Proposal-draft: Difference between revisions

Revision as of 15:37, 23 September 2015

Tentative Title

A general introduction laying out your plan for your final project.

The idea is to follow a research and series of experiments on Objects (in) Movement (in) Space (in) Time.

Transformative Time & Space Dimensions

- OBJECTS - bodies.

- SPACE - physical & virtual. Terra incognita, to explore.

- TIME - different rythms.

In the end, I hope to understand for my future practice how to best incorporate the coexistence of Performativity and Graphic design.

/ / / / / // / / / / /

/ experience - perception - phenomenology /

\ ChoreoGraphy / - writing movement, HOW? (go to first prototyping experiments)

/ Composition (mapping/ placing - accessiblitiy) / Chance (randomness) /

/ Action / Eventness /

\ \ \ \ \ \ \ \\ \ \ \

“For Massumi, affect is precisely a matter of how intensities come together, move each other, and transform and translate under and beyond meaning, semantics and fixed systems/cognitions. Part of the assumption here is that, even in the most reactionay circumstances, nothing happens if affective intensity has not already paid us a visit. This refines our understanding of why territory - spatial and temporal - is always “existential territory“. It has as much a territorry that enables movement as something that keeps everything in its place, it is movement itself.” Reading / Feeling - If I Can’t Dance Archives.

Relation to previous practice

What happens if Performance and Communication Design collide?

Relation to a larger context

- Minimalism;

- Conceptual Art;

- Fluxus;

- "Instructions" avant gard movement;

- Happenings;

- Lettrism;

- Video and installation art from the 70's;

Thesis intention

Practical steps

Method

1. First Prototyping Experiments:

1.1 Geometry : coordenation of visual elements - graphics.

1.2 Language - type;

1.3 Moving Images;

1.4 Sound;

1.5 Performance;

1.6 Scenography;

2. Theoretical research:

2.1 time history/ different conceptions;

2.2 virtual space (s);

3. How to organize and display the outcome? - hybrid publishing / Print & Digital.

TOOLS:

- web desinginig; programming languages; computational creativity tools; other software.

- also considering: (moving) images - type/graphics; sound; multimedia installation; performance.

A list of references

(Remember that dictionaries, encyclopedias and wikipedia are not references to be listed. These are starting points which should lead to more substantial texts and practices.) As with your previous essays, the references need to be formatted according to the Harvard method.) See: http://pzwart3.wdka.hro.nl/wiki/A_Guide_to_Essay_Writing#The_Harvard_System_of_referencing

ON PERFORMANCE // CHOREOGRAPHY

http://www.booksonthemove.eu/en/shop/books/english-books/ (readings < ) http://sarma.be/oralsite/pages/Strata/ (documentation / dance archive) http://apass.be/artistic-reseach-center/archive/ (documentation / dance archive) motionbank.org (documentation / dance archive) http://www.ubu.com/dance/index.html (historical references/ dance archive) http://www.disjointedarts.com/home_xo/ressssssearches (postchoreography ?) http://wellcomecollection.org/whats-on/exhibitions/thinking-with-the-body/?video=4 (Thinking with the body: Mind and Movement by Wayne McGregor / Random Dance) William Forsythe (choreographics objet) On Scores, Notation and the Trace in Dance, by Myriam Van Imschoot MOVING WITHOUT a BODY by Stamatia Portanova (book) Isabel Maria de Cavadas Valverde in INTERFACES DANCE-TECHNOLOGY: a theoretical framework for performance in the digital domain (dance-technology thesis) Hetty Blades on Creative Computing and the Re-Configuration of Dance Ontology

Tino Sehgal at Tate Modern : https://vimeo.com/54314537

I CAN'T DANCE archives

exhibition from Anne Theresa at Wiels exhibition "Dancing Light / Let it move you" at Huis Marseille

ART MOVEMENTS

https://en.wikipedia.org/wiki/Lettrism (time-based media works < check ) http://www.walkerart.org/collections/publications/performativity/

Briony Fer in the book The infinite line (geometry and conceptual artists)

ARTISTS

Sol Lewitt Vito Acconci Henri Chopin; Guy de Cointet and Channa Horwtizt: Signs,Rules, Processes - Indetermination and deconstruction. http://www.marcellealix.com/artistes/oeuvres/1743/marie-cool-fabio-balducci http://www.collectivemagpie.org/work/

THEORISTS (on language/ media)

Method by Dick Raaijmakers Deleuze and Guatari Umberto Eco Guy de Cointet Lev Manovich, Database as a Symbolic Form. Meta-communication, by Gregory Bateson to refer to "communication about communication" "Mind, Nature, and Consciousness: Gregory Bateson and the New Paradigm. ‘History’ of Search Engines: Mapping Technologies of Memory, Learning, and Discovery ¬ Richard Graham

"Art and Language" exhibition at MacBa.

PHENOMENOLOGY

Brian Massumi's reflection on Feeling, Emotion and Affect on his book Parables of the Virtual, Movement, Affect, Sensation. Interview with Marlon Barrios Solano, part of the Embodied Techne Series (2012), Alva Noë discusses "Dance As A Way Of Knowing" Phemenology of Perception - Merleau Ponty Eric Shouse, “Feeling, Emotion, Affect”, MC Journal, Vol. 8, No. 6 (December 2005), http://journal.media-culture.org.au/0512/03-shouse.php

SPACE

Pattern: Ornament, Structure and Behavior, by Andrea Gleiniger and Georg Vrachliotis

@@ Line 5: / Line 5: @@
-The idea is to follow a research and series of experiments on Bodies/Objects (in) Movement (in) Space (in) Time.
+The idea is to follow a research and series of experiments on Objects (in) Movement (in) Space (in) Time.
 Transformative Time & Space Dimensions
+- OBJECTS - bodies.
+- SPACE - physical & virtual. Terra incognita, to explore.
+- TIME - different rythms.
 In the end, I hope to understand for my future practice how to best incorporate the coexistence of Performativity and Graphic design.
@@ Line 27: / Line 34: @@
 <small>“For Massumi, affect is precisely a matter of how intensities come together, move each other, and transform and translate under and beyond meaning, semantics and fixed systems/cognitions. Part of the assumption here is that, even in the most reactionay circumstances, nothing happens if affective intensity has not already paid us a visit. This refines our understanding of why territory - spatial and temporal - is always “existential territory“. It has as much a territorry that enables movement as something that keeps everything in its place, it is movement itself.” Reading / Feeling - If I Can’t Dance Archives. </small>
-SPACE - physical & virtual. Terra incognita, to explore.
-TIME - different rythms.
@@ Line 82: / Line 86: @@
 .2 virtual space (s);
 . How to organize and display the outcome? - hybrid publishing / Print & Digital.