BLOCK_2019III_-_A_Looming_Score::KEYWORDS.md



FIRST SESSION

  • mimetic curiosity (state of allertness? )
  • shifting, or in repetition with difference)
  • naiveity (related to freshness, something expereiced anew, to revisist the 'same')
  • fresheness versus history / knowledge (not project on it > to make the stone stony, historical knowledge as obtacle. gaze --> Viktor Shklovsky - Art as Technique (to make the stone stony)
  • Bruce Nauman (...)
  • Future anthropology / Progressive phenomenology (speculation, imaginary worlds, fictions)
  • fiction-ing (imaginarry architectures, places, the projected difference, the somewhere else thing, )
  • projection for the viewer
  • dialogues with non-human entities (angels, mice, walls, birds, atmospheres, etc. scars)
  • proximities (bringing things closer and further away, new proximities, from wall to vast spaces to sky and to an open arm)
  • Frames (in the video, on the floor, etc. concentric fixed frame mode of problem-making, there is a clear in/out focus on spot.)
  • pattern (going out of pattern, something more complicated [than frame], patterns of movement, of observation, patterns can be "re-patterned", frame can be "broken")
  • here-there choreograhpy (not neutral, distance not to be objective - keep subjectivity )
  • un-repulssive drive (negative of connective tissue or attracting...)
  • facilitation (small gesture of bringing in)
  • subtraction of perceptioal range (just touch, listening in dark, etc.)
  • intensity (...) density
  • perspective and vertcality of imagination (fictions)

SECOND SESSION

KEYWORDS

  • "#So. "
  • "I'm doing what I say I'm doing." Transparency. A game is a game is a game. Problems of transparency inlanguage, filling out forms. A game is a certain protocol, an instruction. It's so clear there must be something opaque at work. A=A is a kind of redundancy, and bringing redundancy to the table feels closer to opacity.
  • Systems of relations created through different kind of contexts - where is the contract established? How is it put to play?
  • Invitation to participate
  • Not related activity - a movie inside the movie - Manisfestation of another set of relations beyond the visible
  • Collaborative narratives - using suggested systems to include the viewer
  • Breaking connections to re-establish other connections > transformation > speculative
  • Ghostly presence of words
  • address, situation of the viewer, their position in the room, in relation to the work, what are the mechanisms that call us back to our position in the room, realising where we are, and can observe what happens to us. the mirror, someone putting on lipstick. we see that they see themselves, private moment.
  • my feet/someone elses feet felt adressed. Writing biological, geological, theological, erotic stories into the feet, whose feet?
  • Distance to how to engage
  • Strategies of participation
  • contamination, the desire to participate - once people are doing it. How do you come to know something? invitation to understand what is at stake to be learned
  • Transmission
  • Can protocols be other than words?
  • The rain
  • Labour
  • Alienation by the impssibility of embody the story -

THIRD SESSION

KEYWORDS

  • Sexy/sensual : naked bodies, burning bodies, desire, genitals, eros mentioned twice
  • Childhood,shame, touch,intimacy of getting close divisions (in terms of groups, creating audience strutures, make experince in a group
  • labor (implied in solving the puzzle, instructions, giving out instructions, ) isolating an element from the background, taking a gesture and highlighting it, creating fragments
  • fragmenting (in storytellings, images, in video, etc. bit of something, of text, producing a commons by our collective labor, the intention is not to create a whole / a resolution)
  • face as the location of the stage-like, as the place of the event face => linger (something that lingers and stay with you after looking at a face, gentlly disappearing, )
  • recycling (past things, things from last week or childhood or history or objects)
  • Mobilising something that has already been here in order to produce new relations.
  • the essence of game (puzzle, childhood game, making believe, fairy tales, mimicking the statue game
  • construction of a presence (intensified co-presence, or one's own withdrawing back or forth...)
  • construction of 'being left alone' (in the audience)
  • airy, atmospheric, not condensed, no sharp edges, gentle

FOURTH SESSION

KEYWORDS

  • playgrounds > intimacy and shared space > game > metaphorical environment - Chance- accident allows the appearance of the borders creating the conditions for the accident to emerge- provisional institutions
  • to fast
  • annunciation multi-dimensionality > time and space
  • associations
  • belonging - identity - memory (being) and having the right to (property - artistic practice , appropriation) > reconfiguration
  • appropriation = power > artistic power and state power - reflection on the usage - how do the appropriated materials speak back?
  • Atonement -make up for bad things one has done espiazione > artistic labour and asking for forgivness > look back at oneself = mirror(ing) (self mirroing) > things holding for what they have been > study case Can we atone something else then guilt? Personal reflection - memory - embeded in community Questioning ethics - Life into art Home - how memories build the present and are a reference to act
  • when do things start to speak back? what are the conditions for things to speak back? Things have to reflect things. How then are they a mirror? When they do mirror something?
  • Lilia asks Ana Paula To Ana Paula
  • A way from 2D to 3D. Your presentation seemed like an experiment on scientific observation using 2 cardboard squares held by 2 people on both sides. We positioned ourselves in two lines behind the two people holding the cardboard. The movement of the ‘holders’ was quite and steady which made the lines of people behind be constant and with small variation. I think the experiment had to do with the relation between rigid lines (cardboard) and soft lines and how they interact. I wonder how the relation between these two components could be more expressed. The lines of people having evident self will and the cardboard being of a slower nature. I have to think also about accident, trouble and deviation as the possibility of seeing otherwise. The other day I came across this video that departs from a line of separated points that evolve in fantastic patterns. I was mesmerised by the will of matter.

FIFTH SESSION

KEYWORDS

I AM HERE. ARE THOSE VOICES, THAT I AM HEARING? I AM READING. I ENTERED BY THE ENTRANCE DOOR, AND NOW I'M IN. SITTING. I REMEMBER STANDING FOR SOMETHING. CAN I STAND FOR SOMETHING NOW? NOW SITTING? I CAN FEEL YOU AT MY SIDE I CAN SEE YOU. HOW MANY METERS OF AIR OVER MY HEAD? I'M FLOATING, THE HEAD IN THE AIR. I'M MOVING MY HANDS. I BREATH. THE HEART IS BEATING. ONCE I SAW MY HEART IN THE ECOGRAPHY SCREEN. BEATING. OPENING AND CLOSING. LIFE IS STRANGE THROUGH A SCREEN. I'M WRITING. MY GAZE WANDERS ACROSS THE DETAILS IS IT GOING TO END SOON? SHOULD I BE WRITING SOMETHING NOW? IT IS PRETTY DARK IN HERE THIS IS THIS. IS THIS THIS? THIS IS NOT THIS. THIS IS VIOLENT IS THIS VIOLENT? THIS IS NOT VIOLENT. FRAME. MOVEMENT INSIDE A FRAME. MOVEMENT OUT OF A FRAME. REPETITION. RHYTHM. AS BONES AS STONES. AS MAGNESIUM. AS STONES.

  • Archeology. Of stones, of bones, of scars. Dissection.
  • words moving gaze moving words moving gaze moving words moving... -relationhship between 'gaze' and 'word'
  • non-sense waiting to make sense (feeling of being lost, the try to find something, ) randomness (non-tracability of some sort of origin of action/movement, the contingency of the score looks like "randomness", the difference between the score and what is performed,) scores (...) and specificity
  • nature [or materials sticking to the human] (the idea of outdoor that is engaged, animal, scar, stone, aura, etc.) Benjamin : the trace makes something that is far look very close while the aura makes something that is very far look very close. the wound as aura the scar as trace (bringing something from the past) Take the time it takes, calm, space in time and time in space
  • Human non-human interactions: object, interspecies and geological something toward a re-embodiment- not disembodiment but something else. flavio body for observation, deb flesh-time stone-time etc, anna paula: body navigating cardboard, understanding a relation, a responsiveness? adriano: re-embodiment as outsourcing inner life? or projection becoming intention. sina: the uncanny interspecies relation, which undo a certain order of human animal relation. re-embodiment encountering something without losing yourself
  • "dancing a portrait of someone as a bird, based on thier haircut"
  • Beauty (in a good way) spatious and calm (sense of a composition that is ...)
  • Presence in time. multidimensional materials. bestiario. different beasts. hommes et betes.
  • being in time (layerings happened on the spot and in time without knowing how that combination would be,) multi-dimensoinal perception (and material) crossing (of narratives, of music and text, of aura and bodies, the video and saying, etc.) crafting connections - and the affects these connections are capable of producing rich presense (not simply being there)

SIXTH SESSION

KEYWORDS

  • Collage/assemblage (also in the questions, assembling from different sources, taking pieces from other works, literature, cutting and pasting in)
  • Geometrical abstraction of life (formality, geometrical simple forms: stripes, going backwards, frame inside a frame) backward walks, seeing something twice, cacophonic (in relation to asselblage and collage)
  • enterting/pop (pleasure of consuming a content, even traces of a violent one)
  • relation to interfaces being well planned (such as the layout of magazine, or chat room, computer word processor, etc.)
  • sexual/erotic references (bestiality, teddy bear, masturbation, snap-chat, erotic scences from cinema)
  • "i'm not sure I'm answering the question" (a new relation to the question) due to daylight saving time creating an off-rhythm + HWD
  • Adoption (taking things or elements from other's works embedding them in their owns)
  • a bit of laziness (something static, "staying where you are",
  • display (using projecting, monitors,

SEVENTH SESSION

KEYWORDS

  • icon-chimera representation symbol (different dimensions of value attacghed to a particualr object --> exposing something about the reserch)
  • body (traversed in different presentations, questions, embodiments, )
  • list (listed things,
  • evidence ( types of revelation )
  • storytelling starting from document (found video, image zoom, body painting,
  • forensic ( as an aproach?
  • temporalities of story / temporality of evidence / ... (scale of the literary, )
  • storytellllling (unfolding of narrative step by step, use of suspense, excitement, mixing reality with fiction, conversational device, )
  • composite (trace, wound, poetics, coming together of disparate materialities, traces that are traced and something floats above it, dialogue betweeen mutlipled channels of commhnication, superimposition and juxtaposition, conflicting elements but a tenderness)
  • veiling and valences, resonating between two different modes that are in tension, is it this or this? it must be somewhere in the middle but the middle isn't given, the veil is a protection (for us and for the performer), intimacy given with a veil, buffer zone,
  • erotic and voyerism of it (touch group, chat room, intimacy made semi public, alter egos, displacement as a way to access intimacy

EIGHT SESSION

KEYWORDS

  • Explosition - destruction - disentegration - turns to dust - burns -
  • State of matter - from liquid to solid to ....
  • Materiality - lack of body presence / absence
  • low saturation - un-vivid things
  • between death and ....
  • remote things - ungraspable but valuable - far away - seeing it through other people`s eyes (remote viewing) - the gaze as making sense > guiding perspectives; seeing through filters, frames, importance of the frame catching the object (how it is held)
  • vicarious story telling, personifications that are displaced in time/space/body, the experience shifts out of the immediacy of the subject into other bodies/times (future<>past)
  • Bodies with properties - as opposed to subject without qualities, close to god. the body is not forever, the qualities decay, transform.
  • family, familiarity (lack of or ... estranged, somehow missing something but not missing), something that is absent in presence.
  • hyper-object, things that are beyond the human scale: feels like disaster, something catastrophic...
  • sense of (free) invitation, receptivity in the bodies,
  • Presence of the speaking figure - how the 'author' is present
  • Gentle sensatization of the viewer - gradual arrival to something profound - suspended gift, raising into something serious
  • The work as a filter, gently hold up in front of the spectator, to change angle, colour, quality etc.
  • the question arises, what are we looking at (for)? in the sense of the filter/perspective. we are faced with our shadows/bodies but in a remote-viewing/vicarious perspective.
  • Are we in that image we are looking at.
  • feeling of violence without the violence.

NINETH SESSION

KEYWORDS

  • Voiceover (a telling/reading voice, sense of echo, doubling, etc. multi-layering, constructing an external layer within the work, crashing but not parallel, etc.)
  • Different presences A sense of echo (sounds-sounds, images-images, sounds- images) A doubling
  • A conversation Simultaneously but not parallel (moments of friction, encounters through collisions of meanings)
  • Focussing on the single action A narrative structure to anchor the differentiate and diffract the different layers
  • more of the same (in a good way)
  • Time as malleable, the composition of different moments and timings to collide
  • Mimetic relationships
  • Doubling and alternative
  • Bringing References and the source to the performance
  • Labour of looking at images of the past (documents) -
  • Surveillance (rotational sit in the center)
  • Alliance / Exclusion
  • A teddybear with a slingshot
  • Decay, the aesthetics of things from the qualities of film the sweat and the shirt losing form the understanding of cultural decay
  • Looming!
  • Institutional gestural silence - Sara Ahmed: https://agenda.brussels/en/479312/closing-the-door-complaint-as-diversity-work-sara-ahmed
  • The crisis of value Things are permitted because of the lack of consequences The democratization of information The used as a crutch to destabilize perception
  • Chosing your struggle What does that mean? Excess as a means of creating impotence The creation of the new norm
  • Too much lubricant
  • Utopian democratic idea's