Proposal-draft

Introduction

“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 reactionary 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 territory that enables movement as something that keeps everything in its place, it is movement itself.” Reading / Feeling - If I Can’t Dance Archives.

in one sentence (s):

NOWhere. How long is now? and were here ends? Olafur Eliasson

What is the role of physicality and movement in the information society?

Movement. what else? (the illusion of having static elements)

Movement. What powers of invention or transformation does it set free?

Choreographic Languages

What do we mean by “to choreograph”?

Qualities of movement:

- http://www.laban-analyses.org/laban_analysis_reviews/laban_analysis_notation/overview/summary.htm - https://en.wikipedia.org/wiki/Laban_Movement_Analysis _

physical narration: The responsibility of telling the story lies with the choreographer. http://www.humankinetics.com/excerpts/excerpts/quality-of-movement---emotions

Objects (in) Space (in) Time.

- OBJECTS - bodies.

- SPACE - physical & digital. virtual too?

- TIME - different rythms.

Movement follows time and happens in space.

We live in times of extensive technological acceleration and revolutionary transformations in media platforms, a data-driven society that is continually sparking new forms of human interaction and social contexts.

The project I hearby propose is process oriented, and based on the creation of moments of (critical) reflection concerning our embodiment in different space circunstances.

This way, by looking at different references, to deeper understanding the potentiality of choreographic methods, what are the bridges to establish between physical and digital models of mobilizing language, and consequently the body response in space.

“Performance’s being becomes itself through disappearing” - Peggy Phelan

I would start experimenting and research how different spaces, (digital and physical) produce time. By making use of a choreographic approach (methods for triggering movement), I aim to understand how one can perceive time within various spatial qualities and/or elements that can be placed in both the digital and physical realm.

Highlighting Time - Ephemerality

As for this, and in this early stage of development, I intend to create a series of environments, structured by different time values. Following and challenging my previous experiments which aimed to enhance the performative qualities of being temporally present, spatially present: I now would like to continue to reflect upon the difference between discrete definition and one's actual perception of those same time values. In this way ephemerality of performance becomes key, as well as its transformative effects that persist afterwards.

As an overall approach, I am willing to engage in an empirical method and find a balance between practical experiments and theoretical work. Parallel to this I would also like to contact experts and practicioners on areas - as such as multimedia performance, human space perception, computational creativity and software studies, for further comprehension and better research outcomes.

In the end I envision a hybrid scenery, the outcome as a multimedia set up, a collection of materials from the process that go back to the first question raised.

As the performative character of my work may raise questions of documentation, I will consider to develop a platform next to the project to best support it. (Hybrid publishing / Print & Digital.)

continuation

Performance

“performativity is derived, of course, from ‘perform’, the usual verb with the noun ‘action’: it indicates that the issuing of the utterance is the performance of an action – it is not normally thought of as just saying something.” — Austin, J. L. (1975), How to do things with Words, UK: Harvard University press, 2nd edition, p6-7 *2 Derrida, J. (1977), Signature

-Performance = language /communication.

-Performance = factor for social harmonization and cohesion.

-Performance = hybridization of the body and technologies in a both real and speculative approach.

Choreography

= something, such as a series of planned situations, likened to dance arrangements. (from The American Heritage® Dictionary of the English Language, 4th Edition)

= the representation of these movements by a series of symbols.

= the notation used to construct this record. (from Wiktionary, Creative Commons Attribution/Share-Alike License)

= the art of composing dances for individuals or groups, including the planning of the movements and steps;

= the planning and coordination of activities for an event, especially one to be held in public. (from the GNU version of the Collaborative International Dictionary of English.)

Variables important to consider:

individual/collective

author/spectator

active/passive (participation)

digital/ physical

determinism / chance and randomness (to give room for the unexpected, where anything can potentially happen.)

culture and historicity of dance rituals.

Positioning performance practice, about dance history, post-moderninsm:

The problem is we keep staring at the past 50 years

to try and reassure ourselves what we’re doing is new,

and we forget we have this thing called a body

which hasn’t changed much in the last 150,000 years,

which is a pretty special place from which to resist all this,

And anyway the cult of the new drives uncontrolled consumerism

which is one thing we should and can be resisting.

And everything is new at the point of performance if you want it to be.

(...)

And as Jérôme Bel says,

YouTube has become our first library,

which changes everything but we don’t really know how yet.

And the future is virtual and also not virtual.

(...)

And a younger generation has arrived out of all this

and invented their own means of distribution,

collectively, below the market, beyond consensus,

socially active,

intelligent with institutions,

refusing the iconic

and post-nothing at all but only present,

because they had to.

(...)

We’re always almost somewhere and the best pieces never quite arrive

leaving us thinking ahead to what might happen next.

Leaving us thinking ahead to what might happen next

and never more than in a 4 hour performance,

or a 24 hour performance

(because why would you want less?),

or a 24 minute performance.

And we’re always almost somewhere slowly

and the best pieces never quite arrive

but remain imminent,

which is where I’ll leave you,

just here,

beautifully critical but passing through,

here today and gone tomorrow.

Thank you.

With grateful thanks to Ramsay Burt, Katye Coe, Mette Edvardson, Sue MacLaine and Chrysa Parkinson for help and advice on the subtleties of it all.

© Jonathan Burrows 2015

at http://www.movementresearch.org/criticalcorrespondence/blog/?p=10242

Thesis intention

WHY, Joana?

relevant (speculative realism / accelerationism / anthropocene / extreme capitalism) - ethics

embodiment / consciousness / awareness - ideology (phenomenology)

personal (design and performance)

"Deleuzian terms as capacity to transform situation, I think it’s more than appropriate to present the ideas of theatre historian - Erika Fisher‑Lichte. She writes about the Performative turn of the 1960’s and breaks down this phenomenon into its components to explore its transformative and interactive powers. She explains that live performance is shaped by interaction between performer and spectator, where anything can happen."Fisher‑Lichte, E. (2008), The Transformative Power of Performance: A New Aesthetics, UK: Routledge, p136

"Constantly re‑ inventing, bringing ideas and actions together, contributing to the being‑ together web of relations; to Deleuzian assamblage. Deleuze’s interest can be found in bodily capacity to make us think of the unthought. Moreover bodies have active power to affect and also passive power to be affected." Deleuze, G. (1989), Cinema 2: The Time‑Image, USA: University of Minnesota Press

‘By using the term embodied we mean to highlight two points: first that cognition depends upon the kinds of experience that come from having a body with various sensorimotor capacities, and second, that these individual sensorimotor capacities are themselves embedded in a more encompassing biological, psychological and cultural context.’ _ Eleanor Rosch

Movement (of the body) is one of the central concepts in my research, as being something that defines how human beings relate and perceive the world, how they access information, and process it. If communication stands for the transmission of knowledge, indicated as “the transition from one point to the next”, that is as one “directional destination” to the next (at wikipedia), than the concept of movement is intrinsically connected. The question is which role do we play in this constant movement? How oneself is made conscious of the different aspects we are surrounded by.

In regards to movement of the body, one of my main references is Alva Noë, one of the theorists that inspired the EEC programme - Embodied Embedded Cognition. Noë investigates the structures of experience and consciousness (phenomenology); Presenting experience as the "basis of accessibility", allowing humans into "achieving access to the environment".

In an interview with Marlon Barrios Solano, part of the Embodied Techne Series (2012), Noë discusses "Dance As A Way Of Knowing". He explores the idea that human consciousness is something we enact or achieve, in motion, as a way of being part of a larger process. Motion as "sensory motor understanding is what brings the world into focus for consciousness." Noë highlights the fact that motion relies on a "temporally extended involvement", which enhances sensorial perception and consequently produces sensorial change: "transformations that happens in you while you go across the process; what is that transformation? Is understanding, is seeing connections, is knowing your way around." Presenting dance as a way to enact experience, thinking in motion - "dance in a sense of performance is an enactment or modeling of this fundamental fact about the world around us, which we dynamically interact with.".

In dance, along with similar kinesthetic experiences, the human body reaches an intense sensorial perceptual experience, composed of information from many places in the body, finding the need to have an understanding of/control over of sensory consequences of their own movement. It can be seen either as personal, depending on the case- collective, confrontation - creating great awareness.

Maxine Sheets-Johnstone, started her career as dancer/choreographer, and is now an independent scholar, philosopher, which part of her research focus on the primacy of movement in perception and our fundamental understanding of aliveness. Sheets-Johnstone defines movement as the foundation of Being and consciousness by ‘‘articulating a metaphysics true to the dynamic nature of the world and to the foundational animated nature of life’’. According to Sheets-Johnstone, ‘‘movement is our mother tongue’’ as we make sense of our own bodies and understand the world. As we move, we discover a sense of aliveness and of being grounded in movement. Movement is the source of our senses,in space and time, subjectively in ‘‘felt time’’. Sheets-Johnstone shows uslife as movement, sensing as motion, interaction, imagining and meaning-making as action. at https://www.academia.edu/5207361/Maxine_Sheets-Johnstone_The_Primacy_of_Movement

The question concerning corporeity connects also with Merleau-Ponty's reflections on space (l'espace) and the primacy of the dimension of depth (la profondeur) as implied in the notion of being in the world (être au monde; to echo Heidegger's In-der-Welt-sein) and of one's own body (le corps propre).

Another reference on sense experience and human perception is Brian Massumi's reflection on Feeling, Emotion and Affect on his book Parables of the Virtual, Movement, Affect, Sensation. “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.

"One night not long ago, I dreamt I was explained the main difference between classical physics and quantum physics. It became perfectly clear to me that where classical physics is deterministic and assumes that the world is constant, ruled by the same laws on all levels, quantum physics looks at statistical, normative movements. In quantum physics there is not one standard way for an object to behave. The state of the phenomenon one wants to observe, take light as an example, can only be determined in the instance it is being observed: Light can be both wave and particle simultaneously. I recognized that in order to explain a single phenomenon, one needs two mutually exclusive theories." http://www.toriljohannessen.no/Nonlocality_page7.html

"The absence of an empirically identifiable meeting point between the non-physical mind and its physical exten- sion has proven problematic to dualism and many modern philosophers of mind maintain that the mind is not some- thing separate from the body.[8] These approaches have been particularly influential in the sciences, particularly in the fields of sociobiology, computer science, evolutionary psychology, and the neurosciences." at https://en.wikipedia.org/wiki/Mind–body_problem

In different disciplines, motion has been the main caracter for developing theories around the most intrinsic questions of humanity. In physics, motion is a change in position of an object with respect to time. Motion is typically described in terms of displacement, distance (scalar), velocity, acceleration, time and speed. Motion of a body is observed by attaching a frame of reference to an observer and measuring the change in position of the body relative to that frame n If the position of a body is not changing with the time with respect to a given frame of reference the body is said to be at rest, motionless, immobile, stationary, or to have constant (time-invariant) position. An object's motion cannot change unless it is acted upon by a force, as described by Newton's first law. Momentum is a quantity which is used for measuring motion of an object. An object's momentum is directly related to the object's mass and velocity, and the total momentum of all objects in an isolated system (one not affected by external forces) does not change with time, as described by the law of conservation of momentum.

As there is no absolute frame of reference, absolute motion cannot be determined Thus, everything in the universe can be considered to be moving.at wikipedia.

The concept of motion is also inherently connected to the development of communication technologies and by the introduction of cybernetic systems, embracing both human and non human entities into a a network of interactions. Arriving at last to the realm of contemporary philosophy, specifically the speculative realism movement, an object-oriented philosophy which arises from what Graham Harman determines to be a core fallacy in contemporary metaphysics, that the “root duality of the universe is not made up of subject and object [….], but of objects and relations.

/ / / / / // / / / / / \ \ \ \ \ \ \ \\ \ \ \

Relation to previous practice

My interest in motion follows my performance practice, in which movement is presented as basis for the interrelation between brain - body - world, and consequently the gateway to achieve knowledge. From subliminal to more explicit approach, movement is often set under strict guidelines, both inside and outside the realm of performance.

My previous studies on graphic design and overall interest in different communication systems, made me start following a research on on choreographic scores, a particular system which stands for "writing movement". Choreographic language follows diverse structures, that enable composition and trigger action. There are multiple forms for representing it, from graphic,to linguistic, or geometrical; relying on imagery, sound, and so on. Either ways, meaning is created.

I am interested in choreographic scores as existing in themselves as notation systems, and also in its performative state.

TRIM1 - choreography as writing (/communicating) movement

For this project I created a new choreography piece, based on found material from ancient Geranos Dance: a series of drawings part of the François vase (6th century BC), and a written description by Pollux, a Greek lexicographer from the 2nd century AD.

I am interested in the multiple ways of communicating movement , and used different language systems to write the same choreographic piece: written words together with a geometrical and graphical representation; The geometric module served then as basis for a pattern, the ultimate abstraction of the piece, readable and understood by those who share the same code. In this project I only explored choreography as means for writing movement, leaving the actual side of performing it apart.

TRIM 2 - choreography as an object in space

For the Photobook Project, I created a sculptural piece, a continual physical surface for the user to relate with. This way, I had positioned the viewer/spectator as the performer, proposing a tighter relation between communication artifact/interface and perceiver. The piece built for this project also acknkowledged a reflection on accessibility and wayfinding experiences through built environments. This "human-environment interaction" creates a parallel towards how people behave, react to spacial elements and structures, either in regards to analogue or digital medias. In this case, the process of "wayfinding", getting acquainted with the piece by means of following very concrete physical attributes, aims to point to the same patterns in the realm of publishing.

TRIM 3 - choreography as multiple interventions in space

In this seminar I researched different choreographic approaches in the realm of performance and art, and selected three: Chance Operations, by Merce Cunningham; Wall-Floor Positions, a video piece by Bruce Nauman and Sticks, part of a series of interventions on public spaces and later integrated in museum spaces, by Trisha Brown. I chose these for being very diverse techniques of generating choreographic scores and consequently having a very different effect on the way people may be able to interpret it and perform it. The first one by Cunningham was presented similar to a game structure, in which short instructions would be chosen by chance, and would serve as navigational instruments; a sequence of actions which played with re-orientation and trajectory in space. The second inspired by Bruce Nauman video art piece, aimed for a sort of solo improvisation, in which people would lean to the wall and draw an outline of their body with chalk. This way the traces of the moment remain in space. At last, Trisha Brown's re-interpretation was done by using sticks as an external body into the choreography which was simply driven by the act of walking. Contrary to the previous one, this could be seen as a collective improvisation, in which body acts as the main common language.

My interest on spatial procedures and the architecture of movement happens both in physical spaces so well into digital spaces. In between trimesters, I have also been doing small prototypes, towards an experimental use of programming tools, for this, I developed a series of webpages in which a reflection on the time (duration) and space (web interface) is raised.

Relation to a larger context

- Minimalism;

- Conceptual Art;

- Fluxus;

- "Instructions" avant gard movement;

- Happenings;

- Neo-concrete;

- Gutai;

- Lettrism;

- Video and installation art from the 70's;

As part of my theoretical research I have been investigating on different philosophical strands that focus on experience, such as empiricism, a fundamental philosophical position that claims all knowledge arrives directly from sense experience; and most lately phenomenology the study of our experience — how we experience.

As for the study of how different disciplines deal with experience, I have been looking at the fluxus group and the "instructions" avant gard movement, happenings, conceptual art, minimalism, video and installation art from the 70's until now, as well as performance art, and choreography in dance. It is of my interest how in these practices the role of the body in human experience and perception is emphasized, the techniques and technologies applied.

Practical steps

Method

1. First Prototyping Experiments, answer this questions:

Q. What elements set rythm in space?

A.

1. Geometry : coordenation of visual elements - Language - graphic / numeric / alphabetic. the mathematics behind bezier curves, in order to be able to calculate their lengths, bounding boxes, intersections, unions, etc.

1.1 Static visual elements.

1.2. Moving visual elements.

> consider: Composition (mapping/ placing - accessibilitiy) and Chance (randomness).

2. Sound

Q. How actions follow time in space?

A.

> web - experiences that makes more tangible the notion of time. ANTI- performance? negative of performance (stop/pause)

Q. How individuals and/or collectives perform under the same guidelines in both digital and physical spaces. Is there a clear distinction or is the line between both realities an "illusion"?

A.

> individual vs collective experiences.

"Nothing ever exists outside of the power and power is always relation. She wrote about identity which is a process of construction, a consequence of historical and behavioral norms within larger social contexts."Butler, J. (1990), Gender Trouble, UK: Routledge"

2. Theoretical research:

2.1 time history/ different conceptions;

2.2 virtual space (s) / cyborgs;

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 (choreographic objects) http://www.enoughroomforspace.org/?news=performing-objects-brussels-art-days (choreographic objects) http://uva.co.uk/work (visual art and performance) 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 http://www.corpusweb.net/after-dance.html

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

POSTMODERN DANCE

"is only a term that addresses what people are doing now (at that moment)": https://www.youtube.com/watch?v=IHtSUQ-3FnI

The 1960s and '70s saw an analytic exploration of pure dance by the first generation of post-modern choreographers, such as Yvonne Rainer, Steve Paxton, Trisha Brown, David Gordon, and Lucinda Childs. In the 1980s, a new choreographic impulse burst through this formal austerity. Dancers began to wrestle and juggle, dance to pop music and poetry, tell stories, play characters, wear elegant or outrageous costumes

https://en.wikipedia.org/wiki/History_of_dance

Does dance makes a difference? Anna Halprin Workshop for Movement Research / NYC

"- mind informs the body; body informs mind."

https://www.youtube.com/watch?v=e2diNM6EAc0 - impact. http://tamalpa.org

_

Action to Surface by Tereza Rullerova.

Performance Art: Life of the Archive and Topicality.

http://www.salazarsutil.net/ -

?further readings::::

http://occasionalpapersshop.tictail.com/product/the-artist-as-instigator

http://www.sternberg-press.com/index.php?pageId=1514&l=en&bookId=408&sort=year (Chantal Pontbriand (Ed.) Per/Form How to Do Things with[out] Words) http://www.sternberg-press.com/index.php?pageId=1601&l=en&bookId=495&sort=year (Mathilde ter HeijnePerforming Change) http://www.mottodistribution.com/site/?p=35486 (THE VISUAL EVENT : An Education In Appearance. OLIVER KLIMPEL (ed.). SPECTOR BOOKS.) http://www.booksonthemove.eu/en/shop/books/english-books/?tx_commerce_pi1%5BshowUid%5D=2259&cHash=67d7697a2f http://networkcultures.org/blog/publication/no-05-spatial-aesthetics-art-place-and-the-everyday-nikos-papastergiadis/ http://www.temple.edu/tempress/titles/748_reg.html (The Roots of Thinking - Maxine Sheets-Johnstone) http://www.temple.edu/tempress/titles/2368_reg.html (Phenomenology of Dance - Maxine Sheets-Johnstone) https://mitpress.mit.edu/books/motion-and-representation (Technology and Motion Representation) http://realdancecompany.org/writing.html

a list: http://www.independentdance.co.uk/wp-content/uploads/2014/12/Gill-Clarke-Embodied-Library-selection-13-Dec-2014.pdf

https://www.bookdepository.com/Body-Space-Image-Miranda-Tufnell/9781852730413 (a narrative of discovery that sets the mind loose from the rut of everyday perception. From a starting point in movement, improvisation is extended to include groups working together and the physical setting of performance - space, light , sound, objects...)

https://www.bookdepository.com/Human-Movement-Potential-Lulu-Sweigard/9781626549449 (medical approach) http://www.palgrave.com/page/detail/the-body-dance-and-cultural-theory-helen-thomas/?K=9780333724323 (dance as a social and artistic (bodily) practice as a means of generating insights into the politics of identity and difference as they are situated...) _____

DESIGN (type/graphic)

http://juerglehni.com/ Compression by Abstraction: A Conversation About Vectors: http://rhizome.org/editorial/2013/jul/30/compression-abstraction/

____

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 (http://acconci.com/movable-floor-1979-2004/) La Monte Young - Sobre El Minimalismo - Composicion 1960 #7 https://www.youtube.com/watch?v=P9xyT_b6ngA 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. Blaeuer, D. M. (2010), An Ecology of Performance: Gregory Bateson’s Cybernetic Performance, USA: University of South Florida (In the book, Ecology of Mind, Gregory Bateson explained actions in terms of being performative within the complex system which they are part of. 13 I understand this system as human interactions, relations and reactions to patterns. Bateson’s patterns are acts of human perception and respond to the world which is in the process of constant change - a flow of life. <) ‘History’ of Search Engines: Mapping Technologies of Memory, Learning, and Discovery ¬ Richard Graham

"Art and Language" exhibition at MacBa.

http://www.tandfonline.com/toc/rdis20/15/2 (ask Steve help to access! <)

PHENOMENOLOGY

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

http://sensatejournal.com

SPACE

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

_______________________________________________________

It was also important for me to visit If I CAN'T DANCE archives, for introducing me to contemporary art initiatives dealing with the concepts of performance and performativity. Some recent and relevant field trips, may include the Tino Sehgal at Stedelijk Museum, Cool Britannia - Het Nationale Ballet | Dutch National Ballet, the performance/exhibition from Anne Theresa at Wiels, the video art exhibition "Dancing Light / Let it move you" at Huis Marseille and a "Art and Language" exhibition at MacBa. Besides assisting a few performances, a workshop with Simone Forti's team was very useful as to better support my recent projects and deepen my knowledge on my exisitng interest towards choreographic methods and its further pratical use under performance. On a weekly basis I attend ballet and modern/improvisation dance classes at Dansateliers in Rotterdam.

next move: http://ospublish.constantvzw.org/blog/news/inscriptions-for-up-pen-down-huppe-plume-tonne-open-now