Without Quite Knowing
THE project and the DERIVED performative experiments look at practicing change and instability as a way to access freedom through imagination.
Through this choreographic practice I explore shifts of perception in a dialogue between movement and thought, with the help of data science and AV technology, to question narratives, normativity and the logic of systems.
Based on my practice of feedback loops of ATE, through the articulation of body and of thought, I am looking at ways to share vulnerability through dialogue across mediums, to stimulate doubt and assertiveness through communication and miscommunication, and to practice change and instability through creation and imagination.
To address the role of the spectator, encourage their critical thought and explore the ability to dialogue across mediums, I focus on:
identification, Intimacy and creation.
I address this through the use of audio and video.
Headphones for the audience: designing 3D sound thanks to binaural recordings which makes them feel as if they are there where things are happening
[in the future: Video projection: Leaving space for an imaginary landscape to emerge inside their heads, helped by abstract visuals generated from the feedback of data collected through GSR sensors on the performers (and potentially audience).]
The value of Doubting:
How we see things, from which perspective? Who is the protagonist which ears we borrow?
(the person, the object hearing the person, the floor hearing the events?) By creating gaps, voids, or misunderstanding, the work challenges which assumptions, stories we tell, fictions that make this creation possible?
How do we practice precariousness:
Contradictions
Till we lose grip with reality and start doubting givens.
Simulations
To invite the audience to think of what may be a simulacrum (eg. a sound made by an object resembles rain)
Interruptions
From an “other” reality, breaking in to disrupt a particular fiction (?) Revealing fragility and vulnerability with out of context interventions.
Alterations
Repetitions through loop to create effects (eg. of obsession, distance..)
Not telling ‘about’
Dramaturgy relays the narrative without spelling it out. Audience has to use imagination.
Listening
To stimulate awareness, leaving moments of silence and voids for an inner trip, to look through what we see and create something else.
The use of Technology:
Audience experiences the work with wired or wireless headphones. The performers use microphones, head-sets, earphones, headphones, loop pedal, wireless speakers to play with fluctuations of attention and deceptions. GSR sensors, coding and transliterating data into sound and eventually image are used to generate material that feeds directly back into the performance, affecting its evolution in the live by the physiological changes of performers and spectators.
Technology in this work is not a special effect, not a mere trick. It is an imaginative tool that can help us see things that are not there.
The role of the audience:
Is not given answers or lessons but been provoked, posed questions or opened up to possibilities.
The are (implicit) questions such as: what do we believe and how do we dialogue with it/ourselves?
THE project and the DERIVED performative experiments look at practicing change and instability as a way to access freedom through imagination.
Through this choreographic practice I explore shifts of perception in a dialogue between movement and thought, with the help of data science and AV technology, to question narratives, normativity and the logic of systems.
Based on my practice of feedback loops of ATE, through the articulation of body and of thought, I am looking at ways to share vulnerability through dialogue across mediums, to stimulate doubt and assertiveness through communication and miscommunication, and to practice change and instability through creation and imagination.
To address the role of the spectator, encourage their critical thought and explore the ability to dialogue across mediums, I focus on:
identification, Intimacy and creation.
I address this through the use of audio and video.
Headphones for the audience: designing 3D sound thanks to binaural recordings which makes them feel as if they are there where things are happening
[in the future: Video projection: Leaving space for an imaginary landscape to emerge inside their heads, helped by abstract visuals generated from the feedback of data collected through GSR sensors on the performers (and potentially audience).]
The value of Doubting:
How we see things, from which perspective? Who is the protagonist which ears we borrow?
(the person, the object hearing the person, the floor hearing the events?) By creating gaps, voids, or misunderstanding, the work challenges which assumptions, stories we tell, fictions that make this creation possible?
How do we practice precariousness:
Contradictions
Till we lose grip with reality and start doubting givens.
Simulations
To invite the audience to think of what may be a simulacrum (eg. a sound made by an object resembles rain)
Interruptions
From an “other” reality, breaking in to disrupt a particular fiction (?) Revealing fragility and vulnerability with out of context interventions.
Alterations
Repetitions through loop to create effects (eg. of obsession, distance..)
Not telling ‘about’
Dramaturgy relays the narrative without spelling it out. Audience has to use imagination.
Listening
To stimulate awareness, leaving moments of silence and voids for an inner trip, to look through what we see and create something else.
The use of Technology:
Audience experiences the work with wired or wireless headphones. The performers use microphones, head-sets, earphones, headphones, loop pedal, wireless speakers to play with fluctuations of attention and deceptions. GSR sensors, coding and transliterating data into sound and eventually image are used to generate material that feeds directly back into the performance, affecting its evolution in the live by the physiological changes of performers and spectators.
Technology in this work is not a special effect, not a mere trick. It is an imaginative tool that can help us see things that are not there.
The role of the audience:
Is not given answers or lessons but been provoked, posed questions or opened up to possibilities.
The are (implicit) questions such as: what do we believe and how do we dialogue with it/ourselves?