Wednesday December 19th 2018,
9-9:15AM EST (New York time)
3-3:15PM GMT+1 (Paris time)
2-2:15PM GMT (Porto time) Find your time here. An Online Ritual.
Open to all. Eyes closed and no talking.
If you want to join you need to install the zoom application on your device.
On the 19th connect at 2:55 pm Paris time / 1:55 pm Porto time / 8.55 am New York time to meeting no 3210554238.
15 minutes of ‘us’ being together, (t)here, where? …. 15 minutes against the everyday digital restlessness, building a sensorial invisible fabric that gathers who’s participating (and who’s not?!), resiliently coming back to this shared moment, with the same faces or others, who will be there again in this silent and blind encounter across each other in an electronic communion. Will it be ‘us’ again?! Daniel Pinheiro after Distant Feelings #4 Dec.1st 2017.
Image from DF #4 :
Distant Feeling(s) #5, fifth session in a series of online webcam meetings trying to experience each other’s presence eyes closed and no talking.
Distant Feeling(s) #5, the second of a livelong yearly reconnection.
An ever-changing re-enactment of our intra-action with machines.
Distant Feelings is a project from Annie Abrahams, Lisa Parra and Daniel Pinheiro. More information.
3G(enerations : Annie Abrahams (Montpellier), Pascale Barret (Bruxelles) et Alix Desaubliaux (Lyon), trois artistes, trois femmes, trois générations, se retrouvent en ligne pour Constallations : un projet de rencontre où le faire est utilisé comme instrument pour défaire sa propre réflexivité, son subjectivité systématisé et pour se lire les unes à travers les autres à fin de générer des moments créatifs et inattendus.
Constallations est une conversation sous la forme de 3 x 3 sessions de désirs / tempêtes / lavages cérébraux. Constallations est un outil radical pour un non-art. Constallations est une confrontation attentive entre générations, visions et pratiques.
Chaque instanciation est initiée / hébergée par l’une des artistes comme une invitation et un défi aux deux autres. Jusqu’à maintenant trois sessions ont eu lieu : Defragmentation, Crittertalk et musingCyborg. Reprise en janvier.
Pour suivre le projet : constallations.hotglue.me.
Nous nous penchons aussi sur comment faire vivre ce projet après. Comment l’archiver ? Comment l’anarchiver ?* Comment récolter les “graines” pour pouvoir les réutiliser ailleurs? Pour qu’on puisse se les réapproprier – ne pas pour produire, mais pour faire pousser autrement. Comment y extraire des tendances / les essences / les affects?
Un protocole, une procédure ou plutôt une danse, un mouvement? Un rituel ?
Constallations est soutenu par OUDEIS dans le cadre de son axe de recherche sur l’exposition et l’automatisation.
* L’anarchive est un concept développé par le senselab Canada. Il s’agit de produire des traces qui ne sont pas inertes mais porteurs de potentiels. Hors canon.
Du 29/10 au 3/11 2018 Ariane Cassimiro et moi, nous avons pu travailler au laboNRV à Lyon. Une courte résidence autour de la VR (Virtual Reality), la performance et la danse. Pour lire nos intentions c’est ici.
Presque tout de suite, après quelques tests de déplacement et danse dans Google Earth nous avons changé le titre. C’était avant la glace et les montagnes … est devenu Avant. Il y avait encore tout à construire. La VR, la terra incognita, demandait de se pencher sur sa technologie, les réglages par défaut du casque, des capteurs, mais aussi des logiciels à utiliser. Tout à construire. Ariane et moi, toutes les deux des immigrées en France l’ont abordé en tant qu’étrangères. En tant que corps non adaptés.
Nous avons testé d’autres outils, comme la composition de paysage live avec unity, le jeu dans une visite du The Lab et même les traceurs aux pieds dans un univers zombie multi-joueur.
Le déclic est venu quand nous avons commencé à tracer/dessiner nos corps dans le 3D avec Tiltbrush, quand nous avons utilisé les manettes pour dessiner nos mouvements pendant qu’on dansait seule ou à deux. Le corps se multipliait. Il y avait celui qu’on ressentait, celui dessiné dans l’espace 3D – autre, mais réel, à découvrir, à contourner, celui à regarder dans la projection en mouvement, celui présent en tant qu’ombre devant la projection et celui que parfois on touchait, qu’on entendait avec lequel on dansait, ou qu’on regardait danser/mouvoir.
Le trait, produit dans un mélange d’intérieur et extérieur VR, était magnifique, naturel, traduisant l’hésitation, le rythme, l’interaction. Il était aussi personnel.
Plus d’images (15) sur flickr. La terra incognita domptée. I would love to do workshops danser / tracer/ dessiner.
29/10-3/11 Résidence laboNRV. C’était avant la glace et les montagnes … Project VR (Virtual Reality), performance et danse avec Ariane Cassimiro.
Suite de Qu(o)i agence Quand .
C’était avant la glace et les montagnes, avant la lumière et avant le mouvement. Avant le corps, la chaleur, la pression, c’était avant que I & U parlent… (merci à Valentin Godard pour cette phrase)
La VR sera abordé comme une terra incognita « classique », un fantasme, qui malgré son progrès technologique est mélancolique du nouveau, de l’inconnu, d’un monde vierge.
Nous souhaitons faire de l’expérience VR très solipsiste une expérience partagée et communicative.
Nous allons utiliser les limites et les frontières du VR par défaut, la narration instantanée et le dialogue, la participation du public, l’échange en improvisation entre l’opérateur informatique (l’interprète du logiciel Unity) et l’utilisateur VR. Nous allons relier l’intérieur de VR à l’extérieur et rester dans l’entre-deux de ces espaces.
Nous aimerions pousser nos réflexions sur la relation au corps et à l’autre dans le VR en utilisant des techniques de danse et des interventions live dans des environnements comme VRchat par exemple.
Le commentaire est pour nous un endroit important face à la VR. En dehors de la narration en direct et le dialogue nous voulons expérimenter d’autres voix, tester un débit/flux autre, un récit de rêve, de l’hypnose ou d’addiction.
Vaste programme – trop peut être?
In Distant Movements we close our eyes. Thus we immerse ourselves in the imagination of our own space and we can not control how we appear on the screen. We are guided through this space, at the same time real, virtual and imaginary, by a voice. It is this voice that creates a shared mental space.
In this shared space our bodies dance and interpret, each in their own way, the words coming in two different languages.It is clear that in the immediacy of our interpretations, our smallest differences occur, revealing an unsuspected value.So many bodies, so many dances: in-reproducible, inimitable.And each one gets in tune with the other and dances with the other, imagining the dance of the other in his own inner space.
In July 2018 Daniel Pinheiro, a performer and visual artist based in Porto, Muriel Piqué, a choreographic artist, researcher and performer from Montpellier and I started working on a new project called Distant Movements. In this project the intense presence of and attention for the unseen other, experienced in another online networked project called Distant Feelings*, is extended with an exploration of our bodies in motion and the imagination of the other who also moves, who also dances.
Distant Movements wants – to give an intimate access to a danced, dancing body – to reveal the body to poetry / to acces a poetic body – to activate a body at a distance – to research – the relation body-machine, their interdependence, their entanglement, the connection, the constraints – meeting at a distance mediated by cables, the voice, our imagination, our sensations – the relation between the real space / virtual space / imagined space.
– to share the magic of dancing together over distance
Distant Movements uses performance as a tool.
Distant Movements manifests itself as – a research web site; an anarchive** : traces intended to be potential carriers, that can be reactivated. – a series of online experiments – online participatory performances accessible via zoom.us – performances / installations in situ – video traces some of which will have the status of a stand-alone art work.
Distant Movements can be followed here : distantmovements.tumblr.com
So far we had 7 sessions. In the future we will invite more people to assist in our experiments.
———-
* Distant Feelings is an ongoing project by Annie Abrahams, Daniel Pinheiro and Lisa Parra – an online ritual of contemplation on our situation of being together while being separated. Eyes closed, no talking.
** For a concise definition of the anarchive visit senselab.ca.
Last week we used Jan de Weille‘s ECG (electrocardiogram) equipment to do a quick experiment. Gaspard and Sandra Bébié Valérian of art-act were starting a new project on mycelium and asked Jan (a scientist, who had also worked on sonification of electric fish and motoneurones) some questions about sonification of champignons.
An image of our first experiment. Jan thinks we just mesured the apparatus’ imperfections. (We had no idea about the response range nor about delays.) I was excited to see the potentials change when I talked to the mushroom, and Gaspard was excited about all. We had a nice range of reactions from scientific to almost chamanic.
Wondering what this tells about art-science projects.
Two books of two friends, female friends, friendins, friendxx …
I present both books together, because, the authors could be interested to meet the book of the other.
Both books make you read differently.
Once upon a [‘high’, ‘spring’, ‘slack’, ‘neap’] tide we [‘drifted’, ‘coasted’, ‘slid’, ‘slipped’, ‘tacked’] past a [‘bay’, ‘beach’, ‘cape’, ‘cove’, ‘dune’, ‘lagoon’,]
Crahsh. L∅j drpp∅d ah mirrr pahinting n th∅ jjr. AH shrn ahbiss wh∅r∅ th∅r∅ hahd b∅∅n nji sahnd. AH hj∅ in th∅ b∅ahch. Jiji jah∩gh∅d.
Jiji by Lily Robert Foley, Omnia Vanitas Review, Sept. 2016.
On page 4, all o’s are removed. On page 17, all j’s and l’s are exchanged. On page 22, h is added to a’s (ah). On page 94, y is replaced with i. On page 100, u is replaced with ∩. On page 123, e is replaced with ∅.
Jiji has its own rules which are transforming the book into a reading machine. The “code” is given from the start.
When I first leafed through the book I was skeptic “It looked impossible to read”. But it wasn’t, my brain adapted and became entangled with the lovers in this “roman à clef”. Incredibly how plastic our brain is, how much of reading is convention, incredible how fast you can learn a new code. I preferred the tragic story, its content mirrored through its form, to the machinic end. Not brave enough. I don’t regret. Jiji stays with me.
J.R. Carpenter also clears the coast at the start in her note to the reader. This book is made of other books. The poems in this book are composed of facts, fictions, fragments, and codes collected from accounts of voyages undertaken over the past 2,340 years or so, into the North Atlantic, in search of the Northwest Passage, and beyond, into territories purely imaginary. These poems are intended to be read on the page and to serve as scripts for the live performance of a body of web-based works. They retain traces of the syntax and grammar of code language the dense, fragmented archive of the North Atlantic into an astonishing sea of fresh new text.
In An Ocean of Static form and content are also intimately linked. I was again initially skeptic; the book looked so austere.
I like to “play” between choosing an argument and comparing them among themselves. J.R.’s variable texts read as code, as poetry, as a game, and they are deeply strangely personal. They leave me space to be in/with the ocean of noise, hearing faint voices and splinters, that sometimes I recognize as from the past, however are always first-most hers. This is what we are made of. This is what we are. This is how we can speak without ignoring what was. This is how we are entangled with machines.
In this constantly shifting sea of variable texts a reader will never wash ashore on the same island twice… and by islands, I really do mean paragraphs.
Et puis : Un poème d’un autre amie: Camille Bloomfield.
Could un unbiased conceptually neutral investigation of how people see the world exist? How to share diversity?
(This post is copied from http://e-stranger.tumblr.com/.)
English is not an international language and it is wrong that scolars use it as if it is.
Describing diversity is impossible if you use English, you need a metalanguage.
Depression is an English concept. NSM makes it possible to talk about it.
Anna Wierzbicka cited from :
In this video she explains, she has nothing against people being naturally imprisonned in their language, but that she opposes scolars’ and for instance also politicians’ thoughtless use of it.
I read Anna Wierzbicka’s book Imprisoned in English: The Hazards of English as a Default Language, because I can imagine that this indeed might be a problem.
Moreover the blurp for the book promised Anna Wierzbicka had a solution.
NSM (Natural Semantic Metalanguage) has 65 primes (a human conceptual vocabulary) and a simple syntax.
“Minimal English is a new derivative of the Natural semantic metalanguage research, with the first major publication in 2018. It is a reduced form of English designed for non-specialists to use when requiring clarity of expression or easily translatable materials. Minimal English uses an expanded set of vocabulary to the semantic primes. It includes the proposed universal and near-universal molecules, as well as non-universal words which can assist in clarity. Minimal English differs from other simple Englishes (such as Basic English) as it has been specifically designed for maximal cross-translatability.” From : https://en.wikipedia.org/wiki/Natural_semantic_metalanguage
“There are two kinds of English words.
Words of one kind are like this:
if someone says something with these English words,
many people in many places on Earth can know well what this someone wants to say.
There are not many words of this kind.
When someone says something with English words of this kind, this someone is saying it in “Minimal English”.
When someone says something in Minimal English,
people in many places on Earth can know well what this someone wants to say.
At the same time, people in these places can say the same thing with other words,
not English words.” From “Global English, Minimal English: Towards better intercultural communication” Cliff Goddard and Anna Wierzbicka 2014. : http://hrc.cass.anu.edu.au/sites/default/files/hrc/u78/Global_English_Minimal_English%20position%20papers.pdf
Ps “Minimal English has no priviledged status as a conceptual mini language of human understanding. From a conceptual point of view, Minimal Spanish, Minimal Chinese, or Minimal Arabic would of course do just as well.”
#nfcdab is a do-it-youself or do-it-with-others? digital art biennale that travels on wireless technologies, light waves and electromagnetic fields to access content. The idea of the biennale is to take advantage of the potential of near-field (mis)communication and other sharing technologies for making web-based digital art accessible in outdoors settings to slack-keep presence.
Two books of two friends, female friends, friendins, friendxx …
