Reflection on my practice - Trim Three: Difference between revisions

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Transmission: : the act or process by which something is spread or passed from one person or thing to another.  an act, process, or instance of transmitting.
Communication : an act or instance of transmitting. the ways of sending information to people by using technology.  the act or process of using words, sounds, signs, or behaviors to express or exchange information or to express your ideas, thoughts, feelings, etc., to someone else.
from: www.merriam-webster.com/dictionary
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brain - body - world.
brain - body - world.
Communication in its definition relies on movement, as the instance/act of transmitting information to people by using different means.
White space should not be considered merely 'blank' space — it is an important element of design which enables the objects in it to exist at all; The display of information are common links in this multiple interfaces. At the moment I an mnost driven by the interaction between the spatiality and movement of the body.


“There are differences between the chalk and the rest of the universe, between the chalk and the sun or the moon. And within the piece of chalk, there is for every molecule an infinite number of differences between its location and the locations in which it might have been. Of this infinitude, we select a very limited number, which become information.
“There are differences between the chalk and the rest of the universe, between the chalk and the sun or the moon. And within the piece of chalk, there is for every molecule an infinite number of differences between its location and the locations in which it might have been. Of this infinitude, we select a very limited number, which become information.
In fact, what we mean by information—the elementary unit of information—is a difference which makes a difference, and it is able to make a difference because the neural pathways along which it travels and is continually transformed are themselves provided with energy. The pathways are ready to be triggered. We may even say that the question is already implicit in them.” - Gregorory Bateson
In fact, what we mean by information—the elementary unit of information—is a difference which makes a difference, and it is able to make a difference because the neural pathways along which it travels and is continually transformed are themselves provided with energy. The pathways are ready to be triggered. We may even say that the question is already implicit in them.” - Gregorory Bateson
Communication in its definition relies on movement, as the act of transmitting information to people by using different means.


* White space should not be considered merely 'blank' space — it is an important element of design which enables the objects in it to exist at all; The display of information are common links in this multiple interfaces.
 


'''''Relation to a larger context'''''
'''''Relation to a larger context'''''


empiricism, a fundamental philosophical position that claims all knowledge arrives directly from sense experience.
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.


Feeling, Emotion, Affect. Affect (thoughtless) - Feeling (thoughtful) .Reviews by Brian Massumi - Parables of the Virtual, Movement, Affect, Sensation
As for the study of how different disciplines deal with experience, I have been looking at the fluxus and the "instructions" avant gard movement, as well as performance art, and dance. It is of my interest how in this practices the role of the body in human experience is emphasized, the tecniques and technologies applied.


Performance / Performativity / Objects / Subjects


"from the point of view of objects and subjects: how does an object perform its objectness and how does it perform us. In other words: how does the object perform our subject-ness. And how does the subject perform the object. Or: how can we replace our subjectness by objectness and what does that entail?"


http://apass.be/performanceperformativity/
The choreographer, dancer and filmmaker Yvonne Rainer, along with other artists


http://en.wikipedia.org/wiki/Object-oriented_ontology
I have also been looking at some digital archives initiatives, and what has been made with in the motion capture and dance techniques, for both "storing" body information and as a compositional technique, like William Forsythe. Another reference is
Thinking with the body: Mind and movement in the work of Wayne McGregor | Random Dance: http://wellcomecollection.org/whats-on/exhibitions/thinking-with-the-body/?video=4


The choreographer, dancer and filmmaker Yvonne Rainer, along with other artists, musicians, like John Cage and writers, were coming up with very creative scores, also related to fluxes, and the "instructions" avant gard movement.


I have also been looking at some digital archives initiatives, and what has been made with in the motion capture and dance techniques, for both "storing" body information and as a compositional technique, like William Forsythe.  
As for understaing the topics above, some of my main sources have been motionbank.org and sarma.be


William Forsythe: choreographic objects essay
http://www.ubu.com/dance/index.html
http://www.ubu.com/dance/index.html
http://sarma.be


In the book Moving without a body by Stamatia Portanova presented an overall approach of dance towards technology, the friction between virtual and physical, either reflecting on virtual bodies or a cyborg perspective as well as intermedia techniques in the performance realm.




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on EXPERIENCE / MOVEMENT / Phemenology
on EXPERIENCE / MOVEMENT / Phemenology


I am always divided by the idea of movement, something that interests me a lot, as it is something that defines how you relate and perceive the world, how you get information what of it, how you process it, how you make yourself conscious of different aspects
Being movement (of the body) one of the central concepts in my research, as being something that defines how you relate and perceive the world, how you get information what of it, how you process it, how to make oneself conscious of different aspects we are surrounded by.




As to better support my recent projects and deepen my knowledge on my interest towards choreography and performance; I found relevant to research on sense experience and how knowledge is achieved by the interrelation between brain - body - world. One of my references being Alva Noë, one of the theorists that inspired the EEC programme - Embodied Embedded Cognition.
One of my references being Alva Noë, one of the theorists that inspired the EEC programme - Embodied Embedded Cognition, as to better support my recent projects and deepen my knowledge on my exisitng interest towards choreography and performance;


Noë investigates the structures of experience and consciousness (what philosophers call phenomenology); Presenting experience as the "basis of accessibility", allowing humans into "achieving access to the environment".
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".
In an interview with Marlon Barrios Solano, part of the Embodied Techne Series (2012), Noë discusses "Dance As A Way Of Knowing".
Line 85: Line 81:


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 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.  
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).
A another reference on sense experience and humans 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 tranform and translate under and beyond meaning, semantics and fixed systems, cognitions. Part of the assumpstion 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.
In my works developed throughout the trimester, such as the photobook, I have been positioning the viewer/spectator as the performer, proposing a tighter relation between communication artifact/interface and perceiver.




on COMPOSITION /  
on COMPOSITION /  


A great number of researchers uses motion capture technologies and programming tools for both studying movement and generating new dance compostions.


I've been following my research on choreographic scores, and this stands by "writing movement". the communication system, that stands for movement, which is very rich: alphabet - linguistic, numbers - mathematics, even graphic elements. And all this to explain movement, which is something that is actually performed, acted, and that doesn't really exist in other form.  
I've been following my research on choreographic scores, and this stands by "writing movement". the communication system, that stands for movement, which is very rich: alphabet - linguistic, numbers - mathematics, even graphic elements. And all this to explain movement, which is something that is actually performed, acted, and that doesn't really exist in other form.  
Focus on spatial procedures and the architecture of movement maps so well onto computer algorithms and virtual spaces
- How do we find our way through built spaces?
By looking at the sequence of images it is possible to analyze and possibly re construct both the physical trajectory as well as the the rhythm that follows. This is a way of documenting the event through the users/ reader perspective. An inner site, that allows to comprehend the interplay between the built space and the person in action: "an empirical examination of the cognitive processes involved in spatial learning, and the orientation behavior on which this is based, can be traced in psychology to the early work of the american psychologist Edward Tolman, who introduced the concept of the "cognitive map". from Pattern: Ornament, Structure and Behavior, by Andrea Gleiniger and Georg Vrachliotis
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.


on DOCUMENTATION / RECORDING / DATABASE
on DOCUMENTATION / RECORDING / DATABASE
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'''''Conclusion'''''
'''''Conclusion'''''
Performance / Performativity / Objects / Subjects


I want to have the freedom to perceive (choreographic) objects as something physical or not. For me, there is the object and subject. The subject/ performer, that enacts and the object / something that triggers the action.
I want to have the freedom to perceive (choreographic) objects as something physical or not. For me, there is the object and subject. The subject/ performer, that enacts and the object / something that triggers the action.

Revision as of 11:34, 27 May 2015

Title

Introduction Current Practice (resource: here you can use the descriptions of recent work)

Where does design and dance collide?

I have been working with graphic design and dance parallel to each others; and I started wondering how to intersect them both.


I have previously studied graphic design, and I am now exploring different media formats as well as extending my research strands towards a more phemenological approach. For this, I am taking my knowledge on dance practice and use it as means to reflect and create upon.


Here are some keywords / brainstorming of ideas I've been through: body language - performance - articulation - movement - sequences - patterns - choreography - structures - diagrams - grids - systems - codes - algorithm - hypertext - gramathology - visual statements - construction of narratives - communication - visualization of information - experience - perception - . speech and body.


_


Relation to previous practice

How does your current work connect to previous projects you have done? (resource: here you can use a) the descriptions of older work b) extracts from your interview.)


At first, in the design field, I was mainly facing the “blank“ paper paradigma; Then, came the “blank“ screen. Both spaces for information display highly interest me. Most recently, a 3rd dimension to space intregated my practice. My current research relies on movement as an agent for communication, a sensory motor for understanding the world around us, bringing consciousness in focus. Following my background in dance and performance, I am willing to investigate further on sense experience and how knowledge is achieved by the interrelation between

brain - body - world.

Communication in its definition relies on movement, as the instance/act of transmitting information to people by using different means.

White space should not be considered merely 'blank' space — it is an important element of design which enables the objects in it to exist at all; The display of information are common links in this multiple interfaces. At the moment I an mnost driven by the interaction between the spatiality and movement of the body.

“There are differences between the chalk and the rest of the universe, between the chalk and the sun or the moon. And within the piece of chalk, there is for every molecule an infinite number of differences between its location and the locations in which it might have been. Of this infinitude, we select a very limited number, which become information. In fact, what we mean by information—the elementary unit of information—is a difference which makes a difference, and it is able to make a difference because the neural pathways along which it travels and is continually transformed are themselves provided with energy. The pathways are ready to be triggered. We may even say that the question is already implicit in them.” - Gregorory Bateson


Relation to a larger context

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 and the "instructions" avant gard movement, as well as performance art, and dance. It is of my interest how in this practices the role of the body in human experience is emphasized, the tecniques and technologies applied.


The choreographer, dancer and filmmaker Yvonne Rainer, along with other artists

I have also been looking at some digital archives initiatives, and what has been made with in the motion capture and dance techniques, for both "storing" body information and as a compositional technique, like William Forsythe. Another reference is Thinking with the body: Mind and movement in the work of Wayne McGregor | Random Dance: http://wellcomecollection.org/whats-on/exhibitions/thinking-with-the-body/?video=4


As for understaing the topics above, some of my main sources have been motionbank.org and sarma.be

http://www.ubu.com/dance/index.html


In the book Moving without a body by Stamatia Portanova presented an overall approach of dance towards technology, the friction between virtual and physical, either reflecting on virtual bodies or a cyborg perspective as well as intermedia techniques in the performance realm.


Research strands

WHAT HOW WHY


on EXPERIENCE / MOVEMENT / Phemenology

Being movement (of the body) one of the central concepts in my research, as being something that defines how you relate and perceive the world, how you get information what of it, how you process it, how to make oneself conscious of different aspects we are surrounded by.


One of my references being Alva Noë, one of the theorists that inspired the EEC programme - Embodied Embedded Cognition, as to better support my recent projects and deepen my knowledge on my exisitng interest towards choreography and performance;

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."

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.

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).

A another reference on sense experience and humans 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 tranform and translate under and beyond meaning, semantics and fixed systems, cognitions. Part of the assumpstion 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.

In my works developed throughout the trimester, such as the photobook, I have been positioning the viewer/spectator as the performer, proposing a tighter relation between communication artifact/interface and perceiver.


on COMPOSITION /

A great number of researchers uses motion capture technologies and programming tools for both studying movement and generating new dance compostions.

I've been following my research on choreographic scores, and this stands by "writing movement". the communication system, that stands for movement, which is very rich: alphabet - linguistic, numbers - mathematics, even graphic elements. And all this to explain movement, which is something that is actually performed, acted, and that doesn't really exist in other form.

Focus on spatial procedures and the architecture of movement maps so well onto computer algorithms and virtual spaces

- How do we find our way through built spaces?


By looking at the sequence of images it is possible to analyze and possibly re construct both the physical trajectory as well as the the rhythm that follows. This is a way of documenting the event through the users/ reader perspective. An inner site, that allows to comprehend the interplay between the built space and the person in action: "an empirical examination of the cognitive processes involved in spatial learning, and the orientation behavior on which this is based, can be traced in psychology to the early work of the american psychologist Edward Tolman, who introduced the concept of the "cognitive map". from Pattern: Ornament, Structure and Behavior, by Andrea Gleiniger and Georg Vrachliotis

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.

on DOCUMENTATION / RECORDING / DATABASE

They are connected, one feeds the other. Things are re visited, re configured, re created. It becomes something new too. You are always going back to history, you are part of it and add to it. So for me it is hard to separate this two moments. They coexist.

both avant-garde and deeply traditional

In the near future I would like to better understand how to structure databases in different ways and explore compositional innovations that could come along with it. Looking at the past and future in the present moment. I believe that not only imagery, but other forms of content, such as sound and written text could enhance and generate better understanding of this kind of experiments. As in different choreography databases, in which different language systems are integrated in scores.

Lev Manovich, Database as a Symbolic Form



Conclusion

Performance / Performativity / Objects / Subjects

I want to have the freedom to perceive (choreographic) objects as something physical or not. For me, there is the object and subject. The subject/ performer, that enacts and the object / something that triggers the action.

I also want to think of the processes, that might or not depend on the media being used, and deal with composition / database issue. Experiment and understand the bridges that can be established.

A choreographic score still leaves independently of the dance. You may also write something that never happened, and go through a more speculative, imaginary approach.

explore the archival history of dance. Cultural perspective.