User:Tisa/pending

Projects in becoming

After finishing my bachelor thesis (september 2019) that encompassed all my thoughts and systems of thinking, it is time for me to continue. The construction of my further research and actions seems somehow more complex, as I have in the past year deeply rationalized all the previous works, that were before constructed more intuitively and reactionary to the occurences I had noticed in my surroundings. Now, I am searching for a new tactic to employ - one that would take into consideration everything already figured out and start from the position of knowledge and insight that I hold now, in this very moment, invisioning a future fold-out and reconfiguring my mission that does not have to be so basic anymore, but I also have no idea where it will take me. Continuity, decisiveness and focus are cruicial.

"Death of the author"

needs a new title.

it is not anymore about "killing the author".

it is about finding ways to be a live collective thinking organism.

writing text together.

projected big.

using a pad, access from numerous points.

anonimity enables honesty.

inter-textuality.

performing the written.

real-time.

sound also made simultaneously.

a microphone passed around the room.

fluidity.

collective construction of metaphors and meaning.

no predispositions on content.

who knows what happens.

it will probably be fun.

This is briefly the outline. Imagine. Bunch of people, simultaneously together in a physical (Varia) and virtual (pad) space. Writing the "script", some sort of collective imagination, consciousness if you wish is being expressed in language. Performing it. Sound. Production of meaning otherwise. Thinking together out loud. Transgressing the individual. Because - edit me, make my meaning ours.

We've done this before (couple of years ago) in Modri kot (Blue corner), a place in the squatted Rog Factory in Ljubljana, Slovenia: my now-sadly-almost-extinct community. I'm proposing it to you, as an idea, searching for its continuation ...

(I forgot to mention that you can also take part in the writing if you are not in the space.)

> (sent a mail to Varia)

> This is the pad from november 2017 (in slovenian): https://totalism.org/smrt_avtorstvu

Clearer explanation of the idea

I would like to propose to make an evening event at Varia, open to public.

The evening could be from 20h to 00h, open bar if possible.

Concerning the date, I am open to your suggestions (maybe weekend is the most suitable?)

I would make sure that there are some people that start the engine of the evening (sound-makers, people that write, that perform the written), but all these roles are to be played by anyone that comes by. (The number of people is hard to predict.)

Technicalities: PA, projector, wifi. People bring computers/phones to access a pad.

Method: Collective writing (on a pad, projected big) that is performed in real-time (voice and sound). An improvised session. Encouraging everyone to join in the process. Like a literary evening, but not really. Content is unpredictable. From poetry to academic texts?

Why: I'm interested in this dynamics that happen when people write together. How meaning is constructed, changed. How unpredictable innovation happens, when we are not in our individual, isolated mode of creating. In my experience from before, these meetups were always a source of inspiration. And enjoyable.

It is about finding ways to be a live collective thinking organism.

Space

This is a collective process of articulating and [https://pad.xpub.nl/p/space1 collecting tactics] of being in (public) space, ran primarily by Tisa N. H., Ursa G., Blaz S. and Janja K.

The practice is fueled by the fast changes (turistification and gentrification) that we experience daily.

In order to reclaim the public space that belongs to us, we believe, we must become sensible to it. Here the tactics that we propose play a crucial part, a research tool. They are continuously being re-written and also performed/exercised/tried out by us and our friends.

We are thinking about ways on how to reach more people with the propositions of tactics, invite them to exercise them and improve them, gathering "pataphysical" & other subjectively sourced data (in the form of thought, concept, text, sound, photography, video etc). Reaching out (for now) happens within our circles of friends. The best way to make this practice public would be through conducting workshops, especially with already established groups (such as scouts, or crews of any kind).

The acquired data serves as a source of inspiration and relevancy for the construction of concrete responses - whether they are interventions in the public space, the way our interaction with it changes, a text or an artwork, a public talk, a collective activity or any other.

This project got some funding from the city of Ljubljana, Slovenia.

Meetings and working sessions are held via video, as we are ~1000km apart geographically, ~0km apart conceptually.

Composing sensibility workshop

looking for a place Possible:

• blank space, Almondestraat
• Ook huis
• Ubik
• ...

I'm thinking about starting a weekly (2-3 hour) workshop for ~10 people.

Looking for a place, possibilities for funding and also people interested in taking part, shaping it further, giving propositions, offering skills, knowledge, ideas ...

This is the working description: Composing sensibility is a workshop, an exploration of our individual capabilities of perception and a collective construction of tactics for the everyday. Believing that sensibility is the fist step towards understanding the world around us, social relations, occurrences, one should train it, include it into the daily routine and always pay attention to oneself, others and the surrounding context. In the workshop, I will propose a set of exercises (merged from sound and theater improvisation techniques, contemporary dance, meditation; based on movement, voice and text) that one can explore by themselves and collaboratively with others in any environment, at any time. The final outcome is a revalorization of senses and their potential. Emphasizing the possibility within each individual to interpret and eventually intervene in the existing state of affairs. Real-time sensibility is the first step, interpretation (awareness and understanding) is the second, reacting and intervening the third; all of them nurture the other and construct a fluid composition of everyday practice to be aware, present, critical, empowered, sensible as an individual subject that always moves in between communities and settings of multiple subjectivities.

The sessions would function as a setting of mutual support, collective learning, experimentation, and courage to sense and make sense.

sensibilization -> awareness -> understanding -> reacting -> change

Compositions

Reductive collective composition technique.

Can be programmed. But why? And in what way? What is the meaning of it, it's final goal? What does it tell about the world?

If programmed - it has to have a hardware "externality" - the input of the signals could be radio FM receiver:

• randomly selecting stations (for example 5s each, recorded)
• decision making
• implementation of the previous recording
• repetition of the protocol
• recovery

Fantasize on possible end results: Is it chaos? Is it conformity to the general sound parameters found in the mainstream? Does it go agains the mainstream completely - denying and contrasting it.

Improvisation and machines? It is not randomness. It is not chaos. How could improvisation protocols be "translated" into intuitive-machine learning processes? (Really? Call Dre or smth -> check meta, check 50?)

AIVA: "artificial intelligence composing emotional soundtrack".

Inda told me about this technique of composition - when you lack inspiration as a composer. You take three catchy refrains from known songs, transpose them all into the same key, and then shift around the notes, collage a little and here, you have a new catchy song.

ref: Round Robin scheduling

Play this pattern

collect the material, choose the collaborators (human or machine?), write about it #todo

Post-production of experience

develop the idea #todo sculpture out of focus aka post-production of attention. giro sensors, making a 3D drawing, that is created from the movements a performer/lecturer makes in real-time. 3D printing the parts of the content that seem crucial -> the listener chooses the emphasis.

ref: Brownian motion

Funny history, this thought of 3d printing traces has been present already in 2016, here's a mail I sent to my cousins:

Zdravo bratrančka! Upam, da je vse dobro. Utrnila se mi je ideja in tudi sledeča, da bi jo delila z vama ... Projekt bi bila lahko in-site instalacija s produktom ali aplikacija. Zadeva ima dva možna prostorska nivoja - soba ali mesto. Hm, torej. Gre se za sledenje in zapis nevidnega gibanja. Materializacija poti. Človek ves čas riše linije s svojimi premiki. Predstavljajta si, da bi tem premikom sledili (z gps in altitude merilci v prostorski dimenziji - mesto ali s senzorji/kamerami v prostorski dimenziji - soba). Podatki o poti in premikih bi se zbirali v real-time trodimenzionalnem grafu. Ki bi produciral unikatne, vsakemu akterju/subjektu specifične izdelke (risbe, kipe). Zamislila sem si torej tri stopnje: 1. akterja, ki se giblje; 2. naprave, ki gibom sledijo; 3. vizualni prikaz izsledkov. Prikaz bi lahko bil v virtualni obliki kot 3D risba, še bolje pa kot skulptura/kip/plastika. (žica, 3D print). Gre se za materializacijo neotipljivega in unikatnost premika. Hm, upam, da je tole razumljivo. Podelita mi svoje misli, prosim. Se veselim. TisaNeža

In odgovor:

Kul najprej malenkost obveznega čtiva

https://en.wikipedia.org/wiki/Psychogeography https://en.wikipedia.org/wiki/D%C3%A9rive

Mimo tega,

• verjetno ima skoraj vsak vklopljeno neko sledenje pri googlu, ki si ga lahko tudi pogleda. išči "google location history". to bi lahko služilo kot osnova za precej podatkov.
• instaliri odprtokodni OsmAnd, tam je samosledenje in shranjevanje, po lastni odločitvi in bolj nadzorljivo, precej enostavno
• če bi želela te sledi tiskat, bi rabila nekoga, ki ti iz verjetno .gpx formata pretvori v nekaj, kar se da tiskat, ... to se sliši kot nek Ljudmila projekt

Textuality & ...

Txt to speech with my own voice -> at Klankenbos I met Melia Roger who did smth like that for her thesis. here

performativity of text. performative lecture. poetry. Also my own sound/general art work. Where does it go?

Conceptuals

From the lack of abstract, metaphoric, conceptual exchange comes the urge to find possible channels of communicating ideas and reflections.

Why be ashamed of thoughts?

Channeling and making thoughts publicly accessible, by that entering the possible field of inter-exchanging and reflecting. By that letting conceptual loneliness behind, producing conversation.

Correspondence

Email correspondence with Federico Pipia.

First email:

Hello Federico!

I finally got some time to get this correspondence started. Hopefully we get to bigger depths as we go along.

I. We were in a smokey, late night underground club, after some sessions at a conference of improvised music and a friend said: "But you know, we always improvise. Everything is an improvisation." This kind of hit me as a statement, a state of being. Especially a specific kind of awareness that one can have about reality, extending the notion of improvisation outwards. Honestly I was in a shock, my reality somehow assembled, all I did was laugh from this sudden epiphany, this thought being so familiar, as if I have had it before, but then forgot about it. How would you personally respond to this thought?

All for now. Did I start this right? Better one than many?

Response to the first email:

Ciao, I think it can be a good start since the question is in bold. So, First of all we need to understand what improvisation is not, and why we invented a concept like that, that basically is how normally human brain works: reaction to single or multiple events, chosen in real time in reference to a solid or liquid system of rules, in order to give or express significance. The point is that a system of rules can sometimes be too hard to handle in real time, and if we want to do things that are relatively too complex we need to write or decide them first. And this is what improvisation is not, something that is determinated a priori. For anthropological reasons, we need to learn to improvise in social relationships; in order to avoid a deepening on survival and evolution criteria in western society, we'll just say that it's not considered necessary to learn improvisation for non social contexts, like the musical one. But things are more complex: now that we ipotized what improvisation is and is not, let's take a look to the combinations. If we, for example, consider the etiquette of behaviour, we can see how strictly this "system of rules" can be; would we say that it's still improvisation? Well, we could: it has ethical (=aestetichal) rules for phisical and verbal languages in relation to the context, and moments of free improvisation during the dialogues to speak about certain topics in a more or less defined way. Doesn't it remind us anything? Like jazz standards for example?

What happened already

Maastunnel field recording

This is a field recording that archives the sounds of the Maastunnel (a tunnel under the river Nieuwe Maas in Rotterdam, NL) before being renovated in November 2019. I presume that after the renovation, these sounds will disappear, being exchanged for sleek, buzzing sounds of newer stairs. The sound is transient, the memory of it feels like a forgotten dream.

Posted on Soundcloud on the date the tunnel closes: 15/11/2019.

Listen here.

Radio session

11-10-2019, 1-3 am, Radio Tonka, den Haag I was invited to the Club Res radio show at Radio Tonka, hosted by Kassen Oud (whom I have met and interviewed at Dutch modular fest) and Rob Bothof. I interviewed them about their show (meta moment) and then we had an improvised session live on air. add #todo report & audio recordings (edited?)

Performance Obrazi

25-10-2019 Lust, Groningen w/Mojca Zupančič on drums, Filippo Temperini on bas guitar, effects and ableton, Tisa Neža Herlec on voice; Quentin Zero aka Michiel Teeuw and Livia Ribichini on analog visuals (light play)

pad, transcription of composition available here and #todo add the sound recording of the thursday after rehearsal and the performance.

cTrL+M

1-12-2019 4-uurtje, Rotterdam w/Lucija Gregov on cello, Mojca Zupančič on keyboards, Tisa Neža Herlec on voice.

describe #todo the process of rehearsals, add pictures/videos/sound recording.

Exhibition

Biennale of slovenian independant illustration

Kino Šiška, Ljubljana, Slovenia

21. 10. - 8. 11. 2019