Just a few quick notes now and I will expand on them over night... A very clear and literal example of "taking instruction" from the environment is evidence in extreme environment performance for instance in wind tunnels, (effective) Zero-gravity flights etc. In my case, I "take instruction" from the underwater world. In fact, I consider the aquatic environment an instrumental co-collaborator in achiveing an aqueous state-of-being fundamental to my practice. I champion a type of performance that centres on being in, and of, a body of water... see http://www.sarahjanepell.com/Research.htm One less extreme but similarly recognisable level, TaiChi practioners learn to "take instruction" from the Chi around them by responding to the minute shifts in hairs folicals which can sway and stand on end by the (effective) static electricity of the Chi which the body "swims in" all the time. On a biological level, most humanoid performers have otoliths, skin, eyes etc to "take instructions" from any environment - real or illusory. On Human Being V's Human Doing in dance? (Following older threads here too...) If the notion of the body is described as the 'en-fleshed machine', it would imply that the system/interface/architecture of the dancer and technology are one of bio-tech fusion i.e. the merging of lighter elements into an operable union of heavier mass, producing vast amounts of energy? Perhaps this is the case ex vivo ? and for an audience/end user but arguably has limited currency for the performer. [Curiously, in intelligence usage, fusion is the process of examining all sources of intelligence and information to derive a complete assessment of activity (U.S. Military Dictionary, Oxford University Press). The audience is also the en-fleshed machine by these terms of biotech fusion.] On the other hand, to speak of the ?en-fleshed machine? system/interface/architecture via bio-tech fission would imply that when combined, the two components: body and technology would begin to vibrate, shudder, and then rupture their previously stable forms to split and become new autonomous agencies, producing enormous new energies. In vivo, are the multiple ?performing selves? performing within the flesh body and the body of the machine or system? In Aquabatics, I reply on bio-tech fission for all aspects of performance ? aesthetic and utilitarian. Underwater, the artist/aquanaut is a kind of ?en-fleshed machine? that is simultaneously in vivo and ex vivo: audience/witness and performer/performance. I grapple with the choreography of Human Being V?s Human Doing. In fact, my aqueous ?dance? practice attempts to critique one through the immediate embodiment of the other. What ever the case, the choreography of body/system/architecture of dancer/performer/maker ? ?en-fleshed machine? or otherwise ?seems trumped by concepts of agency and action determined by the environment in some way. The aesthetics of care, operation, emergency and survival for instance are also incorporated into my practice like the nodal points of an inhalation, constantly reminding me to breathe, exhale and continue my role in the bio-tech fission and its performance within the choreography as a whole. [Obviously the body cannot perform or survive for very long underwater without the aide of technology. Similarly, that the respirator does not breathe for the body, and cannot function autonomously of the biological body.] More importantly, is the environment for which the ?en-fleshed machine? operates. It is time and place specific. Indeed, the performance is cogent on it. The choreography is cogent on it. The aqueous or underwater realm in my instance is the third party to my concept of body. This makes it interesting. This allows the performer to explore the connections ? emotive and otherwise ? that intersects with the changing and evolving context and environment for the work to exist it. It enables the audience and the performer (perhaps one in the same) to consider what is it that is shaping the performance of the performer and the system? Perhaps this is what Jamie refers to as the "Metaformative Process"? The code, rules, the choreography ? or the art of interpretation and operation ? and the impact of the decisions that we make as performers is powerful. It is not just the resources we bring to the performance but our resourcefulness as performers. Johannes Birringer <Johannes.Birringer@xxxxxxxxxxxx> wrote: hi all, yes indeed, a wonderful conversation about movement and "taking instructions" from the environment and re-organizing/self-reorganizing though sensual perceptions. It would be interesting to review this interview in light also of what Jaime wrote >>>> This complex feedback, reflexivity, interrelation of forces is what I call a metaformative process. It dosen't exclude performativity, it rather includes it, but it exceeds it as well. It is a process in which the very structures thorugh which we "articulate" and "understand" emerge together with the realities we attempt to apprehend: it is the movement of thought itself, the self, that emerges in the process. Now we can understand this in the context of such theories of mirror neurons, enactive cognition and proprioception, perhaps, since everytime I see a movement of yours, I mirror it and embody it, and then it has become something else, If I attempt to reproduce it I cannot but generate something different, in the specificity of this body, your gesture is transduced to my field of forces, my register of associations, my open coordinates of interaction. The mirrorings that constitute embodiment have always fragmentary and deforming effects in the forces that are reflected. >> On the issue of the generative, and the evolving, i want to mention the premiere of ENTITY by Random Dance Co, at Sadlers' Wells last weekend (in London), and before the Friday show Wayne McGregor and Scott deLahunta invited interested folks to a research meeting with the team that has worked on ENTITY. I think it would interest all of you, to draw a bit on their dicussion of the post-choreographic and choreographic, and I'm not sure whether Scott wouldn't want to do that himself at some point, right now I should perhaps give you the link to the website brief on the seminar: www.sadlerswells.com/show/Random/extras/entity-seminar#title "The specific aims of the ENTITY research project are: to develop adaptive software agents that can generate unique solutions to choreographic problems; and to continue to work towards establishing principles of choreographic and physical thinking (distributed and embodied). The seminar comprises a series of short presentations from members of the research team including Phil Barnard (MRC Cognition and Brain Studies Unit, Cambridge), Scott deLahunta (R-Research Coordinator), Nick Rothwell (independent composer and software programmer) and Anil Seth (Informatics, University of Sussex). These will focus on background and current developments of the project and be followed by a short discussion." What I found fascinating was the discussion on the vision not only of these metaformative processes that Jaime addresses, but also their autonomous software partners (adaptive agents that learn and evolve) -- and one should not forget the environment and what Lisa Nelson refers to in her interview (the sensed world and the sensing of the world, the information the environment sends to us at all times to affect us) The discussion last weekend seemed to pair evolutionary biology (selection) with creativity (physical creativity), and then we heard about , AI (the modeling), emergence and complexity /systems theory in rather interesting, sometimes also frustrating ways (many the visual examples were drawn from robotics and auto-locomotion, interestingly). the adaptive agents or the evolved articulations of the digital (in the wired /projected environment) is a level of the (post)choreographic that we have not fully addressed either, as presumably, at least in regard to dance, the aura of the choregrapher (experienced at Sadlers Wells for sure, last week) is still alive and well and the notion of the choreographic refers to problems that humans solve? I think the cybernetic and AI discussion, however, also points to other co-evolutions and wild arrays of real and virtual formations, mutations, and gestations. "Environmental Sensualities undergird all discussions of wired sustainability" someone wrote today on the Empyre discussion list. Jaime, do you see dance as primarily a form of "non-verbal communication" ? but surely in interactive and emergent virtual scenarios how do you separate the dancer from the dance, and what is the "choreographic" in the extended sense of sensorial flows and projected flows we sought to imagine? is the "choreographic" not the kind of "object" you deconstructed, Jaime? (the "work" is that very process which is also your "self" and becoming, there is no exteriority to the process or to the work, but an interdependence of forces in the relation of which both the self and the work emerge, but never sedimenting into something complete and fixed), a non object, a non structure, an already-reproducible mutation. Finally, a comment on earlier references to Artaud and the "body without organs." I like what Zizek wrote about the melancholia of the choreographers. We are not too sure about the virtualization of reality, and Zizek says it's ?crucial to maintain open the radical ambiguity of how cyberspace will affect our lives: this does not depend on technology as such but on the mode of its social inscription. Immersion into cyberspace can intensify our bodily experience (new sensuality, new body with more organs, new sexes ?), but it also opens up the possibility for the one who manipulates the machinery which runs the cyberspace literally to steal our own (virtual) body, depriving us of the control over it, so that one no longer relates to one?s body as to ?one?s own.? What one encounters here is the constitutive ambiguity of the notion of mediatization.? The theft of the body may present a very likely trauma to contemporary dance. regards Johannes Birringer >>>>>>> Thanks for this video. we need more of these - with artists talking so eloquently of their work and process. i really enjoyed the added dance workshop footage this time. it fleshed out the ideas put forward and made our discussions online more concrete than abstract - straight from the horses mouth, so to speak...a perceptible change of my organisation in connection with this technological gaze was most enlightening. best jeannette ----- Original Message ----- From: Marlon Barrios-Solano To: jaimedelval@xxxxxxxxxxx ; dance-tech@xxxxxxxxxxxxx Sent: Saturday, April 12, 2008 6:06 PM Subject: [dance-tech] interview with Lisa Nelson at dance-tech.net hello list, An interview with dance improvisation artist, lecturer and researcher on improvisation and perception (Tunning Scores) as one of the "Embodied Techne Series". She takes us across her experiences with dance, movement studies, psychology of perception and her experience with video. Her perspective might add to current and recent discussions on real-time composition and embodiment. In dance-tech.net http://www.dance-tech.net/video/video/show?id=1462368%3AVideo%3A15448 In blip.TV http://dancetechnet.blip.tv/#824922 Thank you and comments welcome, enjoy, Marlon PS: editing courtesy of Ashley A. Friend (please let me know if you want to collaborate with dance-tech.net podcasts. I have very cool raw material...) Marlon Barrios Solano unstablelandscape http://www.unstablelandscape.net social media projects design/development/teaching/consulting New York City dance-tech.net http://www.dance-tech.net A dance and technology social network that aggregates and facilitates the flow of information and the distributed intelligence among movement, new media artist and theorists working in the confluence of embodied performance practices and new media. Dance New Amsterdam http://www.dnadance.org/ New Media Specialist cell phone in USA:614-4462175 Skype name: unstablelandscape IChat name unstablelandscap Second Life: mars barragar Dr. Sarah Jane Pell Director/Founder, Aquabatics Australia Cell +61 (0)415 711 717 www.sarahjanepell.com www.aquabatics.org A.Q. Atlantica 2009 www.underseacolony.com research@xxxxxxxxxxxxxxxxx --------------------------------- Get the name you always wanted with the new y7mail email address.