User:Tisa/methods

Park memory on a server, to not forget. Making a log of the practice-based research.' That's what I'm trying to do now. I'm still kind of "afraid" of loosing this data. Now, in some years. When will I need it again? It's like loosing a notebook, heart shivers. What's up with backup?

Session #1 highlights:

- How hard it is to listen. "Listening is the most creative act." But here, we're not talking about music, we're contemplating the content without being able to anyhow intervene -> actually, we disable ourselves in order to hear more. People tell a lot, if they are given space. We can hear a lot, if we know how to listen.

+ Learning how to listen, group critique - the one on display has to remain silent. (They also have a representative, a person who speaks on behalf, if necessary.) Ref: Liz Lerman, Critical response process: https://lizlerman.com/critical-response-process/

Ask yourself: What kinds of writing have we done so far? How do we read and write on a day to day basis?
Tisa: language is one of the main materials for her work - likes definitions/etymologies, likes to keep conversations, makes lists, keeps soundrecordings, (essays, poetry, lyrics, performative outcome, reviews, critiques, ...) thinks about blogging as an output to motivate her

The task was: Todays task: what, how, why. Outcome 150 word text describing a piece of work you made. (X2 = 300 words) "The map is not the territory." what 50 wrds <object> how 50 wrds <method> why 50 wrds <motivation>

Here they are:

1. RIVER

What - River is an object, an artist book. A diary, written by the river itself, interspersed in 9 chapters. Loosely constructed, black duct tape is preventing it from falling apart. Each turn of the page unravels a block of hand-written text on the right, juxtaposed by a drawing, resembling the natural flow of water, peculiarly dried up and static on the left. While thumbing through the pages, the hands of the beholder get stained by the materials used.

How - From imagination into words, the personified river told her story fluently, without thinking twice, writing automatically. I didn’t have to do much, her stories have been present for centuries. Then big drawings, made out of natural materials such as charcoal, coffee grounds, soil, dirt and water were cut into equally small pieces. The wilted material opposing the fluid, ethereal subject matter. Bound together, it was put on display in a former mortuary, a place of memory.

Why - The border river Mura served as my refuge for two weeks, while I was involved in a collective process temp.tc, somewhere in between Slovenia and Austria. Bathing in its waters, observing its ever-changing states and gradually becoming aware of its past, present and future - political denotations, the shifting roles the river plays, the human-made constructs imposed onto her. She was screaming to utter, without possessing language. I became the conductor of her content.

Comments: the sentences are long - dividing them in order to flow better? writing in a specific way, almost a bit poetic. you don't use connective words (such as and & but) from 1 to 3 paragraphs it gets more simple aka. more comprehensible. could "cathegorise" more in the first paragraph, third sentence. it's rythmic. the 2nd paragraph "it's really pretty" hihi

2. A SCULPTURE MADE OUT OF FOCUS

What - A sculpture made out of focus is a proposition on how to read my performances, a thought experiment. A protocol that is being generated on the basis of my immaterial performative practice and the nevertheless tangible strength of focus, the attention flow that is generated in between the performer and the public, that I observe cautiously and experience strongly. In real-time improvisation, focus is the prime matter for sculpting. The reflection, the analysis of it is also the basis for its future developments, rearticulations in other media, the postproduction of experience that the performances generate.

How - Following a question on how to make my performances more inclusive and interactive, I responded with a fact that has always been obvious to me - the public is already included, a crucially essential part of any performative act. The public is the one that grants the performer with focus and time, creating the very possibility for the encounter between content and the subjects, subjectivities present.

Why - The world is contaminated. Visual pollution is the hypocritical, hidden and omnipresent germ. On daily basis we are confronted with the overflow of images that tend to be meaningless, or there to serve the consumerist system we are a part of. Trying to avoid the production of imagery that would worsen the visual pollution, I took the decision to divert my practice towards the performative, where consensuality is a precondition. The attention of the public is gifted to the performer, not stolen from them. Distraction is the basic tool of "the capitalist beast". I believe that the gifted, consensual attention holds a possibility to reach further into the subjective mind, suggesting and opening up perspectives, otherwise blocked by gleaming pollutants.

Comments: Proposition, thought experiment. Protocol - how it can be applied? What does it do? What can it do? What are its affordances? How to communicate it? More about protocols -> research. Have to know my code in order to understand. Frustrated, disconnected. Social class dynamic, difference in the possibility of understanding. -> anti-intellectualism? Too fancy. Not understandable enough for a non-artist or non-poet person. -> Who is the reader? People can feel excluded by the usage of the language. Vocabulary. I have a strong, sigature way of writing - how to make it not only mine? How to make people understand my code, make it more reachable? (language as a code) Ornamented, descriptive. Using two close-meaning adjectives together (crucially essential; the very possibility) Academic discourse? Precondition for understanding, cracking the code: curiosity and focus, sensibility, imagination. I need attentive readers! Complexity management (*B- Kosovel) Accessibility....

+ ARRANGE LEFTOVERS OF SESSION #1
WORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDSWORDS
- Affordance - bench. + "Affordance is what the environment offers the individual."
- veracious - honest and not telling or containing any lies. e.g: a veracious and trustworthy historian

Writing is a piece of software. Alphabet as a software that produces human language,

REFREFREFERENCESREFREFREFREFREFERENCESREFREFREFREFREFERENCESREFREFREFREFREFERENCESREFREFREFREFREFERENCESREFREFREFREFREFERENCESREFREF
Movie: Demolition: https://www.youtube.com/watch?v=3UnSXelOJo0
Book: Kenneth Goldsmith, Uncreative Writing: https://cup.columbia.edu/book/uncreative-writing/9780231149907

WHAT I READ? WHAT I READ? WHAT I READ? WHAT I READ? WHAT I READ? WHAT I READ? WHAT I READ? WHAT I READ? WHAT I READ? WHAT I READ?

EXERCISESEXERCISESEXERCISESEXERCISESEXERCISESEXERCISESEXERCISESEXERCISESEXERCISESEXERCISESEXERCISESEXERCISESEXERCISESEXERCISES
- changing pronouns, writing in the third person. - Writing for a "naive subject", aka. the sister. - Scheduling writing into the everyday.

COMING UP:

SESSION #2 Notation, annotation.

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Texts currently under construction: - [temp.tc] -

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Topics for future writing:

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Things to do research on: PROTOCOLS SPECULATION

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