Left-overs: Articulating the ephemeral, the dance between language, movement and the unspoken

Moving and reading through the chaos, constantly changing and adapting to the environment and structures that regulate our bodies and movements provide a smorgasbord of potentials of co-creation, re-creation, articulations, and cross-referencing.

Notes, collection of references, practices

Process of starting

Presentation of everyone's work

Johanna

Yes/No practice

partner work - one is lying on the floor the other is giving different kinds of touch and builds (can build it) into perhaps moving the partner

• appreciate the NO
  
• an opportunity not to go to a place you do not wish to
• the exercise can be done in different contexts
• where is the no for the "doer" / toucher
• let's see how far you go (as a receiver)
• the volume of the yes (it is moving) / the "cut" or sharp sense of the no
• having an agreement as a base (you can touch me with attention)
• A group called Contact Gonzo - aggressive male energy - what is it?
• democratic listening
• limits and playfulness

Agnes

Asking the Demon
ways of drawing the body - a visual exploration in a trio

What is the material of our imagination? fleshy imagination to be materialized

A trio practice:
1 receives touch - speaks images, sensations, thoughts, imagination, stories
1 touches and can be in a dialogue with a receiver,
1 draws the outspoken,

• the drawing is also a document of the body
• scattered narrative
• the body is a scenery already
• another state of consciousness 
• memories of the body, the body documents

Colleen

5 short videos

"touch" ,

in too me see

emerging

Body of water

Anatomy of a Dream

Can you have a felt sense from watching a video?
Bodies as landscapes

• relationship/collaboration/witnessing 
• get people bored - as an intention and almost like a preparation to notice ->"what am I looking at?
• not to reveal everything at once
• working with the felt sense
  
• intuition
• Locator
• experiential anatomy
• responding to invitation
• improvisation
• use of light and frame
• slowing down
• the work completes itself in the viewer/audience
• use of time

Joana

Live coding: https://github.com/JoBCB/Rehearsal_Series/wiki > references; resources..

Projects: http://jobcb.github.io/

Video Documention: https://vimeo.com/user16079418 + https://www.youtube.com/channel/UC-2bdyW86OEeJ4Ah7GN4NnA

Choreographic coding labs: http://choreographiccoding.org/

= choreography as a {“collective dispositives”} writing space: “There is another defining feature of the ‘choreographic’ and again more generally of ‘the writable’.”

Choreography in itself has nothing corporeal — it is a language, an abstract notation, a relational code which it simultaneously produces and represents. The dance score as an autonomous scriptural artifact.

“..The progressive composition of the common world.. the name I give to politics, Latour contends. The statement may be given a border twist: ‘communing’, or the collective production of a common (a commonality, a common good), is the essential practice through which the ‘social’ instantiates the ‘political’, be it on the macro or micro level. When collaborating, dance artists develop in common a singular movement vocabulary that is performatively linked to the co-creation of a specific discursive vocabulary, a partly self-developed and shared mode of ‘talking dance’.” Laermans, Rudi. Moving Together: Making and Theorizing Contemporary Dance. Amsterdam: Valiz, 2015.

= script/ (in)scription/(de)scription/(trans)scription: “The cognitive mind, unaccustomed, reprograms, running its synaptic patterns through a habitual response it finds inadequate to the new task, so new tracks and trails are scribed and inscribed,..” Johanna Drucker

= score (present participle scoring, simple past and past participle scored) To cut a notch or a groove in a surface.

Ethnologically from the latin (s)partite, meaning to distribute or spatialise. Thus the score is always connected with the technique (which should be conceived topologically) of visual arrangement of time (..) In the open score is not ruled by the representational precedence but one of becoming. The activation of actions in principle.

= score / scripts:  as an ecosystem: an interface for communication; for the emergence of different voices; sets of trans-form-ative relations

“Choreography has become a metaphor for dynamic constellations of any kind consciously choreographed or not, self-organising or artificially constructed. (…) If the world is approached as a reality constructed of interactions. relationships, constellations and proportionalities and choreography is seen as the aesthetic practice of seeing those relations or seeing the conditions for those relations to emerge.” Michael Klien – What do you choreograph at the end of the world?

• scores creating actions
• writing movement
• notions of visibility and what is not

References (artists, books, publication) - list: (please add)

Yes/No Practice: David Bloom/ Sex and Space Workshops

Scores: http://olga0.oralsite.be/oralsite/pages/What's_the_Score_Publication/

Encyclopedia: https://encyclopediedelaparole.org/fr

Collective Glossary /Social Choreography: http://workhardplay.pw/en/collective-glossary/social-choreography.html#  

Body as Indexical Reader: https://www.d-est.com/curators/ulrike-gerhardt/  

Performance Keywords: http://intermsofperformance.site/keywords/

Affect Keywords: https://affectsphere.wordpress.com/list-of-keywords  

Poetry/Poesis: https://rhizome.org/editorial/2018/jul/10/an-excess-of-consciousness-1/

Paul Beatriz Preciado (https://en.wikipedia.org/wiki/Paul_B._Preciado):

The Analytical Language of John Wilkins by Jorge Luis Borges https://ccrma.stanford.edu/courses/155/assignment/ex1/Borges.pdf

Anne Juren, Private Anatomy Lesson

wiki: Daemon (computing) - In multitasking computer operating systems, a daemon (/ˈdiːmən/ or /ˈdeɪmən/)^[1] is a computer program that runs as a background process, rather than being under the direct control of an interactive user.

Lecture-Performance: Elisabeth Schäfer (AT): Les Landes – letters from trees to Hélène Cixous
The place of writing is never one. Writing exceeds place, space, bodies, subjects, authors, readers, and goes beyond communication. Writing exceeds, the written text exceeds, every sign exceeds. Writing thus contains the immanent tendency to cross – to trans-fer, to trans-gress, to trans-form and trans-posit. Being asked how to read her textes, Hélène Cixous only recently answered, that reading would perhaps mean to fly through and over les landes, one of the biggest forests in France....

feeding the demon, youtube meditation with a female computer voice! https://www.youtube.com/watch?v=2AbTTx0z6ic

more notes on the first meeting:

sharing conditions, sharing language, shared vocabulary, shared space, shared nonliteral narrative

experience/responses on paper

what happens in between (collaborations)?

inbetween technology and culture

Invitation as a starting point.

slowing down, stillness

lets be present with our bodies

inside / outside

organs (human, non-human)

Further processing: 

The group kept the Asking the demon trio practice as a base and continued developing the discovery of the layers of the body (as real, as programing language, as daemon, as cyborg, sci-fi, as imaginary, as transformative field of exploration)