IDOCs » #bestpracticesincontemporarydance - Hybrid doc
Digital dance practice developed between Jorge Guevara (Colombian based in Brussels. BE) - Naoto Hieda (Japanese based in Cologne. DE) After a year of the research / practice / enthusiasm, our framework BPICD (short for “Best Practices In Contemporary Dance”) is no longer merely an “interdisciplinary” project of dance and technology but rather we become an option to be a discipline by ourselves, attempting to reclaim the virtual body, which we lost, or indeed we were not born with. While it entails a performative aspect, the project is not intended to produce a performance; the practice and its process are intended as an autonomous outcome. An attempt to distance the project from anthropomorphism & anthropocentrism. The objective is to create a fluid, queer form of conversation between technology and bodies where tools and bodies blend (or separate), giving space for speculative ideas which form another practice with its autonomy. Practicing resilience in times of uncertainty. The artists (and potentially guests and the public audience) meet online on LiveLab, an online video platform for performing arts made by CultureHub. While it is a concrete format, as we breathe in front of a webcam and stream our bodies as pixels or bits (bytes), the virtual space gains a tangible aspect as a “pixel space” where our virtual bodies transmute into audiovisual bodies, a transhuman experience or ourselves. This audiovisual body shape itself through grouping - ungrouping pixels, there is no value where nor form. Rather, there is fragility that bodies may be distorted by code or network interruptions. We embrace, embody and propose that fragility as an act of independent resilience. Structure: 1. Practice 2. Chat Find all archive on YouTube https://www.youtube.com/c/NaotoHieda/playlists
2021.05.10

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Hybrid doc  210510

Structure:

  1. Practice
  2. Chat

Find all archive on YouTube https://www.youtube.com/c/NaotoHieda/playlists

 

 

After a year of the research / practice / enthusiasm, our framework BPICD (short for “Best Practices In Contemporary Dance”) is no longer merely an “interdisciplinary” project of dance and technology but rather we become an option to be a discipline by ourselves, attempting to reclaim the virtual body, which we lost, or indeed we were not born with. While it entails a performative aspect, the project is not intended to produce a performance; the practice and its process are intended as an autonomous outcome. An attempt to distance the project from anthropomorphism & anthropocentrism. The objective is to create a fluid, queer form of conversation between technology and bodies where tools and bodies blend (or separate), giving space for speculative ideas which form another practice with its autonomy. Practicing resilience in times of uncertainty. 

The artists (and potentially guests and the public audience) meet online on LiveLab, an online video platform for performing arts made by CultureHub. While it is a concrete format, as we breathe in front of a webcam and stream our bodies as pixels or bits (bytes), the virtual space gains a tangible aspect as a “pixel space” where our virtual bodies transmute into audiovisual bodies, a transhuman experience or ourselves. This audiovisual body shape itself through grouping - ungrouping pixels, there is no value where nor form. Rather, there is fragility that bodies may be distorted by code or network interruptions. We embrace, embody and propose that fragility as an act of independent resilience.

 

 

 

Best Practices in Contemporary Dance

 

 

This can be a hybridthing…~THING TInnn

 

Jorge: 

A thing is a drop of knowledge[bias] that scapes semantics yet not semiotics!  Hmmmm

A thing,  it doesn’t matter, yet it might make the difference. 

A thing, minds the gap,

A compromise within the abism of the unknown, always in relation to wishes and desires...always in relation to you.

A thing is always there beautiful, passiveactive because a thing doesn’t know of epistemology[s], ontology[s], 

A thing is the space itself expanding at a [thing] speed. We know is there, don’t know how, where is going, but most important WHAT is. Yet, we want to know is there, although it might not be There from other perspectives. But if so, then you and me are not here… so leave that THnnn aside

 

I like to believe that Art is a Thing. But I’m not sure these days...continuezzz

 

Time

“In Oram’s work and writ­ing we glimpse the pos­si­bil­i­ty of a par­al­lel between elec­tron­ic and bio­log­i­cal cir­cuits, and a desire to per­ceive phe­nom­e­na simul­ta­ne­ous­ly from var­i­ous sides. More broad­ly, PRACTICES and phe­nom­e­na of tun­ing. Tuning is a fun­da­ment of music mak­ing. To think in terms of tun­ing is to think in terms of rela­tions; of one thing com­ing into con­so­nance or dis­so­nance with anoth­er, of one thing colour­ing and affect­ing anoth­er. It is also to think in terms of time, since tun­ing requires a process of con­stant cal­i­bra­tion: what is now in tune will not stay that way”  

 

VOLVER[sp.to return]& unknowingness:

In the subjective experience of our mind we are always searching for answers. We find comfort in the certainty of knowledge and difficulty in the uncertainty of questioning, in short, the Unknown is uncomfortable. so when we stay,  in the state of inquiry, it helps us to get comfortable with just asking a question.

 

Staying with inquiry opens our mind to new perspectives, and ideas, it allows us to move into possibility and wonder the way a child remains in the moment, marvelling at of the unknown universe around her. 

 

In this practice it is importat to understand that we are not opening our mind to reasoning, or speculation. We inquire without advising an Explanation. Ask, without expecting and answer, question for the sake of questioning, and as we beginning to explore the space of unknowing, we become more flexible and creative in our thinking, we become comfortable with questioning, and feel more secure in times of uncertainty

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-----------------------PRACTICE IN TIME OF UNCERTAINTY----------------------------------------------



Volver [sp.to return], come back to this practice of unknowingness, of curiosity, of wonder, as Albert Einstein said, “the important thing is to never stop questioning”       



BLOB

 

Is possible

Blob out!  https://blob.glitches.me/https://festival.glitches.me/https://dom-party.glitch.me/https://bestchat.glitch.me/

 

May 13 (thu) Best Practices in Scheduling

13:30 - 15:00 Development - 90”

16:00 - 18:00 Practice - 120”

19:00 - Chat / Q&O - 60”

 

Best Practices (Chat): Making the chat “authentic” - not for our fame (partly it is) but how can we “hack” institutions and authenticity. We need a “proper” website.

 

Naoto’s Essay: Writing as an exploration of design and collaboration. Writing for dissemination and communication. Writing as an academic form that sits like a stone. 

 

EVERYTHING IS PROBLEMATIQUE

 

“I’m famous for inventing really cool hashtags” - Marten Spangberg

 

 

Platform - potentiality - neurodiversity

 

“Audiovisual body”- this was something a Colombian artist said during the feminist future/body symposium. She was not fluent in English and I was not concentrating on the talk but this phrase struck me. The other day, when I tried making the image of my body react to sound, I strongly felt the audiovisual body: https://youtu.be/oGHAVVSmAwc

 

Germanic/Romance languages require a subject and an object. Japanese does not - you can say “eat” to express that you want to eat something or you want to eat a specific thing.

 

Stage design of the desktop

reference: Chiho Oka https://www.youtube.com/watch?v=4DTn2km1378

 

Accessing ideas, leap

 

Can we make a practice while our bodies are absent? Can a live coding performance happen without humans?

 

HTML - a markup language - is very pretentious. It may not be the most efficient markup language but it is performative.

 

2020 09 15 Best Practices Discussion https://www.youtube.com/watch?v=QYcMDm5nZNY

J: Miscommunication, translation between technology and choreographer

Choreography is space and time (time over space), poetics into technological

Developer needs to understand the world (how the robot moves), takes time

N: R. always work with same dancers / choreography is harmless (bypasses J’s points)

If you want to go to the concept it will take ages while keeping up with technology

 

Unsensible writing: Let’s agree that post-dance is about gestures without meaning  “expressing the expression” and not about the form [spangberg]. Then what is an approach to writing that is not about the content meaning but about the expressions gesture? Let the thoughts go, and stick an arm into the pool of words that is usually accessed when writing an academic article or a grant application. No matter what the content is, one can be pretentious and convincing in the writing, for example, about a banana that glows in the dark. This rare species is not recognized for its taste nor nutrition but the obvious characteristics that it absorbs photons in a naturally lit environment and emits photons in a dark environment. It should not be confused with photosynthesis that can be seen in plants. Nevertheless, the banana has a distinct flavor that is not discussed by the academics, which is potentially a controversial and provocative topic. The reason why its flavor is rarely discussed is due to the rarity of the species and the ritual of the local communities that prohibits consumption of the banana, and, needless to say, its exportation is strictly forbidden. According to studies, it is believed that shamans are allowed to consume the banana during the ritual, but it is questionable whether they perceive the flavor since the shamans exhibit trance state while the banana is ingested. Another study shows that, although it is highly debatable, genetic investigation concluded that the banana is genetically similar to potatoes, which are a kind of vegetables that grow in soil and normally not consumed uncooked. Notably, colonizers brought back potatoes to their states, where they brutally hash and fry potatoes to produce a cuisine for low-income families. Despite its scientific evidence, most scholars are skeptical of the study because … 

 

Institutions: Practices are indeed performance for us. However, the audience may not see it the same way. They need to buy (imaginary) tickets on the festival website or at the door, take a seat and watch the small stage. The performance is perhaps supported by institutions and artists may have friction with the institution. It may be bulls--t for us but viewers may need the ritual to recognize the practice as a performance.

Then why don’t we hack it? I want to start my own festival: https://festival.glitches.me/

Ref?: https://www.strikemoma.org/

 

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Science is experiment; art is practice. How I create art is based on the background and hypothesis, followed by an implementation as an experiment. It resembles the format of an academic paper. In engineering and science, the process seems to be twisted - researchers see the frame of an academic paper (abstract, literature review, hypothesis, implementation, experiment, analysis and conclusion) and they fit the work in the frame. It is problem solving, or laying out potential, artificial or harmless problems and suggesting a partial solution [1]. This is how I view and create an artwork. Art is problem making. Departing from a problem, a practice leaves more problems or questions. A possible format of an academic paper of art research is a description of the process [2].

 

[1] Can the process of framing research as an academic paper itself be a practice? Testing here: https://academics.glitch.me/#/

editor: https://glitch.com/edit/#!/academics

Jeremy Bailey made a work around speculative patents. https://www.vice.com/en/article/4xq5qj/fake-patent-drawings-electronic-superhighway

[2] The only academic paper in the art context I co-authored is a digital art installation assembling the cultural background, artistic decisions, technical implementation. https://sci-hub.scihubtw.tw/10.1145/2851581.2891093

 

 

Comments at a seminar “Cats”: 

  • where does the hydra editor come from - who is the friend or relative

  • "best practices showreel" curation? how is it curated, what "best practices" mean to me? the video gives impression of a "room" where you enter, physically there to look around as a visitor 

  • how long are the practices - feel like going back and forth

    • None linear time 

  • code and output - how do we performatively interact with the code? - normally only see the end result of the code

    • Embodied code 

  • different rounds - working space come together

    • Q&O

  • moving through spaces not screens, fluid states of work in between work and performing, or is it even "in-between"?

    • Elements - grouping ungrouping

  • deconstruction and composition - freeing the way of work

    • (again) grouping and ungrouping

    • Articulation / accessibility

    • FUN

  • how I present with videos is nice

    • Showreel is short or long ? 

  • deconstruction was a thing 30 years ago

  • net art vs net based art

  • Glitch 

    • no intended 

    • Now, commodity 

    • Liberate

      • What you see is real

    • No function with practice

  • Also there was a question “how I can join the practice”

 

  

Links



Showreel - 210300  

https://www.youtube.com/watch?v=t7pTeXMIo-U 

 

http://2019.tanzkongress.de/de

 

Replica Berlin 

https://www.hybrid-plattform.org/en/events/hybrid-event/detail/hybrid-performance-dancing-at-the-edge-of-the-world



References

 

 

Best Practices in Stackoverflow https://best-practices-in-stackoverflow.glitch.me/

 

https://en.wikipedia.org/wiki/The_Medium_Is_the_Massage

 

http://bogost.com/writing/the-cathedral-of-computation/ 

> the algorithm has taken on a particularly mythical role in our technology-obsessed era, one that has allowed it wear the garb of divinity. Concepts like “algorithm” have become sloppy shorthands, slang terms for the act of mistaking multipart complex systems for simple, singular ones. Of treating computation theologically rather than scientifically or culturally.

> Computers are powerful devices that have allowed us tomimic countless other machines all at once. But in so doing, when pushed to their limits, that capacity to simulate anything reverses into the inability or unwillingness to distinguish one thing from anything else. 

 

Manifesto for Maintenance Art - Mierle Laderman Ukeles (PDF)

> I will simply do these maintenance everyday things, and flush them up to consciousness, exhibit them, as Art. I will live in the museum and I customarily do at home with my husband and my baby, for the duration of the exhibition. (Right? or if you don’t want me around at night I would come in every day) and do all these things as public Art activities: I will sweep and wax the floors, dust everything, wash the walls (i.e. “floor paintings, dust works, soap-sculpture, wall-paintings”) cook, invite people to eat, make agglomerations and dispositions of all functional refuse.

> The exhibition area might look “empty” of art, but it will be maintained in full public view.

> MY WORKING WILL BE THE WORK




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