Joana's Thesis Outline
Introduction
My research project explores compositional processes in graphic design and dance performance. By investigating diverse graphic design methods, and selection of post-modern choreographic approaches, I aim to research what performative qualities could be implemented and explored in design. And what powers of invention or transformation it sets free.
My interest in choreography comes from my dance background, beginning with classical ballet, at the age of five, and later extending to contemporary dance. The primacy of movement and concepts of spatial representation and perception, rhythm and flow have been emerging and influencing my thoughts on designing design. Turning the question is Could I choreograph design?
Both Graphic Design and Performance pieces are a product of a process, by which general rules and concepts are represented by means of abstract structures. When simultaneously looking at both disciplines, it is possible to to draw a parallel between its different methodologies. For instance when describing a design piece as well as a dance choreography, both mathematics (geometry) and linguistics are commonly used at communicating the position of elements, properties of space, and time attributes. There are nonetheless other variables used in choreographic techniques, which could be explored while designing, being a deeper consciousness of a presence of the body (embodiment), being temporally present, spatially aware, considering ephemerality and improvisation techniques as integral aspect of designing.
During my experiments and reflection upon the subject matter, I will be investigating on the concepts of phenomenology, movement perception and virtuality in both dance and design. My two main sources under these topics are the dancer and photographer Maxine Sheets-Johnstone and the media theorist Brian Massumi. I will be referencing texts from Sher Doruff, Geoff Cox and McLean which raise theoretical and practical questions on creative processes and mediated performance practice. My most specifically related reference to communication design is the typographer Karl Gestner. Author of a collection of essays "Designing Programmes”, a new method and approach to design, similar to computational systems, a design based on a set of conditions.
Under the ideas mentioned above, I will procede with experiments on translations from dance into the design practice. as part of the method/LOGIC of (composing/defining) designing - Design with performative caracter because the unfolding of a possibility / situation / phenomenon.
I believe processes in design can learn from processes in performance, challenging the conventional design thinking. This cross-referencing system opens the possibility to unveil new aesthetic, energetic and social dimensions of design production processes.
Chapters Structure
Preface
Abstract
Introduction
1.
The common structures:
COMPOSTION (time and space): Design and Performance rely on decisions of how to organize and distribute elements in space, how these elements relate to each other and how they inherently set a specific rhythm and flow, which is then perceived in the moment which is accessed/performed.
Eg.: (from inventory)
The common languages:
The choreographic scores developed by these different dance performers to communicate movement, use an extensive use of language such as - graphic / numeric / alphabetic complex systems. = Design Language/Tools/ Methods. An exercise of code and decoding, writers (designers/ programmers/ choreographers) and readers (public /computer programs/ dancers)
Eg.: (from inventory)
2. How to translate performativity into design?
A new hybrid form
With the current hybridized status of design, embedded in a technologic and socio-economic ever-changing stability conditions, is it still possible to discuss about static/fixed elements? When fluidity is taking a major role in design practices, how can these aspects become subject of discussion in first place?
- design as … conditions / an event or phenomena
PERFORMANCE > DESIGN
The project currently exists of a series of experiments that try to translate the First in a direct, linear way, divided in five categories: embodiment, ephemerality, improvisation and movement. As the process continues I hope the categories and experiment merge into one single piece, depends on the conclusions I will take out of theory and experimental based information.
1. Embodiment (spatial consciousness)
2. Ephemereality: 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 and evoque the intensities of spaces. In this way ephemerality becomes key, as well as its transformative effects that persist afterwards.
3. improvisation and determinism
4. on movement (virtual / actual)
3. From process to expression (form/outcomes)
Eventness - Space and Time values - http://pzwart1.wdka.hro.nl/~jo/notebook/series/series_thinkinginaction.html - hyper - linking?
Default Dimensions or the Pre-history of Space. "Starting in the middle", as Deleuze defines an "event" that happens in the present which means in the middle of past and future.
Conclusions
Keywords
Fluid or hybrid compositional processes / forms / tools / methodologies or fundamentals? Performativity / transdisciplinarity / cross-modal fusion? Dynamic unfolding of the here and now? Ephemerality Virtuality/ potentiality? or Intangibility?