All dear molecules,
I'm at an impasse suddenly; please help me. I'm trying to work out the relations between the notion of the fold/folding and becoming molecular. The baroque fold works by "matter overflowing its boundaries" allowing the in between, or what some have called the "third figure." Molecularizations work by moving in between two things: the famous "root" and "organism" eg. in ATP. It's also the slowness-speed relations between particles on the plane of immanence.
In trying to get closer to what I'm thinking (vapourous), let's use Erin's beautiful "Slow Clothes" example.
What I need some thought on is what are these two -- movements? Molar-molecular relations?
A fold, is form continuously moving to infinity. It is form moving to molecule.
The baroque fold, moving as it does to infinity, does it/could it constitute a becoming? A becoming-molecular?
Molecularizations cannot fold (or can they?).
But the speed and slowness of particles give them their affective capacity -- becomings…
A fold also connects two points together; for instance (I'm in film), so this would be eg. in time. The cut brings two time-images together -- this is a fold.
What I lack suddenly then, is any ability to understand the nature of relations of molecularization in this folding of time.
I know I'm babbling, but any thoughts to get me over this block?
vapour
Monday, March 24, 2008
Friday, March 21, 2008
vocal folds
hello everyone
my name is gelsey bell and i am a singer-songwriter with recurring experimental tendencies. i am also working towards a PhD at nyu in performance studies exploring voice, song (words & music), embodiment, technology, and the interweavings of art and everyday life. i often find myself philosophically grounded (or should i say ungrounded?) and my work as a singer has gravitated me towards discourses on the body as a way to explore the linguistic embodiment which occurs in the event of singing - or heightened utterance for a more generic term. just another angle of light staring into the prism of embodied knowledge. feel free to check out gelseybell.com which is set up for the indie musician side of my life. my latest songs, which are less iTunes friendly, are on rpmchallenge.com. i also work with urisov - postmodern dance collective run by biba bell, who is also coming to the workshop & also happens to be my sister (might as well get that question out of the way) - and thingNY - experimental music ensemble.
i have been looking through the reading and i hesitate, in my youthful bashfulness, to be the first one to get down & dirty about them on the blog, BUT i will say that i have often conceived of the voice as a hinge between the mind & body (a debate & divide that ping pongs me from intentional boredom to fierce focus & back again)... and i have been starting to wonder in what ways the philosophical work of the fold & the hinge differ and to what extent the fold may be a more useful concept… anyway, that’s where i’m coming from & i look forward to meeting you all in person.
my name is gelsey bell and i am a singer-songwriter with recurring experimental tendencies. i am also working towards a PhD at nyu in performance studies exploring voice, song (words & music), embodiment, technology, and the interweavings of art and everyday life. i often find myself philosophically grounded (or should i say ungrounded?) and my work as a singer has gravitated me towards discourses on the body as a way to explore the linguistic embodiment which occurs in the event of singing - or heightened utterance for a more generic term. just another angle of light staring into the prism of embodied knowledge. feel free to check out gelseybell.com which is set up for the indie musician side of my life. my latest songs, which are less iTunes friendly, are on rpmchallenge.com. i also work with urisov - postmodern dance collective run by biba bell, who is also coming to the workshop & also happens to be my sister (might as well get that question out of the way) - and thingNY - experimental music ensemble.
i have been looking through the reading and i hesitate, in my youthful bashfulness, to be the first one to get down & dirty about them on the blog, BUT i will say that i have often conceived of the voice as a hinge between the mind & body (a debate & divide that ping pongs me from intentional boredom to fierce focus & back again)... and i have been starting to wonder in what ways the philosophical work of the fold & the hinge differ and to what extent the fold may be a more useful concept… anyway, that’s where i’m coming from & i look forward to meeting you all in person.
Tuesday, March 18, 2008
Introduction
Hello everyone. I seem to have a tendency to lurk before I leap, as it were. I'm Claudia Manley and I currently live in the Hammer (Hamilton, ON - how can you not love a city you can call the Hammer?). I'm a writer and teach at both Western and OCAD. A current project of mine, which in my mind resonates with In the Folds, is to construct 1,000 origami cranes while simultaneously writing stories that may or may not have anything to do with them. The short explanation of my project is that I'm investigating how an external construct ( or constraint) affects my writing process. I'm a bit behind in the crane making department, but hope that productivity kicks in once the semester is done. Sound familiar?
I have graduate degrees in both Fiction and Philosophy, which is another reason I jumped at this opportunity.
I'm looking forward to meeting everyone in person.
Cheers,
Claudia
I have graduate degrees in both Fiction and Philosophy, which is another reason I jumped at this opportunity.
I'm looking forward to meeting everyone in person.
Cheers,
Claudia
hello!
hey, i'm jane. I'm working on a doctoral thesis about a dance theater project created by 4 Latina artists in the South Bronx. My research interests are: how the presence of time unfolds in the body; how each of us is society (Whitehead: "I am a society"); and ideas of place and placement in relation to movement. I'm a performer, arts worker (Artistic Director, Pepatian, South Bronx; freelance grantwriter and producer; board member Studio 303, Montreal), and teaching artist (MA, Creative Writing). I look forward to meeting you in May 08!
Sunday, March 16, 2008
Hello everybody,
I’m Ana Mira from Lisbon. I’ve been studying philosophy now for the last three years while writing my M.A. thesis under guidance of José Gil. It is called “ABCDEFG. The feet understand”. This research has allowed me to both understand and question the dance practice in which I’ve been involved and which has been mainly concerned with movement and perception.
Presently I’m in New York working as a visiting scholar of the Performance Studies department at Tisch School of the Arts, as well as researching at The New York Public Library for the Performing Arts and attending some classes and workshops.
My intention is to direct the philosophical research mentioned above toward a more practical approach to movement, performance and writing. I’m particularly interested in how we embody knowledge; how our bodies incorporate other bodies schemes; how we affect each other and how bodies go beyond their physical contours and organ(ization). Above all I’m working toward a field of research, writing and performance where the focus relies on the body in movement yet also targets a sense of space-time where the body actually escapes the frame of "institutional" dance and refers simply to its presence. Through the senses and the amplification of small perceptions (José Gil) I’m seeking an attentive listening whereby volatile images hopefully endure.
I’m looking forward meeting you all.
I’m Ana Mira from Lisbon. I’ve been studying philosophy now for the last three years while writing my M.A. thesis under guidance of José Gil. It is called “ABCDEFG. The feet understand”. This research has allowed me to both understand and question the dance practice in which I’ve been involved and which has been mainly concerned with movement and perception.
Presently I’m in New York working as a visiting scholar of the Performance Studies department at Tisch School of the Arts, as well as researching at The New York Public Library for the Performing Arts and attending some classes and workshops.
My intention is to direct the philosophical research mentioned above toward a more practical approach to movement, performance and writing. I’m particularly interested in how we embody knowledge; how our bodies incorporate other bodies schemes; how we affect each other and how bodies go beyond their physical contours and organ(ization). Above all I’m working toward a field of research, writing and performance where the focus relies on the body in movement yet also targets a sense of space-time where the body actually escapes the frame of "institutional" dance and refers simply to its presence. Through the senses and the amplification of small perceptions (José Gil) I’m seeking an attentive listening whereby volatile images hopefully endure.
I’m looking forward meeting you all.
Wednesday, March 12, 2008
Travel Dates: Important!
Hi everyone,
Steve Shaviro will be giving a keynote talk on the evening of May 22. I hope you can all be there for that! See you soon - and don't forget to introduce yourselves and get a conversation going. The more we know each other, the more we can do once we are face to face!
Erin
Steve Shaviro will be giving a keynote talk on the evening of May 22. I hope you can all be there for that! See you soon - and don't forget to introduce yourselves and get a conversation going. The more we know each other, the more we can do once we are face to face!
Erin
Sunday, March 2, 2008
From Lisbon...
Hello everyone,
My name is João Fiadeiro. I'm a choreographer, researcher and teacher. I am based in Lisbon, Portugal, where I direct a center for research in art called Atelier Real. We have been involved with the systematization of a method of work we named "Real Time composition". The ‘real-time’ we are talking of here does not refer to the idea of ‘live’ or ‘instantaneous’ as used by some improvisers. "Our" real-time is mental and it refers to the time we all have at our disposal (even if most of us don't use it) between a pictorial event, i.e. the result of an external or internal ‘accident’, its clear identification, the creation of hypotheses of reaction and finally the decision to act. The moment preceding the action, where we are confronted with a certain problem and we formulate different choice-hypotheses, is the primary centre of our concerns. This methodology is already in a very advanced state, both in its practical and theoretical dimensions. Its actualization depends on a clear set of premises and principals, while its "modus operandi" is structured in top of precise and specific "rules". Critical sense and responsibility are the two central parameters for the embodiment of RTC principles. This is due to the fact that, since RTC is more a mutant cartography than a strict territory of action, it is completely subordinated to the construction of a common composition ethic. In RTC routine application, the focus is given to the production of conditions and not so much to the resulted content in itself. I have been working on it for 13 years (since 1995 in a more intuitive way and since 1999 in a more systematic way), through out workshops, research ateliers, conferences, creations and some theoretical productions, considering the conventional writing formats and also a decomposition of subjects into graphical patterns.
So, that's what I have been doing. I now leave you with a small text I am writing for a new project I am involved at the moment called "Body of (at) Work".
"I don't really "feel" my body. Things just don't "stay". They pass through me but they don't stay. And what is a body where things don't stay? Is it possible to "exist" if one doesn't' accumulate? Do I exist, if I fell empty? I want to work with the absence of my body which preserves the latent-potency of my presence. But how can I talk about something that is not there? How can one present the in-between of things? And, even harder, how can one represent it?"
These are some of the questions I am dealing with at the moment.
You can see an excerpt of our research-practice at http://youtube.com/user/madamecitron. I didn't posted. I have no idea how it got there, but it's the only thing I can show you for the moment. You can also check our website (www.re-al.org), but is hasn't been updated recently and it doesn't have an english version... but you can see some videos of our work.
I am really looking forward to see and be with you all.
João Fiadeiro
My name is João Fiadeiro. I'm a choreographer, researcher and teacher. I am based in Lisbon, Portugal, where I direct a center for research in art called Atelier Real. We have been involved with the systematization of a method of work we named "Real Time composition". The ‘real-time’ we are talking of here does not refer to the idea of ‘live’ or ‘instantaneous’ as used by some improvisers. "Our" real-time is mental and it refers to the time we all have at our disposal (even if most of us don't use it) between a pictorial event, i.e. the result of an external or internal ‘accident’, its clear identification, the creation of hypotheses of reaction and finally the decision to act. The moment preceding the action, where we are confronted with a certain problem and we formulate different choice-hypotheses, is the primary centre of our concerns. This methodology is already in a very advanced state, both in its practical and theoretical dimensions. Its actualization depends on a clear set of premises and principals, while its "modus operandi" is structured in top of precise and specific "rules". Critical sense and responsibility are the two central parameters for the embodiment of RTC principles. This is due to the fact that, since RTC is more a mutant cartography than a strict territory of action, it is completely subordinated to the construction of a common composition ethic. In RTC routine application, the focus is given to the production of conditions and not so much to the resulted content in itself. I have been working on it for 13 years (since 1995 in a more intuitive way and since 1999 in a more systematic way), through out workshops, research ateliers, conferences, creations and some theoretical productions, considering the conventional writing formats and also a decomposition of subjects into graphical patterns.
So, that's what I have been doing. I now leave you with a small text I am writing for a new project I am involved at the moment called "Body of (at) Work".
"I don't really "feel" my body. Things just don't "stay". They pass through me but they don't stay. And what is a body where things don't stay? Is it possible to "exist" if one doesn't' accumulate? Do I exist, if I fell empty? I want to work with the absence of my body which preserves the latent-potency of my presence. But how can I talk about something that is not there? How can one present the in-between of things? And, even harder, how can one represent it?"
These are some of the questions I am dealing with at the moment.
You can see an excerpt of our research-practice at http://youtube.com/user/madamecitron. I didn't posted. I have no idea how it got there, but it's the only thing I can show you for the moment. You can also check our website (www.re-al.org), but is hasn't been updated recently and it doesn't have an english version... but you can see some videos of our work.
I am really looking forward to see and be with you all.
João Fiadeiro
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