Mutual Motions Revisited

Verbindingen/Jonctions 11.1

February 2008

APT project Touching code, objects, others (or: Object oriented)
- Performative recordings / browsing the city
- Regulating sensory input
- Performing proximities
- Object score notations

Mutual Motions Revisited Research
- Bibliography
- Interviews
- Subversion

Jonctions/Verbindingen 10
- Simon lecture
- Sabine + Simon
- Alice introduction
- Ingimp

Whether we operate a computer with the help of a command line interface, or by using buttons, switches and clicks… the exact location of interaction often serves as conduit for mutual knowledge - machines learn about bodies and bodies learn about machines.
Dialogues happen at different levels and in various forms: code, hardware, interface, language, gestures, circuits. Those conversations are sometimes gentle in tone - ubiquitous requests almost go unnoticed - and other times they take us by surprise because of their authoritative and demanding nature: “Put That There†. How can we think about such feed back loops in productive ways? How are interactions translated into software, and how does software result in interaction? Could the practice of using and producing free software help us find a middle ground between technophobia and technofetishism?
VJ10 -Mutual motions

At the occasion of the collaboration between APT [1] and Constant, we have added the use of objects and space to our research thread on the relations between machines and bodies. We proposed designers, diy sound and video artists, programmers and dancers to share their experience, in order to enhance our sense of those relationships.

Touching code, objects, others (or: Object oriented)

Invited by APT (Advanced Performance Training, Antwerp) Constant collaborated with Bettina Knaup [2] on a project turning toward objects and tools of everyday life, unravelling the complex relationship between the bodily, the spacial and the social as it emerges in the repetitive contact / touch between bodies, objects and (other) bodies: Take the table as an object from which the world is perceived (the writing table), around which the social is performed (the dining table) and the choreography of daily routine is repeated (the kitchen table); take the chair as orientation device for bodies in space, take the tram, or the computer, the database, or the stage ...

Orientation
Our theoretical toolbox entails a queer phenomenology, which takes embodied orientation towards objects as its starting point. How doorientations shape the way we inhabit space (and vice versa), how do we apprehend this world of shared inhabitance, as well as †who†and †what†do we direct our energy and attention towards? How does the repetitivetouch of objects and others constitute the (collective) bodies we are or the directions we take? How are orientations reproduced,maintained, or changed? How can we †queer†orientations and therebyturn towards other objects and other †others†? How can we shape different contours of space by affecting other relations of proximity and distance between bodies and objects? How to understand the sexual or the orientalism in our bodily orientations [3]?

Object Interfaces
Tools change through the way we hold them and we change through the tools we use. What spaces for ’making’ open up between bodies and objects when we take their interpermeable state as a place to start? If the objects around us shape us and direct us... how sh(c)ould we move when we change them; their arrangement, their construction, their materiality, their design? Contact surfaces are tactile and mental interfaces between operator and that what is operated upon: beat those eggs until they go fluffy, press ’Esc’ to quit the programme. As in any dialogue, none of the parties involved will be left unchanged. Table, chair, spoon, traffic light, laptop... what happens in contact with everyday objects? What space do we have in common with the things we live with?

Programming (Social) Code
Object orientated programming uses †objects†and their interactions to design applications and computer programs. To achieve minimum redundancy, programmers apply techniques such as inheritance, modularity, polymorphism, and encapsulation. It is truly non-linear code as it is based on reference rather than on narrative. Can we learn from softwares’ ways with objects (and bodies)? Can we modulate, populate our objects and bodies in space just like computer code?

Leaving data
A shortcut tread in a grass field, might convince other users to move the same way: the path is both instruction and memory. A recording of an event as an invitation to re-use, follow and re-invent. A recipe is a choreography, a series of instructions from print to body; like software to be interpreted and executed. What codes are produced? What patterns do we recognize? Which templates can we re-use?

Program
The proposed program consists of a series of parallel workshops, reflections and interactions, weaving phenomenological queer reading of the object, displacements of chairs, performative walking of the city of Antwerp and culinary movements, as well as transforming our joint experiences / experiments into digital and instructive tracks leaving traces and giving place to new interpretations...

Performative recordings / browsing the city

Peter Westenberg [4], Wendy Van Wynsberghe [5] (Constant vzw)

Contact Clog
This workshop, part of the Routes and Routines research, did two things. Firstly, we explored the possibilities of documenting an urban performance. Traditionally this would have required a performer and a documentalist, somebody who describes or registrates the performance. In this workshop we did not differentiate between acting and registration: the person who recorded is him / herself the performer.
Secondly, we published the recorded material online. This allowed us to think about how to represent the performance, to draw hyperlinks, to think about the ethics of sharing cultural experiences and collective authorship. (See bibliography to be in APT)

Modulating Sensory Input: Objects, spaces and strategies

Rogério Lira [6]
Lygia Clark, Oculos, 1968

A two-day workshop addressing issues around sensory overload in relation to digital media.
We continue to experience a dramatic increase in the number of tools and technologies designed for social exchange, including mobile phones, sms, instant messaging, e-mail and user-generated internet content. These tools evolve rapidly and their functions are combined with increasing fluidity. Scarcity is not a factor – digital media content is plentiful by nature. We can assume, however, that all of us have finite resources in terms or our energy, our time and our capacity for attention. We also have a deep desire to probe the limits of out interactions with technology.

How do these new tools and technologies affect our perception of space and of our social needs? How is the boundary between one’s self and the world being redefined? What is the nature of this boundary and how fluid do we perceive it to be?
Can one always tell when a saturation point has been reached?

APT program and Constant project are meeting the festival

Performing Proximities

curated by Bettina Knaup
Beursschouwburg , Brussel
29.01.2008 - 02.02.2008
Performing Proximities explores notions of hospitality, intimacy and confrontation, both in relation to programming formats as well as in relation to artistic works. An international group of artists working in the media of performance, dance, video and music will elaborate on new proximities, desired or feared: on the inescapable proximity of ‘the other’, on queering desire and intimacy, on sharing and exchanging. An intensive weekend of encounters, questioning our positions as artists, friends, audiences, producers, strangers, hosts and guests. Swapping offices, changing roles, touching senses, leaving traces,...

In this framework, the Mutual Motions revisited research concepts and questions meet the processes and experiences of performers facing collaborative work and facing documentation methods.
But what is the difference between documentation to promote or documentation that has a potential for re-interpretation? How do you map the itinerary of a work and at the same time, mapping through a work? Which technique do they use to communicate instructions, modifications in between the group or outside the group? How do theses instructions, technical reader evoluate through the performing of the work? Which technique do they use to work remotely, from one to many participants? Which technique of notation do they use to keep traces, memories, movements....

We will bring these questions, if they accept , to Heather Kravas and Antonja Livingstone, Alice Chauchat,Larry Peacock, among others

Object score notations

Kirsty Stansfield [7], Simon Yuill [8]

The workshop will be based around a piece of software that tracks movements via video camera. This translates movement into a form of notation that can be used to construct audio scores, or, which can feedback into the performance and notation system itself (i.e. creating commands for other performers). The workshop will be based in a space with simple objects and furniture that the participants can use as their notational ’canvas’. They will be able to construct a notation system from their own movements and their interactions with the objects in the space. From this they will create a series of ’object scores’. Participants will work collectively in creating and altering these ’object scores’ following a FLOSS paradigm of writing and re-writing each other’s contributions.

The problems of notation will be solved by the masses
Simon Yuill was a previous of Constant event, VJ9, we will revisit here also hislecture

Bibliography

Version Control with Subversion

Love Cake Interview Heather Kravas and Antonija Livingstone Performing Proximities Workshop recollection 1 Performing Proximities Workshop Recollection 2:

Marthe remembering exercises from day 2 & 3

Performing Proximities Workshop Recollection 3:

Brynar remembering exercises on day 2 & 3

Performing Proximities Workshop Recollection 4:

Antonja & Heather speaking about the workshop ( Beurs Kitchen atmosphere)

In conversation:

Antonja Livingstone & Heather Kravas in conversation with Bettina Knaup, in the Kitchen by Meggy Schneider - Feb 1 at 23:00

Performative recordings/Browsing the city:

Generic recipe: how was made the workshop , and with which ingredients, on which principles ...

Object Score Notation:

Introductory workshop on score notation: notating a scene from Tokyo Story

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