -> Aim: 2000w all together. Print & draw connections, figure out how it ties together
@@ Line 75: / Line 83: @@
 May 2 -> 6000w
+[NOTES]
+==March 1==
+[http://www.fastcodesign.com/1669126/an-infographic-sculpture-shows-ocean-waves-thousands-of-miles-away Infographic data moves a sculptural installation / ocean wave simulation]
+==Feb 29==
+[http://www.janetzweig.com/sculpture.html Janet Zweig] - great installations with printers, printed matter, books. Public art installations, sometimes interactive, or generated by the public.
+[http://www.artistsbooksonline.org/works/aisa/imageindex/1.1.1.3.xml Artists Books online].... resource.
+==Jan 23==
+[http://books.google.nl/books?id=x1b7vhq-NXEC&printsec=frontcover&dq=the+empty+stage&hl=en&sa=X&ei=HTEdT9G0Mcya-gbjoJHMCg&ved=0CDYQ6AEwAg#v=onepage&q=the%20empty%20stage&f=true The Empty Stage] on Beckett and contemporaries <br/> The Empty Space = at KB Den Haag [http://www.worldcat.org/wcpa/oclc/494212434?page=frame&url=http%3A%2F%2Fppwww.pica.nl%2Foclc_opc_link%2Foclc_opc_link.php%3FHILN%3D2%26OCLCNum%3D219997%26checksum%3D859d9bf29818eb5036ec949ff3c8204f&title=KONINKLIJKE+BIBLIOTHEEK&linktype=opac&detail=KOB%3AKONINKLIJKE+BIBLIOTHEEK%3AState+or+National+Library info].
+Danny: Dirk Raijmaker, monografie; Wavelength, film; laboratorium.
+==Oct 24==
+Magda.... Aym will fw link. How to deal with data info and relate to perf & exp writing.
+Perf writing program in Plymouth.
+Martha Rossler -- series of postcards
+Bronson's reflecting on personal narrative, pan out. Pick out details of the past and trying to make sense of things, relate diff events. Correspondence being a space of fiction.
+Renee: inventory.
+Aym: cabinet curiosity elitist.
+'''I'm realizing the curiosity cabinet reference isn't correct. It's about the idea of such personal collections for me, the meditative space, the one-on-one relationship with experiences and people. Not the elitist posh aspect of being able to build a room like that in your castle. '''
+Where curiosity lies and curating begins.
+Lynne Heller: Simon Anderson, Concrete Poetry, Fluxus. Mail Art class I took in Chicago.
+==Oct 19==
+Steve: non-linearity, personal experience
+Daan: ontwapenend
+==Amy's notes during presentation Oct 17==
+Simon: Raw and emotion approach to work. the desire for it because it's still lacking.<br/>
+to write this into the description of the work.<br/>
+homemade mysticism- Harry Everett Smith new york. animator. alchemical symbols. obsessive collector of ukranian easter eggs. collected folk songs. mid century.
+William Blake figure who saw unity in the world/universe.<br/>
+(Inge)
+People who live close to the margin. Dip in and out of insanity, the fringes, quirky stuff. Holding balance and intention. Crossing the line. Need the ups and downs! Creativity as function of dysfunction. Control boundaries. <br/>
+Quay Brothers, Philly/London. Puppet films, Streets of Crocodiles. <br/>
+Anthony Storr - book on creativity. <br/>
+Associative thinker <--> Analytical thinker.
+Look for hidden connections. Invisible glue to hold it all together.