My PP includes live and online performances: texts, talk, audio, film, tryouts and failures with the aim to explore the reshape of cognition through: imagination, perception and sensory body, while trying to understand and apply new artistic and pedagogical theories of dance in practice.
The Audio Part was a series of Documentations of my sensory body within this process, which took a performative form in another time and space, while Audio Recording occurred.
The Written Part has been a reflection on theory, on politics, and choices, based on the idea of flat hierarchy and open sharing.
The visual Audience Experience Map, is an attempt to create a free participatory instruction set for the audience to experience individually in their own Time and Space.
The filmed Part has been a series of workshop and instant composition, with a group of non dancers: Expats of Copenhagen, documented and filmed in relation to the idea of sensory body, imagination and post humanism.
The PP presentation(06.06.19) started with an improvised interaction with the audience and myself. A try out to visualise Time and Space notions in a very simple spatial way during my process.
Instruction: Each time your hear a relevant to time or space notion, please make A step forward.
The instruction had its application to the text below:
Selected Theories:
Kant’s theory considers “space as our ‘outer sense’ through which we construct our relationship with the external world. Time is our ‘inner sense’ and registers our internal experiences. Space and time, then, are cognitions that are derived from our experience and are distinct from concepts, capable of producing legitimate phenomenal or sensory understandings of the external world and our internal experiences.
Time Worlds of Einstein’s Dreams By Alan Lightman, where Time and Space take different qualities and forms has been an important apparatus to perceive differently these two notions.
The Embodiment of the imaginative possibilities of time and spatial complexity (Laban and Forsythe).
My interest was to create an opposition with the very abstract work of the following part.
WE EXIST INSIDE TIME AND SPACE TEXT
Audio Performance (on stage)
A performance based on my own self documentation.
Notations/descriptions of my sensory memory and perception in relation to the world around me during the whole process (participants, notion of time, imagination, relations, occurrences).
I wanted to challenge the audience( An informed dance audience) to engage (by only hearing) and to try to imagine either my own movement or try to imagine what they would do instead. Would they imitate what I was describing, would they interpret differently or would they react?
For this precariousness, I proposed a very open set of actions:
Act Sense Attend React Imagine Reshape
Selected Theories:
Dee Reynolds in “Empathy, Contagion and Affect: The Role of Kinesthesia in Watching Dance” introduces the term ‘perspective taking’, a cognitive capacity to take the perspective of the other person and ‘kinesthetic affect’ when embodied responses take the form of an affective encounter. Affect and Empathy are different. “Affect is an embodied imaginative event in which we experience our own body through its felt connections across different bodies.”
My interest in the Audio performance (in relation to this theory) would be how much a hearing/acoustic stimuli of the movement can affect the embodied imaginative action of the audience.
Reflection on the 2 days (6-7of june 19) of Audio Performance:
06.06.19: Nobody entered in the stage. Audience could imagine their/ or my interpretation. Precariousness for their engagement.
07.06.19: Audience members entered in the stage. They tried to imitate partly what I was describing and some times interpret their idiosyncratic perception. From my perspective,the Sitting Audience experience became a Visual performance. They became observers to the visual stimuli where the moving people were producing.
It is an inclusive performance for hearing impaired people.
It can be a form for open access to art for people who do not have access to venues (online sources).
Listen freely:
https://static.wixstatic.com/mp3/4fd998_30828a409a8049f185ec08b3b836e5e3.mp3
or
Background music : Sounds of the Sun
Audience Experience/ Let YouR BoRinG SeLf diE vol.2
It is a suggestion for freely interpretation by whoever has the map. Interpretation In his own Time and Space.
Taking reference the title of the project Let YouR BoRinG SeLf diE, I created a visual map (based on the spots where the expats chose in their composition). The audience can self-trigger their imagination to what does this map mean to them in relation to their own Time and Space. To challenge more their perception I propose a set of actions to engage differently in the world.
Selected Theories:
Taking place almost parallel to the emergence of new public manifestations of a political culture of participation, artists have been developing a growing interest in participatory performances and choreographic projects that go beyond the processes of authorisation and legitimisation in the public sphere’ from Dadaism and so on.
Claire Bishop talks about social performance as the current critical political form and the notion of Activated spectatorship. Artists used scores in their try to take away the authorship and the importance of the actual artistic event(eg fluxus).
Bishop appeals on the confusion/ assumption between the actual form of democratic civic participation and the aesthetics form of an artistic action.
Personal aspect:
We have lost the connection with the body. We have to reformulate our relationship with the BODY- MIND-MATERIAL relation, in order to be able to change the social dynamics. Ephemeral communities(based on aesthetics)can not be sustainable. Common share, trust and time are elements that come from respect of the realisation of attention. Art can not be about aesthetics only, it is about reshape.
**In the audio text there are references to Kenneth R. Lang words on Sun Movement, as well as Bebe Miller text in relation to the installation of Lily Skove: “Moments of Looking: Seeing Inside Dancing”.
Development: Repeat the instructions(even separately in Time and Space), while having someone to observe. (performative action.)
Performance Project (online)
Let your boring self die
Instant composition/ Improvisation with an aim of a Performative Ephemerality in the space. In contradiction as It has been recorded, in the frames of the Documentation for the PP examination.
Group: 4 Expats of Copenhagen
Aim: The discovery of the "Post human Ecology " (term by Sheila De Val Madsen)
Subject: How imagination can reshape cognition and transform the process of the present events by fantasising a past/ future connection with materiality through the senses?
Selected Theories:
Green argues that our imagination can reconstruct the values and the social. My goal was to help the participants to imagine a post humanism relationship with the world.
Environments, objects, sensations perceived as equally living organisms.(new materialism and post humanism theories).
A refererence in Chapell’s “Posthumanising creativity” essay, by Rosi Braidotti:
art [is] an intensive practice that aims at creating new ways of thinking, perceiving and sensing. By transposing us beyond the confines of bound identities art becomes necessarily inhuman in the sense of nonhuman in that it connects to the animal, vegetable, earthy, planetary forces that surround us. Arts is also … posthuman by structure as it carries us to the limits of what our embodied selves can do or endure.”
Rosi Braidotti in 'The Post Human’ (2013)
The theme of time was recurrent. Prehistory and prospective futurism came together in an anachronistic manner.
“Lived space is not linear, it is a field and an environment.
..[T]he primordial space of our existence is ‘topological’; it corresponds to the diacritical oppositions of our perception….[I]t is a ‘milieu in which are circumscribed relations of proximity,… [relations] which are not merely geometrical or cultural but are lived.” Dorothea Olkowski.
So how can we play with our perception and transform the process of the present events by fantasising a past/ future connection?
My interest and approach in the exchange with the expats
For Social Good. Becoming the process.Not about production. Process. Ethical choice. Imagination. Social process. tools for personal empowerment. .
Inside/ Outside: The idea came from inside of me, interacting with the people ideas (outside of me).influenza creativity/transformation into something new.
Exploring, reflecting and creating movement with participants.
Request to create The imaginary journey, introduction to the idea.
WORKSHOPS:
Concepts
Post human theory Common respect to all actants, environment, material.
Imagination A tool for social change. A tool of creativity with an aim to transform the way of being.
Embodiment the translation of idiosyncratic perception.(memories, culture, senses, cognition)
Poetic writing/ haptic visuality Challenge for a creative form of reflection
Organisation before meeting
__________________
Meeting day 1
Inside studio
Introduction of the PP .
Watch Planet Dance
Warm up Spatial Decisions based on simple statements given in a round of : I am interested in.
Outdoors
Exploration: Couples had 3 min slots to brainstorm. My journey is , was ,might be just to open their mind into theirs sensory world.
Writing of representative words other journey.
Inside studio
Introduction with a game to Laban and Improvisational Technologies of Forsythe. (Fotos)
Exploration: Embodiment of the words while using chance method to insert Laban and Improvisational Technologies of Forsythe into their experience.
Creation: Solos
Sharing and learning
Reflection
Drawing of their experience.
Ask as a homework to create a poetic version of their imaginary journey.
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Meeting day 2
Outside
Individual meeting with Robin
Meet and bike together to the costumes storage.
Individual choice of her costume.
Warm up in silence, in respect to the needs of our bodies to feel where we are and what it is needed.
Reflection and share of thoughts about the previous process, about the choice of costumes.
Idea: Ritual for her lost tribe, culture, environment.
Free instructions to improvise and embody her state outdoors in the nature.
Note: I have been an observer and a support to her need to embody her ritual.
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Meeting Day 3
Inside studio
Breathing Exercise. Attention, To what the body does. Let it bigger and create sound. Insert movement. Creation of an absurd/ galactic language. Dialogue amongst the participants, amongst materials.Insert of movement. (Record the Audio)
Reflection of the non expectation, of the understanding in a different level.
Remember material of Day1.
Outside
Instant Composition by verbally instructions by me. Performance. Instant choices. Taking reference “Spatial Confessions” by Bojana Cjevic and the material been created within the studio. (one shot)
Meeting Days/ The crane and myself.
After the post humanism idea, I ‘ve started to say Good morning to a crane (who has been in a construction area next to the Opera of Copenhagen), as an experiment.
It’s been 2 months now following this experiment.
This is the reason I include the crane in this creative process as a participant.
DATA MATERIAL OF THE CREATIVE PROCESS OF LET YOUR BORING SELF DIE
Drawings
Absurd Audio
Journey is ,was , might be
The Imaginary Journey
Videos of workshop 1
Instant Composition
crane
Note:
The created material by the participants is not been presented entirely in this portfolio.
Link Vimeo: “Let your BoRing Self diE” by Sonia Ntova.
Following the process of uncertainty of an artistic interest :
From flat hierarchy towards chaos..
Real Time of the process : started April 2019 / Ended June 2019
What overlap of present, past and future is organising my cognition process?
A visual map to connect and understand concepts, ideas, theories of my process.(quality of Time: in the edge of a FaLliNG TimE).
