The “aboutness” of Digital Recess

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A screen shot of a texture from our “Media First” study.

Our final performance in Intermedia was the culmination of three months of “digital recess” as coined by a former student of Norah’s. It was so exciting to have two willing participants wheeled into our playground like “Mr. Toad’s Wild Ride”from Disney’s Magic Kingdom. That’s not a metaphor, they were sat in chairs and wheeled in. The participants/audience were brought into the space to witness, choose and be the performers often in absurd events like what we titled, “Dada Birthday Party” where we sat at a table and sang “Happy Birthday” to the participants in a surprising and upbeat way and then handed them a tiny mallet in front of a tiny cake and waited to see what would happen. The mallet referenced one of our readings by Soke Dinkla who wrote about one of the first Dadaist artists to include audience participation. “Ernst placed an ax next to one of his works to be used by the visitors in case they did not like the object.” (Dinkla, 280) We asked the participants to choose cards that would determine the next scene. The other three scenes were “Motion Capture,” “Hot Air Balloon” and “Box Head” which we yelled out when they chose the card. “Motion Capture,” a station that was from our second study, was a play on words, two people sat facing each other in chairs and one mimicked (captured) the movements (motion) of the person opposite them. “Hot Air Balloon” was giving the audience/performer a bag of unblown balloons and seeing what they would do when sitting on a white cube at the center of the space and “Box Head,” pulled from our first portrait study and had the person put their head on a box while we took a live feed of their face and asked them mundane questions about their life. Each situation was an experiment commenting on or inhabiting expectation and power. Other aspects of the piece included some movement developed from questions answered earlier in the work, saying a memory and throwing an imaginary ball to another person in the space and at times a voice over commentary, by yours truly. The aboutness of the work seemed to be community and absurdity or audience and performer or perhaps reflection and memory. 

As I discovered at the end of our last lab study, “Interactivity and Participation,” I’m interested and excited about the awkward moments and the moments that could change each performance. Throwing an audience member into the mix throws a wild card that is performatively exciting and something that my lab group played with the entire semester. In this study we focused on comparing viewed performance and interactivity in the form of stations. Tricking the audience that they might just sit and watch and then ushering them from station to station where they were to complete a similar “Box Head” and “Motion Capture” moment from our final experiment. Our third and final station was an array of “bric-a-brac” which had a sign that said, “Arrange.”  This was inspired by our readings from Dinkla about Duchamp’s ready-mades. At the end we performed some movements we captured during the “Motion Capture” station and watched peoples faces float around in bubbles captured from the “Box Head” station. The ideas of being seen and watched were at the forefront of the work.

Our second “Media First” study, came directly out of discovering textures that could be used as projections. Zooming into a moving object or objects, water, leaves blowing, bubbles rising, screens moving or a swing shifting can create a texture when projected into an environment. We gathered textures and then made a study using them. The Motion Lab has screens that can be moved into a circle which made us think of a carousel and I was particularly interested in how we could guide the audience’s gaze around the space.

I found Laurie Anderson’s “O Superman” music video to be even more inspiring after having learned the origin of the projection magic she utilized. Jerome Bel’s “Veronique” Series is an almost poignant solo for a corp de ballet dancer from the Paris Opera. These and others were “Viewings” we watched throughout the semester. The course highlighted an array of artists using not only technology but also other mediums. Our reading from Simon Morely’s “Writing on the Wall” highlighted artists influenced by Duchamps “readymades” that began to experiment with mixed media approaches to panel art in the 1950s.  In the text I was interested with the “affichistes” and their ripping down advertisements and using them to create their own art. Intermedia is a course about creating with found objects. Everything we experimented with was already made, we just put it together in different ways. Use what you have to create something new.

The collection of topics, viewings, technologies and the history of media art we’ve explored has allowed me to place the concepts and people we’ve discussed in a way I couldn’t before. I can see how certain artists were influenced and where that landed their trajectory. I’m beginning to understand what interests I have and what kind of art I want to make. I’m beginning to understand my artistic world a little better and that is an important piece in trying to figure out what place I want to have in the puzzle. What’s the puzzle? That’s another question entirely. 

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More Than Some Jam

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Image from ADF’s website found here.

Co-teaching grad students Josh Anderson and Gina Hoch-Stall opened their last Contact Improvisation class of the semester to the other students on Monday and it was a wonderful sharing of form, ability and spirit. The open class was an inclusive and attentive culmination to the semester. The warm atmosphere reminded me of the first time I had ever been to a Contact Jam, maybe…the summer of 2002 at American Dance Festival. Jenn Nugent and Paul Matteson were there in The Ark and perhaps David Dorfman. I remember being in awe of them flying through the air and across the space. The uncertainty of what was happening, the importance of each movement and the courage it took to try things out for myself amidst my heros and fellow newbies.

A bunch of years later it feels so different. Finally I am understanding the vibrant investigation of experimentation and how exciting it is when the unexpected happens. I feel like having children and also just being at the end of my 30’s has allowed me to let go of everyone else’s expectations and opinions of me so that I’m finally able to explore and be interested without thinking of others. Sometimes. It’s been a while since I’ve been to a Jam, but yesterday I found myself wanting to play with my new friends in a way that some old friends used to play. Connecticut’s Elm City Dance Collective taught me what I was relishing in last night: trust, play and surprise. I’m excited to find out that even in this still new environment I’m more interested in finding an unexpected conclusion than getting it “right” or indulging in every ounce of sensing what the other person’s weight is doing next. Or maybe I’m just impatient. Or as Josh has decided…”A bulldozer.” Maybe I’m finally ready to begin failing in order to find my edges.

A lovely moment with Emily of spritely play, a sitting discussion with Bita, a bombastic topsy-turvy interlude with Josh, an interruption of KJ and Yildiz’s tender moment and a rolling play with an unknown mover stay with me. Someone in the class described her experience as a hug that will allow her to achieve all her dreams this week. Me too.

 

What is dance about?

labanfloorThis photo is a projection on the white floor of OSU Dance’s 50th Anniversary Concert. It is a Labanotation score. 

Dance is about so many things.

Bebe Miller writes in Andrea Olsen’s “Between Brooklyn and Bearnstow: Translating through Dancing” the following notions about dance:

“Is it ever a repetition or is it a spiral cycle.” (Olsen, 32)

I am imaging a spiral cycle of something speeding up in time, or building or decreasing in intensity.

“There is a rise and fall, a breath, and there is a return.” (Olsen, 31)

It could be a repetition or just a movement in general. It could be the beginning or the end.

“I am less interested in technology as something to show. I am interested in what it changes about how we as humans in a community interact with it and because of it and alongside it.” (Olsen, 32)

There is something futurist about this statement. I think it is the ever-changing idea of technology.  Is she interested about what changes when we interact with it? How does it change our interaction? Does the presence of technology change our interactions with others, like through Facebook and texting or is it because technology itself is continually changing? And if it’s continually changing than does Miller mean that as it changes and because it changes our interactions and relationships to it and with it are always changing and different? If so, this is also true of our relationship with our community within an environment built around and/or with technology. Or is it all these things?

Dance is what you make it. Dance is questioning interaction. Dance is questioning alignment, movement, orientation, space, time, flow and weight. Dance is thinking. Dance is taking care of those around you. Dance is embodiment and doing.

Works Cited

Olsen, Andrea. 2009. “Between Brooklyn and Bearnstow: Translating through Dancing: An Interview with Bebe Miller” Contact Quarterly Summer/Fall: 28-33.

 

Feedback Manifesto

feedbackWhen I was teaching composition at a magnlet arts high school, the class would often revolve around a set of tasks designed to give the students creative tools to craft “interesting” compositions. When it was time to give feedback, I would always say to the students, “Take what you want and throw the rest away.” If we had showings, other teachers also proscribed to the “Take it or leave it” mentality. Even though I said that, I didn’t really mean it. I think I meant, “I’d like you to at least try to apply a part of my feedback to get a different result. If in the end you don’t like the result, you can always revert back to where you started or somewhere in the middle. In the trying, you might find something new somewhere along the path.”

I still had expectations about their products and as teachers we would often struggle with how much to lead a student to get a “good product.”* If the student was using the tools, testing boundaries and following their instincts I was always happy with their process and often their product was more successful, but not always. When mentoring the creation of a senior project, the students were struggling with figuring out what they instinctually liked, navigating what they thought “good work” looked like and how to make their work “good.” I gave the advice, “Stick to the process and the work will follow.”

I’m now the student and it’s interesting to see the teachers struggle in the same way. How much are they leading me toward their aesthetic or their style of discussion. Am I learning how to survive in the academic world or am I learning how to survive in their specific setting. I’ve decided in this moment that I will try to apply what I wanted my students to do. Try out some options revolving around the feedback given and see where that takes the work. It’s been a long time since I’ve been in a setting where I’ve had to take into account constant feedback. It’s interesting that I am also still wrestling with the notions of “good work.” Stick to the process and the work will follow.

*A good product by definition is something created that is desired or approved of and is therefore all about perception and opinion. Not everyone likes the same things, that is why there are so many options and reasons for creating the art you want to make. Not everyone will like what you make, but someone will…somewhere.

Physical Thinking

Update (as requested):
Click here to see a video about Synchronous Objects!

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From visualcomplexity.com

Synchronous Objects examines William Forsythe’s “One Flat Thing” in ways I’ve never seen quantified. It’s an interface designed to visually represent connections through movements, improvisations and choreography. It’s as if the “making of” part of a movie was integrated with the performance in three different camera views. It allows the viewer to both decide what they want to hear and/or see and at the same time focus there attention on specific carves, arcs, weight, etc. through space.

You can also click through the creation process of the interface on the website, further deepening your understanding of the creation process. At the beginning of this web-experience the question, “What else might physical thinking look like?” pops up.

Wayne McGregor did a Ted Talk, “A Choreographer’s creative process in real time.” I was immersed in the familiar way the dancers were asked to perform newly synthesized movements and relationships. I immediately recognized the familiar assignments and the state of the dancers as they instantly synthesized physical thought. As the dancers moved from jittery (first learning and applying) to a little more integrated in the body only 5-minutes later, I thought, look at all the ways we can think with our bodies and how they move. Amazing.

I think this might be a running post as I continue to add examples of physical thought…

 

Curating our worlds

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Light and shadow is resonating with me. What you see and what you don’t see. There are parts hidden, always; Andre Zachary mentioned this Monday. During our portrait study we shared details about people in the class that were chosen or curated creating a lens the audience would see through. Each person’s world is curated by themselves. Facebook and Instagram profiles are curated to project a certain persona. The news is curated. I curate my children’s world as much as I can. I curate my work, my blog, my fashion (if you can call it that), my food. Choices are the curation of life. Ideas of protection, mediation, filtering and triangulation come up for me when thinking about a curated life, either the life you curate for yourself or the life someone else’s perspective has curated of your life.

My intermedia lab group ended up creating our Portrait Project with me at the center. There were ideas of interviews, auditions, interrogations and being put in situations where I was told my truths were being questioned. The social experiment of it was interesting to me. My team mates were to ask questions of me that I didn’t know before hand so I would have to really think about the answer and upon answering the question they would say, “Interesting,” in a way akin to an interrogation. The fascinating part was even though I knew they meant no ill will and we had set the project up like this I questioned my answers. Which is absurd because there was no reason the truth of the answers could be questioned.

The conceptual and social commentary in our Viewings spark some particular feelings right now. Jerome Bel’s “Veronique,” Antonia Baehr’s “LAUGH”, Amara Tabor Smith’s “House/Full” and Michelle Ellsworth’s “The Rehearsal Artist,” along with Andre Zachary’s examples of process in Monday’s class and our subsequent discussions of mapping/notation with him in Laban today. These all create a web of discourse linking the viewer to the artist in different ways. I’m interested in the word “affect” right now as well and I think there is something of that in here. Zachary links his dancers through his new dissection of language through process. Ellsworth, Bel and Baehr are linking the audience, performer and artist by prompting the viewer to question what is happening and why it’s happening. Smith is linking her work with different areas of Oakland giving it a sense of place and mapping automatically linking it to people watching but also the communities in those places.

Process can be concept. Process is full of context. Process can be performance. The behind the scenes is often more interesting to me than the performance, but in these works they have weaved process into the performance. The process is happening as it unfolds, the audience is processing and will continue to process after. The artists are saying something. Speaking out is resonating with me right now and these choreographers did that in a way that speaks on many levels, in many different contexts and cross culturally. What are you going to say and what makes this the moment you are going to say it? These choreographers are speaking out, sometimes more subtly than others, but even if you don’t get it immediately, you can feel it.

Laban meets creative process

IMG_20181001_135632I went into the studio on Monday with a stack of newspapers, a highlighter and my computer with a article of Susan Kozel discussing the possibility of doing a phenomenology on affect. I had an image in my head of drawing a simple house on pages of newspaper and crumbling them up and throwing them away. I couldn’t and still can’t figure out if or how that fits into my laban movement phrase but when I presented my further investigation to my MFA Choreography Workshop, they found a seriousness, a darkness and a political content within the new laban inspired phrase. I found this interesting because I envisioned drawing that picture of a house on the politics section of the paper. In the studio, I adhered to the rules stated in the previous post. I noticed I was seemingly most interested in leading/initiated movement with a particular body part and primary weight in a place that is not your feet.

IMG_20181008_194747In Choreography Workshop it is currently an open forum for anyone to give suggestions or choreographic thoughts in an attempt to remove the preciousness of something created and find other creative avenues. I performed the movement the first time among Dave Covey’s paintings on canvas scattered around the floor. Dave is the facilitator of Choreography Workshop and he has created paintings inspired by our workshop together among others. For the second showing of my phrase, Dave selected a soundtrack of the women who confronted Senator Flake in the elevator to play during my movement and another student suggested I confine the phrase to a specific part of the stage surrounded by his paintings.

I’m noticing the state of the country, our president, Kavanaugh/Ford, the “Me Too” movement, the fact that California has to make a law to require women on the boards of publicly traded companies, etc. etc. etc. is increasingly effecting me. Perhaps this movement does have something to do with the current political climate. Perhaps my affect has something to do with the effect?