Monday, July 21, 2008
Saturday, July 5, 2008
Monday, May 12, 2008
Schedule
INTO THE FOLDS ~ May 23-24
SLOW CLOTHES ~ May 25
*all events will take place at the Société des arts technologiques, 1197
* the event asks for continued participation through all activities except the keynote and early-bird yoga sessions
*
| MAY 22 arrivals | Many of us will likely be working in the SAT space, so feel free to come and hang out! Just ring the doorbell and go to the back of the space to Art & D and peak in. |
| MAY 22 – 7pm | Steven Shaviro – keynote on Whitehead and Deleuze |
| May 23 – 9am (pre-event – come if you want! – coffee available for those who don’t do the yoga) | Yoga (with Gwendolyn Alker) |
| May 23 – 9:45 am | Introductions |
| May 23 – 10am | Relational Movement 1 (with Erin Manning and Mireille Painchaud) |
| May 23 – 12-1:30pm | LUNCH – provided |
| May 23 – 1:00 | Rebel Clown Army Games (Micha Cardenas) |
| May 23 – 1:30 | From Preacceleration to Inflexion |
| May 23 – 3:30 | Nibble Break |
| May 23 – 4pm | Relational Movement 2 (with Sher Doruff) |
| May 24 – 9 am (pre-event) | Yoga (with Gwendolyn Alker) |
| May 24 – 10 am | Conceptual Speed Dating |
| May 24 – 10:45 am | Concept Pods |
| May 24 – 12:00 | LUNCH - provided |
| May 24 – 1:30 | Relational Movement 3 (with Erin Manning and Mireille Painchaud) |
| May 24 – 3:30 | From the Interval to the Fold |
| May 24 – 5:00 | Pods 2: How to create a platform for relation? |
| May 25 - | Pods 2 continued (this is open but feel free to use the space to continue to conceptualize and create your relational platform) |
| May 25 – 2-5pm | Slow Clothes |
Français ci-dessous
PRESS RELEASE
for immediate release
The Sense Lab presents:
Slow Clothes
a performance/installation event ~ Sunday May 25 2008, 2-5 pm
1197 St. Laurent, Société des arts technologiques, Art & D
Slow Clothes is a performance installation, a movement experiment, a fabric collection and an experience of tactility. It is a participatory event: people are invited to compose with fabric, to dress themselves, to move through the space, to eat and drink, to create mobile environmental platforms.
Slow Clothes is based on a fabric collection entitled Folds to Infinity. Fold to Infinity is composed of cut and serged pieces of infinitely connectable fabric (connectable through magnets, buttons, hooks, buttonholes, snaps).
The design of Folds to Infinity challenges:
1. the idea that clothing fits a pre-defined shape;
2. that clothing design must be modular with pieces patterned for standard assembly;
3. that clothing relates primarily to the individual body rather than relating the individual body to those around it and to their shared environment.
The complex connectivity and the relational environment of Slow Clothes transforms fashion from a passive fitting to an active composition.
Concept and Collection: Erin Manning
Mobile Architecture: Erin Manning, Jon Yu
Lighting:
Thanks to: The Sense Lab, Art & D
Contact: emanning@alcor.concordia.ca ; 514-313-9145
------------------------------------------------------------------------------------------
COMMUNIQUÉ DE PRESSE
pour diffusion immédiate
Le LaboSens présente
Slow Clothes
Une performance/installation ~ Dimanche 25 Mai 2008, 14h-17h
1197 St. Laurent, Société des arts technologiques, Art & D
Slow Clothes est une performance/installation, une expérimentation de mouvement, une collection de tissus et une expérience du toucher. C’est un évènement participatif : les gens sont invités à composer avec les tissus, à s’habiller, à bouger dans l’espace, à boire et manger, à créer des plateformes mobiles environnementales.
Slow Clothes est créé autour d’une collection intitulée Plis à l’infini. Plis à l’infini se compose de coupes de tissus capables d’être infiniment reliés (à l’aide d’aimants, de boutons, de boutonnières etc.).
Plis à l’infini remet en question:
1. l’idée que les vêtements dépendent d’un corps pré-défini (une forme, une grandeur)
2. que le design de vêtements doit être modulaire
3. que les vêtements sont confiés seulement à un individu au lieu de créer une relation entre l’individu et l’environnement.
La connectivité complexe et son environnement relationnel de Slow Clothes transforme la mode d’un modèle passif à une composition active.
Concept and Collection: Erin Manning
Mobile Architecture: Erin Manning, Jon Yu
Lighting:
Thanks to: The Sense Lab, Art & D
Contact: emanning@alcor.concordia.ca ; 514-313-9145
Friday, May 9, 2008
hello.
Hello Into the folds participants.
My name is Diego Gil. I am an Argentinian choreographer based in Amsterdam. Philosophy and dance are the practices that influence the most my artistic work. It is my interest to put into action the idea of "movement" as a non stop continuos flow that challenges the habitual way of organizing my body (dance) and my thinking (philosohpy). Thus, "dance" and "philosphy" carried on by the action of "movement" are the ways in which I try to relate and feel the world.
Lately I am performing a work titled "Creating Sense". Which deals with the issue of how the activity of dance movement emerges at each present time always in a new form, and how the three dancers organizes persistently a way of relating with the sense of his/her and the other movement.
Last year I sarted to work in a new project called "About Falling" (www.aboutfalling.wordpress.com) in collaboration with dramaturge Igor Dobricic. In this piece we are developing a diagram of principles that frames a method to generate movements and its relations with space and time. The wish is to understand choreography as a simple and virtual diagram that inspires a free way to organize dance movement without the necessity to set them up previously.
This is basically what I do. My wish is to meet you personally in Montreal and continue the communication.
Looking forward enthusiastically.
Diego.
Tuesday, May 6, 2008
Hi there -
I'm new to the group so wanted to introduce myself, and say that I'm very excited about meeting you all after reading through your posts!
I am a transdisciplinary type, focused the past few years on creating interactive sound installations. But I also do performance, make video, dolls, prints, etc - it all depends on what an idea calls for.
Most of my projects focus on overlaps I find between choreographies of logic, power and movement, with particular attention paid to how these forces are altered by the introduction of new technologies.
Some questions that arise in the work: What kinds of control and/or creativity would be afforded if something as essential as a footstep were reprogrammed? Might moving in a particular way burn a logical pattern that promotes particular kinds of thought? Alternatively, might rhetorical structures lead one to move in particular ways? How might our surface control of socially/technologically scripted encounters be hacked or mined to create new/needed forms of agency and communication? I attempt to address these questions through specific, grounded marriages of sounds and actions in each piece, while responding to the cultural and physical contigencies of the site hosting the work. Many of these projects I've created on my own, but the last couple of years have also included some exciting (for me) collaborations.
I just finished a new piece for particle group, with Ricardo Dominguez, Diane Ludin and Amy Sara Carroll. They invited me to create an interactive sound installation, to suggest the invisible manner in which nanotechnology penetrates bodies, minds, capital, politics, surveillance... One iteration of the piece was done in a nicely retro museum, which allowed for an odd mash-up of classical and contemporary choreographies of control.
More photos and discussion of this project can be found here:
http://www.ninawaisman.net
while video of an earlier version done in Berlin, is here:
http://www.ninawaisman.net/nano
Rather than pepper this post with more photos and video, I hope you might have a few minutes to move around my site (start on either page linked above), where you'll find video, photos and info on other works I've made.
Micha Cardenas and I are in the same program at UCSD - here's a link to a "telematic" performance/experiment we did a few months ago: http://transition.turbulence.org/blog/2007/12/11/miscommunication-the-space-between-us/
See you soon!
Nina
I'm new to the group so wanted to introduce myself, and say that I'm very excited about meeting you all after reading through your posts!
I am a transdisciplinary type, focused the past few years on creating interactive sound installations. But I also do performance, make video, dolls, prints, etc - it all depends on what an idea calls for.
Most of my projects focus on overlaps I find between choreographies of logic, power and movement, with particular attention paid to how these forces are altered by the introduction of new technologies.
Some questions that arise in the work: What kinds of control and/or creativity would be afforded if something as essential as a footstep were reprogrammed? Might moving in a particular way burn a logical pattern that promotes particular kinds of thought? Alternatively, might rhetorical structures lead one to move in particular ways? How might our surface control of socially/technologically scripted encounters be hacked or mined to create new/needed forms of agency and communication? I attempt to address these questions through specific, grounded marriages of sounds and actions in each piece, while responding to the cultural and physical contigencies of the site hosting the work. Many of these projects I've created on my own, but the last couple of years have also included some exciting (for me) collaborations.
I just finished a new piece for particle group, with Ricardo Dominguez, Diane Ludin and Amy Sara Carroll. They invited me to create an interactive sound installation, to suggest the invisible manner in which nanotechnology penetrates bodies, minds, capital, politics, surveillance... One iteration of the piece was done in a nicely retro museum, which allowed for an odd mash-up of classical and contemporary choreographies of control.
More photos and discussion of this project can be found here:
http://www.ninawaisman.net
while video of an earlier version done in Berlin, is here:
http://www.ninawaisman.net/nano
Rather than pepper this post with more photos and video, I hope you might have a few minutes to move around my site (start on either page linked above), where you'll find video, photos and info on other works I've made.
Micha Cardenas and I are in the same program at UCSD - here's a link to a "telematic" performance/experiment we did a few months ago: http://transition.turbulence.org/blog/2007/12/11/miscommunication-the-space-between-us/
See you soon!
Nina
Lullaby on the way to Montreal
Hoping the old saying “better late than never” still has currency… there it goes for a presentation try (after one or two throat clearings):
My name is Paula and the first thing that has to be said before anything else is that I can’t wait to meet you all (I feel very lucky, for the 22nd is not far).
As for the presentation issue, I will just sing you a song I know by heart, but which usually brings me somewhere else every time I sing it (it's a bit too long and slow, and I'm sorry for this, but I can't help it). Let’s see what happens today and… and… and:
I am a writer, a researcher, a dramaturge in choreographic performance, and a fiction maker (so I hope). In any case, I am particularly interested in exploring any negotiations taking place between sensation, language, movement, politics, fiction and choreography (which I do not necessarily identify with artistic/dancing practices performed on stage, but rather as a huge pocket of heterogeneous knowledge that can relate to almost any aspect of human and nonhuman life; choreography then, as something that can, of course, be practised by any-one and any-thing with no age limit). Currently involved in some choreo- and video-graphic projects with artists and researchers coming from different backgrounds, I am also a PhD candidate at University Paris-10 (desperately trying to finish a dissertation entitled Vis elastica de la sensation. Chorégraphies contemporaines, within the following research fields: History of Science and Technique, Philosophy, Choreographic Arts). .
All in all, I am suspected (mostly by myself) of fantasizing a bit too much about the word “choreographic” – a word I couple with the word “montage” and with the word “elasticity”, two words that I tend to confound with modes of making place where there seems to be none. These fantasies often start and end up riding horses, pumpkins, oranges or octopuses along the Wild West in America (a place I have never been to), that’s why I am convinced that my mind must resemble a Western, an ocean or a kitchen, instead of a mind, instead of “my mind”.
Anyway, the reason why I am interested in choreographic practices is very clear to me (and definitely linked to some current choreographic practices that seem able to re-invent the not so marvellous history of choreography). The thing is that I am interested in any activity that can be called a fictional practice, by which I mean any practice capable of producing useful fictions; by which I mean any practice that embraces the power (the puissance) of speculation as a power to produce (hi)stories that deviate from cartographies of territories, activities, bodies, disciplines and practices “as they are”, to go into what they “may become” in different arrangements (and here I’m borrowing from Isabelle Stengers’ idea of “practice”). What I mean is that I see choreographic and/or fictional practices as practices that are not about knowing or not knowing but about letting the unknown move into the known; about making the known move, namely move into hesitation. So the reason why I am interested both in fictional practices and in choreographic practices is one and the same: it looks to me that they are both practices that may set up improbable situations; situations where entities that had no place no voice no name may become audible and visible and palpable and force us to think, move, speak, feel, act, interrelate, write, scratch, jump, and touch otherwise – thus making way for a variety of unexpected modes of sociability. In other words, choreographic and/or fictional practices as I sometimes see them around, are not only interdisciplinary, but also “extra-disciplinary” (borrowing from Brian Holmes now). For they open up crossroads not only between recognized and recognizable disciplines, but also between those disciplines and practices that may not have a voice or name in the public discourse. That’s where translation practices must come into play, I guess, as well as modes of figuring the kinds of consequences that such crossing journeys may generate, i. e. the ways in which they can affect people’s living and working conditions.
Choreographic or fictional practices then, may well be(come) close to an art of diplomacy (and thus become close to a politics or an “ecology of practices”, to use Stengers words and notions again). How? Allowing heterogeneous practices and entities to encounter and make place for one another in unsuspected ways; yet keeping the possibility, for each of them, to go on diverging with-in and along any achieved or underway arrangement. When they operate like this, fictional or choreographic (or whatever) practices are practices whose issue is to understand that any specific constellation is always the provisional result of a hesitant, local, artificial negotiation that has to remain hesitant, local, artificial, and negotiable.
Sigh. It goes on, it’s never ending, it goes on, on fictions of humidity now:
I definitely have a soft spot for humidity, for I believe that without humidity allowing for practical and conceptual blending to occur, there would be no thinking, no roller-skating, no affecting, no strolling around, no thinking, no navigation, no stupidity, no learning, no unlearning, no thinking, no strolling around, no skiing, no falling, no feeling, no clumsiness, no thinking, no in-between, no possible translation (no possible conversation). And yet, I have been asking myself if my choreographic, fictional, elastic, octopus, humid, galloping cookery stuff – what I usually call a strategy for myself and whoever wants to have it – couldn’t be misunderstood as yet another set of names for mobility or flexibility, these two notions that have become so problematic in neo-liberal societies. That’s why I insist in exploring the notion of elasticity instead, as a potentiality of variation, as a certain degree of variation that people may need to expand their thoughts, actions, and relationships, but one that also allows them to reduce them, if reduction is what they need at a certain moment – that’s what an elastic is good for: it allows people and things to expand, but also to retract. Taking the risk of confusion between notions, places and motions, I firmly believe that elasticity can be a possibility of escaping subjection to mobilization and flexibility. The difference between flexibility and elasticity would then be that at present flexibility can only mean blind adaptation to compulsive mobility, while elasticity could help us imagining a mode of acting upon situations, instead of just letting them act upon us. When people ask me the reason why I enrol in fictions of that kind, I always answer, with slight variations and depending on the weather and much more (and sometimes much less or in-between):
I guess I only need them to understand that the real is much better than fiction, namely because it is the biggest producer of fiction ever (do you know more banal than this?). Besides, I never meant I was going to change the world riding horses, pumpkins, oranges or octopuses lost in the middle of the Wild West, lost in an overcrowded humid mind.
My name is Paula and the first thing that has to be said before anything else is that I can’t wait to meet you all (I feel very lucky, for the 22nd is not far).
As for the presentation issue, I will just sing you a song I know by heart, but which usually brings me somewhere else every time I sing it (it's a bit too long and slow, and I'm sorry for this, but I can't help it). Let’s see what happens today and… and… and:
I am a writer, a researcher, a dramaturge in choreographic performance, and a fiction maker (so I hope). In any case, I am particularly interested in exploring any negotiations taking place between sensation, language, movement, politics, fiction and choreography (which I do not necessarily identify with artistic/dancing practices performed on stage, but rather as a huge pocket of heterogeneous knowledge that can relate to almost any aspect of human and nonhuman life; choreography then, as something that can, of course, be practised by any-one and any-thing with no age limit). Currently involved in some choreo- and video-graphic projects with artists and researchers coming from different backgrounds, I am also a PhD candidate at University Paris-10 (desperately trying to finish a dissertation entitled Vis elastica de la sensation. Chorégraphies contemporaines, within the following research fields: History of Science and Technique, Philosophy, Choreographic Arts). .
All in all, I am suspected (mostly by myself) of fantasizing a bit too much about the word “choreographic” – a word I couple with the word “montage” and with the word “elasticity”, two words that I tend to confound with modes of making place where there seems to be none. These fantasies often start and end up riding horses, pumpkins, oranges or octopuses along the Wild West in America (a place I have never been to), that’s why I am convinced that my mind must resemble a Western, an ocean or a kitchen, instead of a mind, instead of “my mind”.
Anyway, the reason why I am interested in choreographic practices is very clear to me (and definitely linked to some current choreographic practices that seem able to re-invent the not so marvellous history of choreography). The thing is that I am interested in any activity that can be called a fictional practice, by which I mean any practice capable of producing useful fictions; by which I mean any practice that embraces the power (the puissance) of speculation as a power to produce (hi)stories that deviate from cartographies of territories, activities, bodies, disciplines and practices “as they are”, to go into what they “may become” in different arrangements (and here I’m borrowing from Isabelle Stengers’ idea of “practice”). What I mean is that I see choreographic and/or fictional practices as practices that are not about knowing or not knowing but about letting the unknown move into the known; about making the known move, namely move into hesitation. So the reason why I am interested both in fictional practices and in choreographic practices is one and the same: it looks to me that they are both practices that may set up improbable situations; situations where entities that had no place no voice no name may become audible and visible and palpable and force us to think, move, speak, feel, act, interrelate, write, scratch, jump, and touch otherwise – thus making way for a variety of unexpected modes of sociability. In other words, choreographic and/or fictional practices as I sometimes see them around, are not only interdisciplinary, but also “extra-disciplinary” (borrowing from Brian Holmes now). For they open up crossroads not only between recognized and recognizable disciplines, but also between those disciplines and practices that may not have a voice or name in the public discourse. That’s where translation practices must come into play, I guess, as well as modes of figuring the kinds of consequences that such crossing journeys may generate, i. e. the ways in which they can affect people’s living and working conditions.
Choreographic or fictional practices then, may well be(come) close to an art of diplomacy (and thus become close to a politics or an “ecology of practices”, to use Stengers words and notions again). How? Allowing heterogeneous practices and entities to encounter and make place for one another in unsuspected ways; yet keeping the possibility, for each of them, to go on diverging with-in and along any achieved or underway arrangement. When they operate like this, fictional or choreographic (or whatever) practices are practices whose issue is to understand that any specific constellation is always the provisional result of a hesitant, local, artificial negotiation that has to remain hesitant, local, artificial, and negotiable.
Sigh. It goes on, it’s never ending, it goes on, on fictions of humidity now:
I definitely have a soft spot for humidity, for I believe that without humidity allowing for practical and conceptual blending to occur, there would be no thinking, no roller-skating, no affecting, no strolling around, no thinking, no navigation, no stupidity, no learning, no unlearning, no thinking, no strolling around, no skiing, no falling, no feeling, no clumsiness, no thinking, no in-between, no possible translation (no possible conversation). And yet, I have been asking myself if my choreographic, fictional, elastic, octopus, humid, galloping cookery stuff – what I usually call a strategy for myself and whoever wants to have it – couldn’t be misunderstood as yet another set of names for mobility or flexibility, these two notions that have become so problematic in neo-liberal societies. That’s why I insist in exploring the notion of elasticity instead, as a potentiality of variation, as a certain degree of variation that people may need to expand their thoughts, actions, and relationships, but one that also allows them to reduce them, if reduction is what they need at a certain moment – that’s what an elastic is good for: it allows people and things to expand, but also to retract. Taking the risk of confusion between notions, places and motions, I firmly believe that elasticity can be a possibility of escaping subjection to mobilization and flexibility. The difference between flexibility and elasticity would then be that at present flexibility can only mean blind adaptation to compulsive mobility, while elasticity could help us imagining a mode of acting upon situations, instead of just letting them act upon us. When people ask me the reason why I enrol in fictions of that kind, I always answer, with slight variations and depending on the weather and much more (and sometimes much less or in-between):
I guess I only need them to understand that the real is much better than fiction, namely because it is the biggest producer of fiction ever (do you know more banal than this?). Besides, I never meant I was going to change the world riding horses, pumpkins, oranges or octopuses lost in the middle of the Wild West, lost in an overcrowded humid mind.
Till soon!
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