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):

I would like to experiment 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.

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.

In the end I envision a hybrid scenery, multimedia set up, with a performative caracter.

As performance often raises questions of documentation, I may consider to develop a platform next to the project to best support it.(Hybrid publishing / Print & Digital.)

continuation

“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

Objects (in) Space (in) Time.

- OBJECTS - bodies.

- SPACE - physical & digital. virtual too?

- TIME - different rythms.

Movement follow time and happens in space.

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

My interest in motion follows my performance practice, in which movement is presented as basis for the interrelation between brain - body - world, and the consequently the gateway to access knowledge. 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."

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.

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.

My curiosity towards the complexity of choreographic systems, ...

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

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

Relation to previous practice

My interest on choreographic languages relies on the incredibly rich communication system behind it. From subliminal to more explicit approach, movement is often set under strict guidelines, both inside and outside the realm of performance.

Phenomenology

“choreographic object” (William Forsythe), a physical model of mobilizing language.

Photobook Project, trim 2

wayfing through built spaces

Relation to a larger context

- Minimalism;

- Conceptual Art;

- Fluxus;

- "Instructions" avant gard movement;

- Happenings;

- Lettrism;

- Video and installation art from the 70's;

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.

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 (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 http://www.corpusweb.net/after-dance.html

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

_

Action to Surface by Tereza Rullerova. Performance Art: Life of the Archive and Topicality.

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?further readings::::

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://realdancecompany.org/writing.html

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/) 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