PAF Thematic

Thematic: Presence - Transformation - Memory - Time -

Question: Is the moment of transformation what creates presence?

Rhythm

Ordered variation of changes,

Not only changes that come but also changes that belong,

Variation of pulse and rest,

J Dewey

overlapping experience

How could the practice of allowing other/others experience to overlap be develop?
Who can we make thoughts spill?
How can we make memories spill?
Is the sharing of memories lead to new memories/ event/ experience of the past memories?

1- pattern of data (materials, text, movements, sounds...) created by event to create more events
2- map thinking about other things
3 -- Over -layering sensations/ perception ( Deborah Hay method)
4 - the interest of geographic/ cultural / differences
5 - How do we overlap internal time for the performer? (how do we use  body/ brain memory in performance)?

Open Studios

''From here,

 you are looking at your own weight''

PAF - residency

Day 1 -

Presence - Transformation -Time -Memory

Prelimanary discussion


To Set-up a situation of event for working together in the studio -

•  A series of exercises (each contribute) -
• A list of moment of absence (each contribute)

To record the account of what is going -on - How do we document?

Overarching key notions

Proprioception:
Exposing dance inside the body

Transformation in performance - 2 phases - part of the performers' self exist in the body of the audience
A moment of transformation - a moment of becoming
Self as action

Attention - attunement - relation
Creating invisible threads

Form & formlessness = training

The inhuman performer: What is it that is not you but that is not someone else?
Performer imagination - transformation  / Viewer imagination - transformation


Arriving - becoming present-

Moving out of the head, to a landscape of feeling, memory, impulse and dream ....

''reading Deleuze as a dream book - as a challenge of the notion of grasping'' Susan

Practicing exercises:
4''33 Cage  - focus out
Small dance Paxton - focus in
Blind walk - out
Pairing with percentage - giving / supporting - 80/50/20
Embodied reading - Forti Newspapper

Practical 1
Memory Gestures improvisation: Directed gestures/actions using images - not through imagination but through being (feeling versus thinking)  Here connection with being and the deleuzian notion of actualisation - virtual technology.

Practical 2
Butho Fu Improvisation:
1 place
1 figure
1 oject
1 environment
1 landsacape
1 verbe
1 sensory information

Butho fu *1

Endless dark corridor,
Sunlight coming through each lonely rooms
Steps echoing from an old time, don't leave any traces in the creaking planks
Turn left, right, get lost in the corner,
In the fire brace, she is waiting for our eyes to find her nails padding the featherless peacock
Through the hole in the wall the helicopter dance with the eagles

Instructions/tacks

1. follow invisible threads
2. jump back into a picture
3. dance 3 min like your father
4. carry forward and let go
5. think about something boring and make it interesting

Sensation composition from improvisation - A score-

Remembering traces of gestures

As soon as you find variation, you change the sensation

Alter the intensity of the sensation

Come back to neutral

Remember the sensation, feel it but don't do

Apply the sensation to of the gesture to another gesture ( the next one)

Go back to the other gesture

Transform and merge the other 2 gestures

Use the other gestures to break form the pattern of repetition

Reflection and comments
We can't quantify sensation, they are only quality


Day 2

Suggestions:

• Going back to 5 gestures
• going back to butho fu
• doing a durational improvisation - something we witness evolving for 30 min
• partnering sensation - impulse (eye contact -duo)

Reflection and comment

Active viewing= action

Observing what are the threshold when the observer start to interrupt/interfere with the action going on

Le tragique et Lyotard

Le tragique, dit le philosophe Lyotard, ''c'est que nous sommes nes a notre insu''
quand s'eveille notre conscience d'etre vivant tout est joue, il est deja trop tard
Elizabeth De Fontenay

Paul Rabinow

''Collaboration means investigating new forms of work that redistribute individual and collective contributions''

Triangle by Lisa Nelson

For any number of players

To officially start the game someone calls out loud, ZERO. The players can be anywhere they like in the space. Moving is optional.

After a time (or very quickly) someone calls out loud, ONE. At this call each player must to look to another player and you must never loose sight of the person you have chosen to look at. You need to see this person the whole time but it can also be just a part the body that you see. There is no need to exchange gazes or that the same two people must look at each other. (But this is possible). Moving is necessary only to allow you to keep seeing this person.

After a time (or very quickly) someone calls out loud, TWO. At this call each player keeps seeing the first person they have chosen and adds another. Again you only need to see part of the body of the people you have chosen and there is no need to exchange gazes. But you must be able to see the two people you have chosen at the same time - all the time. To look at one person and then the other is not correct. You must never loose sight of the people you have chosen to look at. You may have to move to keep seeing these two people.

See http://tuningscoreslog.wordpress.com

Procedural Architecture*

Graine de Kumquat - Amagatsu

Station debout sur la frange entre terre et mer
Devant, deployé à perte de vue, l'horizon
par -dessous, un grouillement de poissons
Qui depuis les fonds fixent des yeux la surface des eaux
leurs innonbrables coeurs font du tapage,
tantot a l'unisson, en un immense battement, tantot en ordre disperse
et sans fin cela recommence,
Jusqu'a ce qu'une espece entiere emerge
et grimpe sur le continent
se mette a respirer, a deployer des mains et des jambes,
a marcher a se redresser,
Images remanentes qui se superposent
les unes aux autres,
pour s'unir tout a la fin, la, derniere soi.
Devant soi, derriere soi.
Quelqu'un regarde dans son dos celui qui
regarde la mer. Ouis quelqu'un d'autre regarde ce quelqu'un dans son
dos...
L'impression de se tenir en un point
d'un cercle immense.
On croit pouvoir boucler la boucle en
s'avancant, resolument, vers la mer.

Une ombre tremble sous la paupieres.
Les yeux s'ouvrent lentement.
Partout devant, le vaste ciel bleu.

Je m'etais evanoui.

A la pointe du cap, le phare, une large
plage de sable, la cloche du toscin.
Le soleil brille, d'une lumiere violente.

Reverie a l'instant de la chute.

Tenebres au coeur de mon reve.

La nausée vient.
au reste la soiree avait ete chaude, impo-
ssible de dormir, yeux ecarquilles
face aux tenebres, comme si j'avais pose
une question horrible.

Ete

UShio Amagatsu - dialogue avec la gravité
2000

Peckham's train station dance

Yvonne Rainer in Peckham's street dance

still in the clouds...!

 knowledge is in progress, always changing, interplaying between conscious and unconscious knowledge

ideas

Automatic collaboration following a set structure, one time encounter.
exchange of practice / food

Title

''Open source''

Cet essai étant désormais disponible en livre et sur internet en plusieurs langues, la métaphore de l'opposition cathédrale/bazar peut se retrouver désormais dans des champs éloignés des logiciels, par exemple en musique7 et se rapproche d'une dichotomie entre une approche excessivement organisée et inflexible (cathédrale) et une approche apparemment désorganisée et hautement flexible (bazar)
wikipedia

On language

The grammar of language: Signs - Signified 
Signification: Coded - Decoded - Communication 
Communication is about decoding a language 
An internal language: Habitus - A pattern of signs

Habitus: Learning of possible rhythm of being - patters -
How does it inform our taste in art?  

Goulish

''Since each of us was several, there was already a crowd'' 39 Microlectures

Embodied Research

This Post is a reflection on the notion of embodied research.
It is in dialogue with follow  PhD student Rebecca Woodfords-Smith.

07/04/11:Practice session 1: Embodied memory

Discussion on different kind of memories ( Thought memory/ felt memory)
Practice session based on collaborative practice of improvisation.

1. Warm-up: emptying mind - attention exercises : Cages ' 4'33 

Negotiation- making observing
Automatic memory : Chance, Newspaper

2. Kinesthetic observation  ( In paris)
responding to partner's movement (at 80%, 50%, 20%) then adding space
3. Kinesthetic Feedback - Physical
4.Drawings

18th of May Session 2

Self and other bodies in the space : connections / breaks / extension between each other / boundaries
Perception: having a sense of each others' timing.

Difference between the terms Time and Timing in dance
Timing: quantifiable, phrasing, compositional components
Time: quality, duration (Bergson), presence - control

The presence of the performer negotiate the ownership of the time with the audience members.
Through memory connecting with the continuity of our duration (the real time for Bergson)
Time is memory is duration is quality.
Kinesthetic time is the pure experience of time (heidegger) - authenticity.
Fascination with time to know our own duration. it is only possible through the use of memory.
Duration is a process of imagination.

 15th of June Session 3
How is embodied memory conveyed to audience members : process/product?
The relationship between memory felt and memory thought?
The unknown potential of the body.
Practical work on sensation:
Improvisational movement (mover/observer)
Difficulty to name a sensation - tendency to go to the emotion. May be need to record images instead?
difficulty to stay with the physicality of the movement.example of sensations:lightness/opening/breath/lift/suspension/hot

29th of June Session 4

Defining Sensations:
How to word sensation? It seems too difficult to put a word on sensation. I felt that sensation were more a process than a product that I could name.
How can we account for that sensation?
Are there different levels of sensation: A primal - basic survival - and one that build-up from that primal?

26th of July
Influenced by one of my reading
Referring to sensations as 'a kind of felt thought.
Yet any ‘language’ of ‘co-speaking’, of giving voice, to emerge from the propositions of the
Vocabulaoratories must also encounter sensation: non-representational, a-syntactic, nonlinear
movements of thought. This kind of felt thought, charged by the chaotic force(s) of the
unthought, can be called a diagrammatic process.

15th of August
Working form the movement we think we are do -
Working as a feedback loop of the movement we imagine the other do -
Ex from MIranda Tufnell book: ''Widening the Field''
1- Imagine yourself dancing for one minute - eyes closed
The image kept changing/ the context kept changing - on the beach, in the studio with my daughter
2 - Same thing but with the hands clasp
Shift of point of observation/ much more connected with the image of myself, with the sensation -
something about touching my hands.

The more we want to connect, the more we need to expand ...

Questioning

Initial Research Questions relating to Collaboration in Choreographic practices:

1. Considering the complex nexus of institutional criteria and evaluative mechanisms that are in place, what are the parameters which define the ethos of collaborating artists?

2. How as artists do we make sense of each other?

3. How, while using an economy of production based on senses and affects, can we claim to participate in or contribute to the knowledge economy?

4. Following from the above, can contemporary artists offer viable models for experimentation or resistance (to dominant codes and values?

  
This post is an on going and accumulative list of questions informed by my research. Those questions are sometime owned by other people and are listed as an empirical fit to my research.
The use of italic represent my own voice and the coloured font are to identified a long term dialogue


What happen when there is no narrative, no psychology?... Concepts? 
Do concepts eschew any psychology or narrative?
What is the difference between practice and creative process?

Habitus: Learning of possible rhythm of being - patters -
How does it inform our taste in art?   (Susan Melrose)

Framing

''Today I will begin by copying'' Italo Calvino 

 
This post could also be called 'Stolen Frames'
It is an ongoing and accumulative list of frames that I come across during my research.
Here, I am recognising the use of stealing as a strategy to practice a 'creative research and assembly' (Brian Saner - 1996:71-74 in Small Acts of Repairs, p.60)
I have identified my own voice in italics.

What is coming in to body - how the body impact on the outside in a constant inter-change 
Accumulation from letting go 
Rocking out of it from the periphery back into the centre - 'Widening the field' 
Oregami- Complexity of forms - details of the quality and association
Writing from the movement of the breath ( feeling it in the body) 
Miranda Tufnell ( Workshop SD 07/04/11) 


Signifying is coding
Communication is about decoding a language