User:Tisa/practice
object
A collection of beach-found plastic rhizomatic structures.
sculpture
Rhizomatic structures captured/preserved by epoxy resin/salt/sugar/formaldehyde.
3 days later:
tools
Post-production of experience
(Description written at RWRM session #1 w/Steve, xpub1 2019)
A sculpture made out of focus is a proposition on how to read my performances, a thought experiment. A protocol that is being generated on the basis of my immaterial performative practice and the nevertheless tangible strength of focus, the attention flow that is generated in between the performer and the public, that I observe cautiously and experience strongly. In real-time improvisation, focus is the prime matter for sculpting. The reflection, the analysis of it is also the basis for its future developments, rearticulations in other media, the postproduction of experience that the performances generate.
Following a question on how to make my performances more inclusive and interactive, I responded with a fact that has always been obvious to me - the public is already included, a crucially essential part of any performative act. The public is the one that grants the performer with focus and time, creating the very possibility for the encounter between content and the subjects, subjectivities present.
The world is contaminated. Visual pollution is the hypocritical, hidden and omnipresent germ. On daily basis we are confronted with the overflow of images that tend to be meaningless, or there to serve the consumerist system we are a part of. Trying to avoid the production of imagery that would worsen the visual pollution, I took the decision to divert my practice towards the performative, where consensuality is a precondition. The attention of the public is gifted to the performer, not stolen from them. Distraction is the basic tool of "the capitalist beast". I believe that the gifted, consensual attention holds a possibility to reach further into the subjective mind, suggesting and opening up perspectives, otherwise blocked by gleaming pollutants.
3D print gyro (micro-macro, tracking movement - flow of performance (material = focus, movement is tool of gathering it), flow of daily movements)
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 around traces and their materialization has been present already in 2016, here's a mail I sent to my cousins: 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.
In odgovor:
- https://en.wikipedia.org/wiki/Psychogeography
- https://en.wikipedia.org/wiki/D%C3%A9rive
- google location history
- OsmAnd
- če bi želela te sledi tiskat, bi rabila nekoga, ki ti iz verjetno .gpx formata pretvori v nekaj, kar se da tiskat.
other
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)
- mirror headset (paradox of sensibility)
- smthing with brainwaves
printmaking
embossing
Rhizomatic structures: embossing/debossing
indigo
...
etching
keys
book/publication
hackpact prototype
29-9-20
archive of visual research
A historical archive has found its way into my possession.
I will repurpose its binding mechanism, and fix the aged cover - to archive my visual research throughout this year.
It's history and its inner structural, rational dynamic, reason for existance is inspiring for me. I will inhabit it with intuition and dynamicize its materiality.
visions
biopolitics and fishing:
"Jata rib prosta plava vse stima, flow. Človek mreža struktura ribolov."
also - "Represivna gesta naravnemu redu. Restabilizacija jate - recurrent. Excessive fish-eating (its good for u). Fejk ribja pasta v modelčku."
&add photo of the painting
performance
sound
I perform in the domain of sound, more specificaly sound improvisation/free/real-time composition; using my voice, language/words/poetry, sometimes analogue effects, abletone, or woodwind instruments.
My soundcloud. ...
ch
Linus Bonduelle (abletone, voice and noise board) & Tisa Neža Herlec (voice and noise board)
"ch is Tisa Neža Herlec and Linus Bonduelle, a compound as fresh as a daisy on a springmorning alm. Backpockets and earsockets filled with sound already, they are figuring out what gifts to offer each other – figuring out what being is of course. This early session turned into a meditation on the jug, or, as Martin H. has it, on that which holds water. And so we hold ideas to the light only to see they're double-sided and shrill – something's leaking. It drips on this metal rusty plate with holes and wires that we call 'earth', and where we haven't landed just yet. Give it a go, don't budge, pour over."
- 16-10-20 West den Haag public piece - listen here
- used guvcview to capture video from a webcam
- soldered an instrument together
cTrL+P
cTrL+P = Lucija Gregov (cello), Philipp Ernsting (percussion), Tisa Neža Herlec (voice)
- 27. 9. 2020, performance, Ateliergebouw Oranjeboom, Rotterdam, NL
- &transcribe lyrics
ProPolis
ProPolis = Marek Fakuč (percussion) & Tisa Neža Herlec (voice, micro korg synth, woodwind)
- 18. 9. 2020, performance, Festival poraznodete, Žužemberk, Slovenia
Pascal&Tisa
Pascal Jarchow (doublebass) & Tisa Neža Herlec (voice)
- 8. 9. 2020, 27-letnica AKC Metelkova: Defonija, Gromka, Metelkova, Ljubljana, Slovenia
&recording and pictures
- 6. 9. 2020, Formacije: Duo, Ferdova, Ljubljana, Slovenia
&recording
Equilibrium as Insta_bility
Equilibrium as Insta_bility = Tobija Hudnik (compostition), Luka Poljanec (vibraphone), Lenart De Bock (saxophone), Brina Kren (saxophone), Pascal Jarchow (doublebass), Tisa Neža Herlec (voice)
- 24. 8. 2020, performans, festival A dela?, Cirkulacija2, Ljubljana
JazzklubMezzoforte
Jonas Žabkar (accordeon), Thierno Diallo (doublebass), Liza Šimenc (movement), Urban Megušar (cello), Maj Kavšek (trumpet), Mojca Zupančič (piano), Žiga Pilih (visuals), Tisa Neža Herlec (voice)
- 6. 8. 2020, JazzklubMezzoforte, performans, Cirkusarna NaokROG, Tovarna Rog, Ljubljana, Slovenia
&recording
...
radio
&add nocni program &add Radadia &add Radia.fm
- 14. 9. 2020, , Prelet:TNH, R A D A R, radio show, Radio Student
soundwalks and field recordings
- app Echoes
- &Maastunnel (rec and idea)
theatre
Idea w/Z, F, L, P, M.
w/others=public
Composing sensibility session (CSS)
Made the 1st Composing Sensibility Session I. on the 25th January 2020. 10 people attended. At Theater Galerie Dordtselaan.
This is the working description: Composing sensibility is a workshop, an exploration of our individual capacities (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 function as a setting of mutual support, collective learning, experimentation, and courage to sense and make sense.
sensibilization -> awareness -> understanding -> reacting -> change
Who cares?
This is a discursive gathering.
...
This series of discursive gatherings has already been running in Ljubljana over 4 months in 2018. The conceptualization of it was also a part of my BA thesis (together with four other works).
Weekly. Nice space. 4+ hours of focused conversation. Inclusivity of personalities, opinions. Collective articulation. A place to express ideas or doubts or concepts or thoughts. Personal approach - demystifying praxis.
Now searching for a group of people (does not have to be static/fixed).
Place: DordselaanTheater
translate #todo:
Serija diskurzivnih dogodkov
Časovni okvir: tedensko v času štirih mesecev; od aprila do julija 2018
Kraj: Modri kot, Avtonomna tovarna Rog, Ljubljana
Koga briga? je diskurzivni dogodek, ki sem ga pobudila tedensko v času od aprila do julija 2018 v Modrem kotu, prostoru v Avtonomni tovarni Rog. Zastavljen je bil kot odprt prostor, ki je v okviru tedenskega srečanja omogočil rahlo mediirano komunikacijo med različnimi posamezniki, ljudmi z vseh vetrov in strok. Večinoma so bili to umetniki, pridružili pa so se tudi filozofi, znanstveniki in drugi. Vsakič nas je bilo vsaj pet, mnogokrat pa je število prisotnih preseglo stranice mize, za katero smo sedeli. V dolgotrajnem obstajanju Koga briga? se je zelo organsko gradila skupnost razmišljujočih in dejavnih ljudi, ki se je medsebojno podpirala na osebnem in profesionalnem nivoju. Ideja za cikel teh dogodkov se je porodila iz občutka, da v našem okolju ni prostora-časa, ki bi omogočal prosto artikulacijo individualnih refleksij, komunikacijo med različnimi strokami in ki bi spodbujal odprtost razmišljanj, skupno motrenje in postopno konstrukcijo politične pozicije do sveta, z rabo referenčnosti sodobne umetnosti. Preko eksperimentalnega pristopa do diskurzivnosti, komunikacije so se vzpostavili sočasni metarazmisleki o metodologijah izmenjave, iskali so se pristopi do učinkovite diskurzivnosti ter vključevanja, inkluzije vseh prisotnih, tudi tistih, ki po naravi niso zgovorni ali rojeni retoriki. To pomeni, da se je posameznikom dajal čas za izražanje, da smo ozaveščali manirizme diskurzivnosti, opozarjali močne govorce, naj predajajo besedo tudi drugim, skoraj prepovedali skakanje v besedo in stremeli k učinkoviti, prijetni komunikaciji med prisotnimi. Govorili smo večinoma v angleščini, saj so bili vedno prisotni tudi ljudje, ki jim je bila slovenščina tuja. Najbolj značilna metodologija Koga briga? je bil način, na katerega smo se predstavljali drug drugemu. Ob začetku vsakega dogodka smo se, tudi če smo se poznali, zaporedno predstavili, vsakič drugače, in med seboj delili informacije o nas samih. Prav tako se je to zgodilo vselej, kadar je v pogovor vstopil nov udeleženec. To je bil način, da med seboj vzpostavimo neko raven poznanosti, domačnosti. Koga briga? je omogočal varno, sprejemajoče okolje, v katerem smo lahko brez sodb govorili o sebi z lastnih individualnih pozicij in perspektiv. Poglobljeno smo se sprehajali po topiki s13 področja umetnosti, govorili o lastnih praksah, o okolju, ki nas obdaja, o spremembah v našem kontekstu ter o naših reakcijah nanje v medijih umetnosti in vsakdanjega življenja. Govorili smo o človeku, umetniku in načinih, na katere lahko ta človek obstaja in deluje v okolju, ki je vedno bolj sovražno in omejujoče. Govorili smo o načinih mišljenja sedanjosti in prihodnosti nas, našega lokalnega okolja in globalne scene. Govorili smo o stvareh, ki so na vse močno učinkovale ter bi jih bilo nesmiselno artikulirati v post-dogodkovni zapis, saj so v polnosti lahko obstajale le kot živo tkivo večurne debate, kreacije vseh prisotnih. Pogovore sem dokumentirala preko skopih linearnih zapiskov, ki jih hranim zase, saj je tovrstna dokumentacija enostranska in ne more predstavljati totalitete tega, kar je Koga briga? bil, še posebej njegove spremenljivosti, časovnosti in prijateljstev, ki so se stkala med dogodkom. V Prilogah (Priloga k 2.1.1) je vsakotedenski zapis, ki je vabil javnost, naj se pridruži Koga briga?. Vključene so refleksije nekaterih prisotnih z obrisi analize, ki je družna in mnogotera. Vsak prisotni razume in vrednoti Koga briga? po svoje. Tako na primer povedo, da je bil Koga briga? eden vse redkejših prostorov iskrenega skupnjevanja, da je odprl nedefiniran prostor, ki je nujen za nove in sveže misli, četudi so bile to le misli. Nekdo prizna, da je potreboval le “eskejp” (pobeg) in je v večerih, ki smo jih preživljali skupaj, najbolj cenil ravno relativno prijeten prostor in družbo, čeprav so se mu razprave zdele irelevantne, kar je bilo natančno to, kar je iskal. Koga briga? je vzbudil občutje, da imajo misli prostor in da je pomembno, da jih izrazimo.
"Death of the author"
This is a collective writing session, using etherpad as the working environment. All text produced is performed in real-time.
...
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.