constructing a real-time research log

annotations of references available here

recording my presentations and tutorials > partial transcription & analysis

&options for exporting auto generated subtitles

reading strategies

annotation
summary
own thoughts
intertextual links

gathering data

See data here.

language

scripts/compositions/exercises
publications: fiction (poetry, stories), essays, theory
interview, phone call, letter (w/practitioners, theoreticians, believers)

performance

sound (vocal)
theatre
sound walks (app Echoes)

hardware tools

meant to capture/represent flow

Headphone microphone (to record conversations on walks+field recordings)
Pedal camera (to capture the everyday of flow, can also be used during CSS)
3D print gyro (micro-macro, tracking movement - flow of performance (material = focus, movement is tool of gathering it), flow of daily movements)
mirror headset (paradox of sensibility)
smthing with brainwaves

tech

archiving (setting up a taxonomisation of gathered data) > archiving research + archiving practice
(analysis (a tool that computes for me, can offer insight that could not otherwise be))
(even: (machine learning) prediction, construction of artificial flow)

w/others

events (dinners, gatherings)
workshop (CSS - composing sensibility sessions)
Who cares?
The death of the author
discussions
readings

observation

habitus

Observing the movements that people make subconsciously, habitually.

When we are consumed in an action that takes all of our attention ("processing power"), we do not think of the gestures we make, the focus is primarily on the task being done, sometimes not even that. The "empty gaze" is often perceivable, mind can be elsewhere: mechanical movement of human bodies.

For example: people moving a heavy ladder, folding a bed-sheet, technicians setting up lights, a musician arranging gear, a cook cutting vegetables, a cashier handling the groceries.

Performative elements that I am interested in: the replica of these gestures without objects (folding, scanning especially) on stage or on video (in the video objects are edited out (green screen bed-sheet?)).

ref: Mann (psychotechniques), Stanislavsky (psychophysical techniques)

questions

own questions

research and practice interest articulated in a set of questions
being interviewed by myself/others (monthly practice, repeating questions)

queering damage questions

&add reference

what is going on here?
which are the agents implied? alive or not, human or not, powerful or powerless
wheres? spatiality / situatedness / displacements / distribution
whens? temporality / durability / existing / extinct / repeated
semiotic-materialities: what signs and matters are at work in this ensemble?
your entanglement with the scene
can a pattern be identified here? to what extent is this damage structural, or singular?

&answer

Aymeric's questions

are you planning for an individual work or a collaboration (as in with another XPUB2)?
what are the theories, concepts, frameworks you would like to engage with during the second years? (less is more)
what are the practices, techniques you would like to focus on? (same)
how do the last two relate to, inform, complement, or conflict with each other in a meaningful way?
what is the issue you want to deal with (and/or damage, check again the queering damage questions, try answering them)
what is the preferred medium or the media you are inclined to use next year?
what kind of public do you intend to create?
why is it relevant? (maybe overlapping, duplicate with the queering damage questions)