I am the guest. You are the host. Dance is the ghost

# I am the guest. You are the host. Dance is the ghost. ### Table of Contents ### [[Introduction]] ### [[Horizontal time]] ### [[Vertical time]] ### [[Diagonal time]] ### [[Final presentation]] ### [[Appendix]] ### [[Reference]]

# Horizontal time In this chapter, I have organized the encounters experienced during the operation of the framework according to chronological time. These encounters encompass insights, associations, tools, and methods that were discovered throughout the process. Collectively, these encounters are referred to as horizontal time. ### [[Relative measurement]] ### [[Forming audience's understanding of the space by the performers presence.]] ### [[ Dance as an articulation of choice]] ### [[Temporary certainty]] ### [[How commit to being uncertain]] ### [[The dance feels correct when I don't think I dance ]] ### [[Be a janitor]] ### [[It is beauty that I afraid of losing]] ### [[Working with the idea of doubt.]] ### [[Thinking of rewrite the contract]] --- Back to [[Table of contents]]

# Vertical time In this chapter, vertical time denotes the routines that have been established over time. It takes several weeks of implementing a framework before one begins to experience the sensation of habitualization. The purpose of this section is to provide readers with insight into the weekly operations. ### [[Materiality]] ### [[Initiations]] ### [[Work-in-progress]] ### [[Applications]] --- Back to [[Table of contents]]

# Diagonal time In this chapter, Diagonal time refers to the underlying concepts and queries that appears before, during and after to me in this project. They do not have a direct impact on the project, but rather serve as a subtle reminder at the back of one's mind. --- ### [[What is good life as a choreographer?]] ### [[Good and Bad, Right and Wrong, True and False]] ### [[True to be in wrong]] ### [[What can left unsaid?]] ### [[You must change your life]] ### [[Normal people]] ### [[State of lost]] ### [[Fishing analogy]] --- Back to [[Table of contents]]

# Introduction Welcome. ## About the project 'I am the guest. You are the host. The dance is the ghost'(IYD) is a choreographic framework that focuses on how to hold space and time for the dance-making process and how to be together, and how to create space that invites collaborations. It suggests the production of methods and tools that constantly depend on who is collaborating, blurring the boundaries between stage and everyday living spaces. At IYD, production of different pieces of work can take place in a short period of time. The time frame consists of the five days of the week, Monday to Friday, each with its own agenda including physical warm-up and work tasks, guest and facilitators, inviting visitors to gain insight into the workings of the space, and redefining the role of collaboration within group creativity. Every Friday, there is a work in progress showcasing, and visitors are free to join in and critic the creative works and interdisciplinary approach of the participants. IYD’s innovative program is a great opportunity for everyone interested in producing their ideas and creating something meaningful in a short period of time. ### Design of framework The design of the framework is influenced by the Peter Sloterdijk's image of horizontal/vertical model of human self-realization, and division of everyday life and artistic life. Simply by applying to the calendar table, where the vertical horizontal structure is obvious, the framework design how each week will be consist of (horizontal) and how each weekdays will stand for (vertical) <img src="https://i.ibb.co/jDvGLLR/8-AC71-CA9-DB2-A-4526-B5-DA-9-E3830-EA8328.jpg" alt="8-AC71-CA9-DB2-A-4526-B5-DA-9-E3830-EA8328" border="0"> ## About the reflection paper As language can sometimes be objectifying, I have often felt a sense of violation when attempting to write and theorize about practices. To address this issue, I consulted with Bojana, who suggested that I consider parallelism in my writing and practice. This led me to envision different passages of writing that describe various insights, concerns, and knowledge existing in parallel, with a light connection between them. This image made sense for my project, which became a pool that deal with multiple ideas and concepts simultaneously. To create a multi-linear writing experience for my reflection paper, I used hyper text markup language (html). Even html often used to structuring the webpage I also avoid to creating conventional artist's webpage dominated by image and video media. However, I still wanted to prioritize the text itself. To achieve this goal, I utilized Twine – a program typically used for creating text-based games – which allowed me to link and interact with different sections of text. As I view my MA project as a choreographic framework rather than a singular piece, there is no key concept that stands alone here. Instead, my aim was to apply this image of parallel passages in this paper (although some concepts may hold more weight than others). While it is possible that readers may get lost at times while reading this paper due to its structure, I have attempted to make the structure as clear as possible so that navigation is easy. I am eager to hear feedback from readers regarding their experience while reading this paper and its contents. --- back to [[Table of contents]]

# Appendix ### Score **Pre-project score** [I do nothing](https://drive.google.com/file/d/16EdFYrSX7Gp2nxLTFLKWxMUQi8zUPF0P/view?usp=share_link) [What if](https://drive.google.com/file/d/164HiJP_nvlCoc1SI8US2oEL5NABeBYd0/view?usp=share_link) [Why](https://drive.google.com/file/d/167mEDs9ih6ZZPnetnImZPomKsEw4Aoxz/view?usp=share_link) **Final score for week 5 to week 8:** [Week 5_score](https://drive.google.com/file/d/112aeXfIN_9xjr4I6ngQL1VMbV6G_n0-c/view?usp=share_link) [Week 6_score](https://drive.google.com/file/d/1zh8BXOIGxaHBWeHzXhMjMePTlAxZAdi0/view?usp=share_link) [Week 7_score](https://drive.google.com/file/d/1eN9WEoQ36foRO-2e6x4R6gbUaF2Zgx0O/view?usp=share_link) [Week 8_score](https://drive.google.com/file/d/1vUj_OXKHzjGgvuBQpT2pxtu2VH2u3uvk/view?usp=share_link) **Final presentation score** [[Day1_What was not there?]] [[Day2_What is there in between?]] [[Day3_What makes you feel to be seen/heard?]] [[Day4_What holds us together here?]] ### Notation [Notation by Nina](https://drive.google.com/file/d/1huimQEtjnbODAyDWCYEFbJeQ-IE_LdKI/view?usp=share_link) [[Being in them lightly, but making it matter]] ### Other [[Measuring the distance between the absences]] [[We cannot grasp the time but we may able to grasp]] [[Project description_week 5]] [[Project description_week 6]] [[Project description_week 7]] [[Project description_week 8]] --- Back to [[Table of contents]]

# Reference Andrews, Bruce, and Charles Bernstein, eds. The L=A=N=G=U=A=G=E Book. Poetics of the New. Carbondale [Ill.]: Southern Illinois University Press, 1984. Antin, David, Francois j. Bonnet, David Horvitz, Julien Bismuth, Yann Seraondour, Hanne Lippard, Christian Xatrec, et al. Speaking and Listening, 2019. https://shelter-press.com/speaking-and-listening-en-parlant-en-ecoutant/. Avdal, Henie, and Yokiko Shinozaki. ‘Fieldworks’. Accessed 7 December 2022. https://field-works.be/?type=index&lng=eng. Baudin, Fernand. ‘Reflections on the Theme: At the Edge of Meaning’. Visible Language 11, no. 2 (1 April 1977). https://journals.uc.edu/index.php/vl/article/view/5232. Bogart, Anne, and Tina Landau. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. Theatre Communications Group, 2004. Brook, Peter. The Empty Space: A Book about the Theatre: Deadly, Holy, Rough, Immediate. Vol. 11. Simon and Schuster, 1996. Cage, John. Notations. New York: Something Else Press, 1969. ———. Silence: Lectures and Writings. 19. pr. Middletown, Conn: Wesleyan Univ. Press, 2011. Downey, Brad, Lukas Feireiss, Alain Bieber, Jimmie Durham, Matthew Murphy, Jani Pirnat, Rafael Schacter, et al. Brad Downey - Slapstick Formalism: Process, Project, Object. Revised and Extended edition. Berlin: Hatje Cantz Verlag, 2020. Edvardsen, Mette. Not Not Nothing. #1. Varamo Press, 2019. http://www.varamopress.org/nothing.html. Friedman, Daniel. ‘A Study in Basic Design and Meaning’. Visible Language 11, no. 2 (1 April 1977). https://journals.uc.edu/index.php/vl/article/view/5233. Gansterer, Nikolaus. Choreo-Graphic Figures: Deviations from the Line. Berlin ; Boston: de Gruyter, 2017. ———. Drawing a Hypothesis: Figures of Thought: A Project. Edition Angewandte. Wien ; New York: Springer, 2011. http://www.gansterer.org/drawing-a-hypothesis/. Gansterer, Nikolaus, Sophie Orlando, and Katrin Ströbel. Con-notations: Nikolaus Gansterer : comment percevoir une réalité à travers une autre? = w to percieve one reality through another? : exposition, Villa Arson, Nice, 10.03.-27.05.2018. Nice: Villa Arson, 2018. Gebran, Sara. Quantum Society. MaMa - Multimedia Institute/Errant Bodies Press, 2022. Gibson, Beatrice, Will Holder, and Cornelius Cardew. The Tiger’s Mind. Berlin: Sternberg, 2012. Kandinsky, Wassily, and Hilla Rebay. Point and Line to Plane. New York: Dover Publications, 1979. ‘Katalin Ladik’. Accessed 30 November 2022. https://www.kontakt-collection.org/people/35/katalin-ladik/objects. Kostelanetz, Richard, Joseph Di Ponio, and Nicole Bebout, eds. Essaying Essays: Alternative Forms of Exposition. New York, NY: AC Institute, 2012. Lyster, Janne-Camilla. Choreographic Poetry. Tiden, 2019. jannecamillalyster.no. ———. Chreographic Tool Box: Metamorphosis, n.d. Marcus, Aaron. ‘At the Edge of Meaning’. Visible Language 11, no. 2 (1 April 1977). https://journals.uc.edu/index.php/vl/article/view/5222. Marina Abramovic on ‘House with the Ocean View’ (2008), 2016. https://www.youtube.com/watch?v=2J4J0oGuK30. Maya DEREN: A Study In Choreography for Camera (1945), 2019. https://www.youtube.com/watch?v=Dk4okMGiGic. ‘Maya DEREN: A Study In Choreography for Camera (1945) - YouTube’. Accessed 26 January 2023. https://www.youtube.com/watch?v=Dk4okMGiGic&feature=youtu.be. ‘Milan Adamčiak’. Accessed 30 November 2022. https://www.kontakt-collection.org/people/400/milan-adamciak/objects. Newlove, Jean, and John Dalby. Laban for All. Taylor & Francis US, 2004. Noeth, Sandra. ‘SCORES°2 What Escapes’. Accessed 16 November 2022. https://www.academia.edu/37469201/SCORES_2_What_Escapes. Ockerse, Thomas. ‘Documentracings’. Visible Language 11, no. 2 (1 April 1977). https://journals.uc.edu/index.php/vl/article/view/5225. Oliveros, Pauline. Deep Listening: A Composer’s Sound Practice. IUniverse, 2005. ———. Sonic Meditations. Smith publications Baltimore, MD, 1974. Oliveros, Pauline, and Brian Pertl. Anthology of Text Scores. Edited by Samuel Golter and Lawton Hall. Kingston, NY: Deep Listening Publications, 2013. Peeters, Jeroen. And Then It Got Legs: Notes on Dance Dramaturgy. First edition, September 2022. Brussels: Varamo Press, 2022. Perec, Georges. Species of Spaces and Other Pieces. Penguin, 1997. Poème Symphonique For 100 Metronomes, 2014. https://www.youtube.com/watch?app=desktop&v=xAYGJmYKrI4. ‘PRESENTATION OF SELF IN EVERYDAY LIFE’, n.d. Real Time Composition Introduction by João Fiadeiro (2010), 2020. https://vimeo.com/494747084. Schreibstück, 2019. https://vimeo.com/345173183. Sloterdijk, Peter. You Must Change Your Life. John Wiley & Sons, 2014. Studio, Familiar. ‘Movement Scores: Salomé Navarro, Mel Stancato’. Text/html. Movement Research. Movement Research, 6 July 2022. Https://movementresearch.org/. https://movementresearch.org/publications/critical-correspondence/movement-scores. The Mind behind Linux | Linus Torvalds, 2016. https://www.youtube.com/watch?v=o8NPllzkFhE. Wittgenstein, L. ‘Tractatus Logico-Philosophicus.–Wittgenstein L’. Izbrannye Raboty, n.d., 10–227. --- Back to [[Table of contents]]

# Final presentation The final presentation of our project "I am the guest. You are the host. Dance is the ghost". The presentation will take place on a stage that merges an office area with a dance studio. From the writings that we have collected throughout the 4 weeks of IYD structure, the choreographers created a meta-score where the dancers will continuously be producing scores and dances. Each day, the dancers will work with a different question that is generated from the last 4weeks. The audience will have the opportunity to watch the dancers interpret, negotiate, and perform the scores live. --- # Appendix [[Day1_What was not there?]]\ [[Day2_What is there in between?]]\ [[Day3_What makes you feel to be seen/heard?]]\ [[Day4_What holds us together here?]] --- Back to [[Table of contents]]

# Measuring the distance between the absences If, converting "the Presence of body" into positive 1, How, is "the Absence of body" converted into? Would it be negative 1(-1) or 0? Absence by its own definition is "The state of being away from a place or person." In this case, as the state of being is away from where it should be (in positive space), but it seems it is still somewhere, so I would define it here: Absence of body = -1 instead of 0 : presence of the body in negative time or space. The next question is: How can we measure absences? As we define Absence of body as -1, we can say that the absence of the body is equal to the presence of the body in the negative space or time ( -1 = -(1) ) we can measure the distance between two different absences. We can only imagine the concept of negative numbers, but we can still know the distance between two different negative numbers in physical space or time. as the distance will be always in positive numbers. like the distance between -1 and -4 is 3. The action of measuring the distance between the absences makes absence graspable. -note from 2021- <div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/757917998?h=5a72adb66f&badge=0&autopause=0&player_id=0&app_id=58479" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Measuring un-measurable_SANGHOON LEE.mov"></iframe></div> --- Back to [[Appendix]] Back to [[Initiations]]

# What is good life as a choreographer? *'This project will start with the question of ‘what is good life as a choreographer?’. The questions will be answered by asking what is good what is life what is choreographer.' 2022-05-03 the first attempt of the project* Before I start the project, There was question of "What is good life as a choreographer?". The question attempts to be specific, but still ambiguous, and naive. But this question of what is good, in theater, connects to the reality of what is shown and not. the good dancer will dance the good dance material choreographed by good choreographer. In that sense the question of what is good linked with the reality and therefore it was urgent. But I was asking about what is good 'life as a choreographer', not what is good 'choreography'. So there is notion of the Choreographer and his life is not separated, and asking if the persuasion of good life of one person (who happened to be a choreographer) would affect work of choreographer good. And as one's perception of life is not solely defined by individual but by society, and especially the nature of choreographer's work is social, the question also point out that how the choreographer should form and affect (and affected by) society he belongs. --- Back to [[Diagonal time]]

# Good and Bad, Right and Wrong, True and False The concept of right and wrong, rather than good and bad, has been discussed in relation to choreography. The use of the terms right and wrong may seem harsh, but they are in fact analogous to the mathematical terms (true and false). This approach stems from the choreographer's view of dance as an art of change. As long as change is occurring, it is considered right. However, change is not always good, as bad change can also occur. During rehearsals, I was focused on highlighting moments of bad change, not because I preferred it, but because it is often neglected. However I recognize that my previous projects may have lacked clear articulation of change. This includes changes in the relationship between bodies, changes in the relationship to space, and changes in the relationship to time. Defining change and its various forms could have been critical to my work. --- Back to [[Diagonal time]] Back to [[ Dance as an articulation of choice]]

# Forming audience's understanding of the space by the performers presence. Sulekha came to see the rehearsal and comment that highlights the distinction between front stage behaviour (that are visible to audience) and backstage behaviour made me think how the expectations of the audience towards the dancers on/offstage can represent their experience of space. The unexpected actions of the dancers, such as everyday life behavior, can bring the everyday life space(-1) on stage(1). The way dancers move creates a shift in space for the audience, rather than a change in the physical space. She gave me a reference, Erving Goffman's Presentation of self in everyday life(1959), that talks about how individuals try to control or guide the impression that others might make them by changing or fixing their appearance, setting, and manner. Simultaneously, the person they are interacting with is trying to form and obtain information about them. We can see that the way dancers present themselves on stage can also influence the audience's perception of them and the space they occupy. Just as individuals in social interactions attempt to control their image, dancers can also manipulate their movements and behaviours to convey a particular impression to the audience. The audience observes and processes this information, forming their understanding of the space by the performers presence. --- Back to [[Horizontal time]]

# Relative measurement In general, relative measurement refers to the practice of defining or measuring a value in relation to another value, rather than in absolute terms. This approach is often used when dealing with abstract concepts, such as time, temperature or movement, where it can be difficult or impossible to assign a fixed value. One of the key advantages of relative measurement is that it allows for clear and consistent definitions, as well as easy comparison between different values. For example, in physics, the concept of temperature is relative, as it is defined in relation to absolute zero, the lowest possible temperature When we are working with negative entity of the movement, The concept of relative measurement highlights the importance of the relation. For example I have analysed the score made by the dancers in the perspective of 'relation': --- Back to [[Horizontal time]]

# We cannot grasp the time but we may able to grasp "\ We cannot grasp the time but we may be able to grasp;\ The fragment of certainty We cannot grasp the time but we may be able to grasp;\ The image of movement We cannot grasp the time but we may be able to grasp;\ The sound of the floor We cannot grasp the time but we may be able to grasp;\ The remained sense of a touch\ "\ I am curious about how movement unfolds dancers experience into dance. Maybe what movement dancers will make is not important. I am curious what would be the matter? Would it be:\ How experience converts into movement?\ How dance communicates? I would be happy to be able to see:\ How the dancer grasps the clarity. Especially if I can see the dancer can have clarity about such a huge concept:\ time I am curious if I can ask dancers to grasp the time\ when I cannot imagine how. What would the dancer do? I cannot imagine. "Unknown excites me. " --- Back to [[Appendix]] Back to [[Initiations]]

# Temporary certainty To be able to work with uncertainty as material, it was important to make this concept more tangible. I use the idea of #perroar, that multitask not as acting upon the multiple tasks at once, but as shifting the focus on different task very quickly. It gave me the hypothesis of that perhaps the state of uncertainty is combination of multiple temporary certainties. It gave me the idea so I can produce more practical scores to make dancers move as certainty create the movement, not uncertainty. Also in this way I could make movement of uncertainty without asking dancers to pretend to be uncertain. The challenge with working with Temporary certainty is that it requires for dancers to allow all type of associative information (sensory, imaginary) to be aware, and the body need to act upon it directly before they judge their choice. to do so, the ability to observe into the smallest details of what they percieve was important. the daily life object becomes the agency of associating. we investigate objects by spending time with them, also introduce each other how each dancers perceive the objects. the dancers continuously search for something. --- Back to [[Horizontal time]]

# The dance feels correct when I don't think I dance The problem with staged dance is the existence of a meta layer consisting of the dancer who dances and the dancer who performs the dance. This creates a potential for pretentiousness and performativity, especially when working with task base improvisation. Improvisation demands performers to incorporate their creative ideas and interpretations, which could lead to them trying to impress others with their unique takes on the performance or showcase their technical abilities, which seems to compromise the authenticity of the performance. I am waiting for the dancers, when they approaching tasks, openness and specificity that the presented task offers. It is disappointing when people make excuses, mess around with the task, or try to make it easier for themselves, which belittles the importance of the task and, ultimately, the time we spend here together. But I still want to be gentle to approach to this existential gap. and the people in the task are seen as strange figures, moved around and creating constellations. Also check : [[Being in them lightly, but making it matter]] --- Back to [[Horizontal time]]

# How commit to be uncertain Uncertainty is often seen as a negative thing, especially in dance where success is often measured by the ability to execute a well-rehearsed performers who maintains the certainty. However, I would like to ask what if we shift our perception and see uncertainty as a tool to discover the unexpected and unknown? Committing to being uncertain is challenging for dancers as it requires a willingness to let go of control and embrace the unknown. It means acknowledging everything happens on stage. (include mistake, moment of not knowing). that the dancers need to change the perception and pre-determined notion of what is good and bad. When the dancers being uncertain when they perform, they connect with the audience on a different dimension. When performers allow themselves to be vulnerable, the audience can sense it and relate to it. This creates a connection that transcends the boundaries between audience and performer. Working with uncertainty require to allow unexpected discoveries. When performers let go of their preconceived notions of how a performance should look or sound like, they can open themselves up to new possibilities. --- Back to [[Horizontal time]]

# Dance as an articulation of choice The notion of dance as an abstract art form is intriguing, as it is primarily focused on physicality. After an improvisation session, we often engage in discussions with dancers about how the session was good or bad. However, defining dance in terms of "good" or "bad" seems inadequate to me, as what is actually happening when the dancers choose during the improvisation encompasses a broad spectrum of possibilities. When dancers choose to move in a particular way, it isn't solely about whether it's done or not done; rather, what is combination the relationship between the movement and the moment in which it occurs. Therefore, the dancers choices while they improvise are not made but articulated. Articulation is akin to carving: instead of layering materials on top of one another, it involves deconstructing existing materials into their "right" forms that already exist. * also check : [[Good and Bad, Right and Wrong, True and False]] --- Back to [[Horizontal time]]

# Being in them lightly, but making it matter The backdoor was being opened; the rain started. I did not describe the people, their behaviour, my likings and disliking. I dislike when people start making fun because they are insecure. Or rather: I do not like when people mess about with the task because they feel insecure. Just be insecure and see what that can bring to the task. I don’t like the notion of people rather wanting to be somewhere else, for instance home eating dinner. Postpone your want or miss out on what is going on and then you will be poor as a person in the long run. I dislike when people make excuses to make it easier on themselves. I dislike people making tasks not matter. Then life does not matter. I appreciate the openness and specificity of the presented task. Being in them lightly, but making it matter. I like the notion of people as strange figures made on the three dimensional paper of the room. Figures, signs, marks. Being moved around, making collections and constellations. I like the gentleness when approaching the existential gap. Auther : Janne-Camila --- Back to [[Appendix]] Back to [[The dance feels correct when I don't think I dance ]]

# Be a janitor As a choreographer, there is more task than creating movement. I am responsible for maintain the space is organized in a way that it functions and taking care of the time where the dances can dive into their experiment while they work with the task that are given. This way the choreographer is "janitor". Maintaining the space and time involves tasks such as ensuring that the space is organized in a way to support the dancers task, and the schedule is being followed. As a "janitor", the choreographer is constantly aware of the stage and schedule, and ensures that everything runs smoothly with focus. I need to also act as problem researcher, always on the lookout for what is not working that may arise in the operation of task, score, and improvisation. When a problem does occur, the choreographer as a "janitor" takes the responsibility to repair or fix it to ensure that the dancers can make sense out of the task, find motivation to investigation. I am looking at when does the dancers get challenged with the task, when does it feel it is not working and how does it affect body. --- Back to [[Horizontal time]]

# It is beauty that I afraid of losing As I observe the movements of dancers while they improvise, I have encounter my desire to catch glimpses of fleeting beauty. That resemble with wildflowers: We are tempted to pluck them and adorn our surroundings with their beauty. But why do we feel this urge? Is it rooted in the fear of losing something rare and precious? if we base our desire to capture the beautiful moment produced by improvisational dance on fear, I cannot see the value of it. Decisions should not be made based on fear. Perhaps our desire to hold onto beauty is natural, but in doing so, we run the risk of changing its very nature. Improvisational dance is beautiful precisely because it is unpredictable and impermanent. Trying to capture it may diminish its essence and rob us of the joy that comes from experiencing it in the moment. --- Back to [[Horizontal time]]

*"I don't know where to go"* *"obviously not here"* *"There is no where to go"* *-from the Dancer's note that indicates the doubt* Frequently, I struggle to live alongside those who refuse to acknowledge their doubts. I sympathize with their fear of uncertainty, as doubt can hinder progress. However, denying doubt often masquerades as having a some sort of clarity. This can lead to an unwillingness to challenge one's beliefs(not move). In order to truly change (move), I thought it is crucial to embrace our doubts and confront them head on. *(replace the word 'doubt' into 'worry' or 'failure')* But, asking dancers to "move with doubt" is not lead us where we are trying to be. I want the dancers to confront moments of doubt without being controlled by it. I am requesting the dancers to improvise and then document their experience. To begin, we must examine the language of doubt. This includes aspects such as uncertainty, seeking validation from authority figures, encountering contradictions, and dealing with friction. --- Back to [[Horizontal time]] Back to [[Initiations]]

# Thinking of rewrite the contract #jespersandvik inquired about working the open tasks where the dancers need to make many decisions and then the responsibility of the piece belongs to the dancers rather than the choreographer, prompting a consideration of the respective roles and ownership. At that time I simply answer him that I want for the dancers to take ownership of the project, even if initiated by the choreographer. However, it is evident that this wish goes beyond personal preferences as there are contractual expectations dictating how both roles of dancer and choreographer should take responsibility. Upon reviewing a standard dance project contract, it was observed that while there is acknowledgement of intellectual property rights being held by the group (choreographer or project organizer), there is no mention of ownership rights being granted to contractors (i.e., dancers). I am thinking of rewriting the contract. --- Back to [[Horizontal time]] Back to [[Initiations]]

# Materiality Despite maintaining my artistic interest in line over the past few years, my transition from costume designer to choreographer has altered my relationship with the materials I work with. Unlike the physical materials used in costume design, a choreographer's materials are more conceptual (and that was one of my main motivation for this transition). Each week, I've made a conscious effort to explore the different materiality of dance-making process. Here's a brief summary. 1. Week5_Measurable: Material can be broken down into distinct, identifiable elements that can be counted, such as the number of steps or gestures in a phrase of movement. 2. Week6_Transmittable: Material can be taught and learned by others, transmitted from one person to another through verbal and nonverbal cues. 3. Week7_Nameable: Material can be given a name or label to describe and identify it, such as a specific dance step or gesture. 4. Week8_Repeatable: Material can be repeated and performed multiple times, allowing for exploration and manipulation of the material. 5. Final presentation_Fermentable : Material can be stored and, over time, it undergoes a transformation through its own natural processes. --- Appendix: final score for week 5 to week 8 [Week 5_score](https://drive.google.com/file/d/112aeXfIN_9xjr4I6ngQL1VMbV6G_n0-c/view?usp=share_link) [Week 6_score](https://drive.google.com/file/d/1zh8BXOIGxaHBWeHzXhMjMePTlAxZAdi0/view?usp=share_link) [Week 7_score](https://drive.google.com/file/d/1eN9WEoQ36foRO-2e6x4R6gbUaF2Zgx0O/view?usp=share_link) [Week 8_score](https://drive.google.com/file/d/1vUj_OXKHzjGgvuBQpT2pxtu2VH2u3uvk/view?usp=share_link) --- Back to [[Vertical time]]

# Initiations Every Monday as the beginning of each week, I share the group the idea as an initiation for the week ahead. While my choreographic curiosity drives much of this process, the input of our dancers also shapes these beginnings over time. Presented below are the various initiations we have collected. ### Week 5 "What is the negative dance?" This was my initial idea for week 5, where we delve the bodily movement from the idea of negative dance. The concept of negation entails refraining from actions that may appear to be obvious. This involves acknowledging that every occurrence in life holds significance, even if it may initially elicit negative connotations. Within the realm of theater and dance, there exists a concept of what is considered the norm. When approaching my work, I draw on my own experiences and preconceived notions (or possibly stereotypes) of what is considered normal, but do so with a deliberate intention to challenge it. However, this does not mean that I criticize or argue against the norm. Rather, my approach is influenced by Eastern philosophy, such as the idea of Yin-Yang where opposing concepts coexist. This understanding of coexistence and the tendency to avoid negativity has led me to focus on the "dark side". This focus has influenced how I collaborate with dancers throughout the week. *Also check : [[Measuring the distance between the absences]] in appendix* ### Week 6 During conversations, the act of hesitating is commonly demonstrated through the use of the word 'umm...' This hesitation reveals the temporality of certainty, as individuals may be unsure of what they want to say or how to react to a given scenario but it last only for a moment. Intrigued by the concept of certainty in relation with time, I proposed that our group explore uncertainty during Week 6. Our initial query was whether our perception of uncertainty is caused by the rapid changes in certainty. *Also check : [[We cannot grasp the time but we may able to grasp]] in appendix* ### Week 7 During my study year, I made an effort to change my perspective on life from being goal-focused to process-oriented. This involved believing that my current situation was shaped by what I was occupied with, what mattered to me, and the experiences I had. This shift in mindset required me to actively cultivate a different relationship with aspects of life that are typically disregarded when focusing solely on achieving goals, such as doubt, failure, and worry. * also check: [[Working with the idea of doubt.]] in horizontal time* ### Week 8 Disrupting the hierarchy does not entail turning it upside down, and I personally do not subscribe to such an approach. Ultimately, the choreographer is responsible for creating the dance piece and the dancers are tasked with executing the dance. However, the issue with hierarchy is that it can often become rigid and difficult to change. In week 8, our task was to challenge this hierarchy by finding movement within these constraints. as a beginning, I asked dancers to produce two different score by respond from two different prompts: 1. The dance that the dancers wanted to dance that doesn't happen during the project. 2. The dance that the dancers thought the choreographer wanted. * also check: [[Thinking of rewrite the contract]] in horizontal time* --- Back to [[Vertical time]]

# Applications After sharing our work-in-progress on Fridays, I wrote a project description each week in the form of an application to a festival or venue. This helped make the project more tangible, as time can be difficult to grasp and previous progress can easily be forgotten as we move forward with our schedule. Note for the reader : I attatched the project descriptions in appendix and in below. This might helpful to gain the overview of each week. --- Link to the appendix : project descriptions [[Project description_week 5]] [[Project description_week 6]] [[Project description_week 7]] [[Project description_week 8]] --- Back to [[Vertical time]]

Date: 2023-02-02\ Question: What was not there? --- The thing that was not there or here in the presence was an audience. I started to think about how the actors who are doing a play, get a lot of their performance based on the audience. they act good when the audience gives some response, and bad when there is no response.\ Will this also appear to dancers when they dance?\ When I dance I sometimes need to be alone or close my eyes #jenniesteen --- Water, Fire, Sun, Grass, Concrete, Church\ Sky\ Fear, Sadness, Anger, Frustration, Overwhelm\ Stillness inside the room\ Stillness inside the mind\ Carelessness\ Sleep as quality inside the mind.\ Silence\ Darkness #milapiljevic --- Lifts, Lick, Lust\ Synchronisation\ Eye contact\ Fraction of touch\ Sweet music outside my ear.\ Stillness of matter\ #marlenebonnesen --- The urgency of something important was not there. My feeling was not part of it. My vision was blurry. #jespersandvik --- The feeling of doing something crucially important, but simply collaborating on a score and completing or moving on to the next thing. There was neither any life-changing / Crucial /near-death experience #katjaweber --- ## Prompt: Produce new scores from three sentences by replacing words from a given pool of preselected words. ### 3 chosen sentences : • When I dance I sometimes need to be alone or close my eyes.\ • The urgency of something important was not there.\ • The feeling of doing something crucially important. ### Words Nouns:\ Thing, presence, audience, response, dancers, play, Water, Fire, Sun, Grass, Concrete, Church, Sky, Fear, Sadness, Anger, Frustration, Overwhelm, Stillness, room, mind, Carelessness, Sleep, quality, Silence, Darkness, lifts, lick, Lust, synchronization, eye contact, fraction, touch, music, score, collaboration, experience, feeling, vision, urgency, importance. Verbs:\ Was, started, act, dance, need, completing, moving, changing. Adjectives:\ Alone, blurry, life-changing, crucial, near-death. Adverbs:\ Sometimes. --- Back to [[Appendix]] Back to [[Final presentation]]

Date: 2023-02-09\ Question: What is there in between? The real in-between is an empty, vacuum. \ But the fake one is everything.\ There is a lot of work in between, starting from nothing.\ confusion, choices, doubt, and evaluation. #milapiljevic --- Presence is in between.\ adrenalin is in between\ lak leather is in between\ The love is everything\ du du du the air to measure.\ Sound to measure.\ To find next.\ Search is.\ There is "is" #unknown author --- A lot of uncertainty for people.\ I feel very lost. \ And also that is what takes up the space in-between what I am doing. #jespersandvik --- Thoughts, decisions, passiveness, activeness, rest, confusion, and breaking the rules. understanding the tasks. What does the outer eye want to see?\ disappointment. #katjaweber --- In the in-between spaces can vary in a size other times there are stones, at times it is mostly dark.\ Whatever you want you might be able to have in the in-between. \ But be aware you can't take it off there.\ A cloud is both in-between and the actual thing #fiedammygind --- ## Prompt: Connect two sentences by using the given conjunctions ## Chosen sentences: The real in-between is an empty, vacuum.\ The fake one is everything.\ There is a lot of work in between, starting from nothing.\ Confusion, choices, doubt, and evaluation.\ Presence is in between.\ adrenalin is in between.\ Lak leather is in between.\ The love is everything.\ Du-du-du the air to measure.\ Sound to measure.\ To find next.\ Search is.\ There is "is"\ A lot of uncertainty for people.\ I feel very lost.\ And also that is what takes up the space in-between what I am doing.\ Thoughts, decisions, passiveness, activeness, rest, confusion, and Breaking the rules.\ Understanding the tasks.\ What does the outer eye want to see?\ Disappointment.\ The in-between spaces can vary in size other times there are stones, and at times it is mostly dark.\ Whatever you want you might be able to have in the in-between.\ But be aware you can't take it off there.\ A cloud is both the in-between and the actual thing. ## Conjunctions : and\ but\ or\ nor\ so\ yet\ for\ as\ although\ because\ since\ unless\ until\ when\ whenever\ whereas\ while\ after\ as long as\ as soon as\ as though\ because of\ before\ by the time\ even if\ even though\ if\ in case\ in order that\ provided that\ rather than\ since\ so that\ than\ that\ though\ till\ unless\ whatever\ whether\ while\ why --- Back to [[Appendix]] Back to [[Final presentation]]

Date: 2023-02-17\ Question: What makes you feel to be seen/heard? --- When I come in contact with another body, for a second let them take me out of the task, and made myself into their forces.\ I am not sure. I always want to be seen and heard. Often I want to hide until I have something out, and only after this, enjoy being seen or heard by others. I have to listen myself. #milapiljevic --- When my frustrations are listened to.\ If concerns are spoken about. - That they are taken seriously.\ When I feel like I am developing the scene together with the choreographer. #katjaweber --- Eye contact - a smile, a nod, a share\ Physical contact - a handshake, a hug, a punch\ Intellectual contact - a conversation where you are in sync #nicologroenier --- Time\ Presence\ Repetition\ Movement\ Togetherness #nicolajwamberg --- ### The Prompt for the 12:30 performance: (15 possibilities) When my { } are listened to.\ When my { } are spoken about and taken seriously. \ When I am developing the { } together. + Time Presence Repetition Movement Togetherness ### The Prompt for the 18:00 performance : (12 possibilities) 1.\ When you come in contact with another {eye} \ When you come in contact with another {physical body} \ When you come in contact with another {intellectual body} + 2. - Let them take you out of the task, and make yourself into their forces. - Always want to be seen and heard. - Wanting to hide until having something out, and only after this, enjoy being seen or heard by others. --- *You have to listen to yourself.* --- Back to [[Appendix]] Back to [[Final presentation]]

Date : 2023-02-24 Question : What holds us together here? --- The white floor.\ I think there are some waves we collectively make in the box space when we try to attach a thought from different angles because we are different.\ Also, we look at each other for confirmation and to not feel so lost or confused. \ To make a path that keeps going forward and not just gives up on it and start anchor #milapiljevic --- This project.\ Sang gives us a task = we do the task.\ Scene 4.\ What is the project without the dancers? and what is the project without Sang?\ The score is our recipe. Maybe trust holds us together?\ The trust of not knowing.\ The trust of uncertainty.\ The trust in Friday showing.\ The trust in us and sang not knowing what the showing will be next week.\ The trust in frustration. #katjaweber --- We all know that we will meet here and that Sang has a structure for the day\ Trust in each other\ Curiosity\ Willingness to try things, Explore, and research.\ A common understanding of each other's positions #jespersandvik --- ## Prompt: We all know that we will meet here and that Sang has a structure for the day. The white floor. There are some waves. The waves made by us collectively in the box space. We try to attach a thought from different angles because we are different. We look at each other for confirmation and to not to feel lost or confused. --- What is the project without the dancers? What is the project without the choreographer? --- The trust of {not knowing} The trust of {the show} The trust of {not knowing what the showing will be.} The trust of {uncertainty} The trust in {frustration} The trust in {each other} The trust in {curiosity} The trust in {willingness to try things} The trust in {exploration} The trust in {research} The trust in {common understanding of each other's position} --- The score is our recipe: { } *Make a path that keeps going forward, and not just gives up, and start to anchor.* --- Back to [[Appendix]] Back to [[Final presentation]]

# True to be in wrong When the dancers encounter the grammatically 'wrong' sentence our brain automatically identifies the error and attempts to re-analyzing the sentence, repair it with our existing linguistic knowledge. Working with 'wrong sentence' challenges and at the same-time stimulate the dancers as more complex sentences require greater cognitive effort to parse and correct, leading to increased activity in language processing areas of the brain. Often the dancers report that they have difficulty retaining information, making decisions, or solving problems. Although 1month of working with different score improved the dancers cognitive function: Often the dancers seems to be more excited about working with wrong sentence as processing complex information can also stimulate creativity and encourage new ideas. The choreographer's challenge was 1. how to deal with the risk that the use of grammatical errors can become a crutch for creators, allowing them to rely on unconventional language. 2. the intentional introduction of grammatical errors can be seen as a form of pretentiousness, as if the creator is trying too hard to be "edgy" or different. --- Back to [[Diagonal time]]

# What can left unsaid? When considering score work, the dancer's agency to improvise from the score may vary. The question "What can be left unsaid?" provides insight into the importance of leaving certain elements unexpressed. During a conversation with Iivi on March 22, 2023, we discussed my project and she gave me this note: "\ Bearing the emptiness, working with nothingness You take it because there is nothing better Staying with emptiness against the common belief\ " She found that dancers taking action despite having nothing better to do is an intriguing concept. There are moments when dancers do not move but maintain their clarity. This fascinates me as it highlights the idea of detachment: dancers can still dance even detached from their body. The notion that there is moment that nothing needs to be expressed is fascinating. --- Back to [[Diagonal time]]

# You must change your life <img src="https://i.ibb.co/1Lh3mHz/0-C94-F5-F0-3-F42-4152-A7-C3-0-BA41236-F343.jpg" alt="0-C94-F5-F0-3-F42-4152-A7-C3-0-BA41236-F343" border="0"> The final line of the poem, "You must change your life," captivated me. Even though time has eroded the divine sculpture of Apollo, his gaze remains steadfast. This suggests that even in absence, something can still endure. I don't just view this torso as a symbol of artistic transcendence, but rather as a demonstration that we can perceive what is no longer there - if we shift our perspective. Beauty lies in change and I believe dance embodies the art of transformation. My interest isn't solely focused on altering physical movement, but on altering perception. When our perception shifts, we become someone different entirely. Therefore, the phrase "You must change your life" prompts me to reconsider my perspective. --- Back to [[Diagonal time]]

# Normal people Throughout the different seminars that has been held during my school years, there was question of what would happen if I work with 'normal people' instead of dancers. It was in a way understandable questions as I see the stage as a representation of everyday life, where both good (dance technique) and bad ('normal' movement) things happen. Although working in the context of dance, I am not interested solely in dance technique. Ultimately, My choreographic work is about existential aspect of life. On the other hand, I value the dancers' ability to read space and time, work with the unknown and abstract, and awareness of their physical and mental experiences. The skillset I demand is not limited to dance technique but encompasses a broader range of physical and mental capabilities. --- Back to [[Diagonal time]]

# State of lost The movement never truly ends; it evades completion and the dancer is aware of this. She can anticipate the conclusion. I asked her to actively resists reaching that final point. When the body refuses to finish the motion, it enters a state of loss. What happens next is intriguing: it reveals the dancer's personality, beliefs, values, and most importantly, or how she handles her insecurity. Some dancers choose to remain in this state of loss, accepting their insecurity for what it is without trying to fix or deny it. I find this raw vulnerability beautiful – the body exposed and weakened yet staying put, with no end to the movement in sight. Sometimes, the score dictates that there must be no ending to a particular motion; instead, the dancer must smoothly transition into another movement. I am eager to explore these transitions and expand them without disrupting the moment's flow. --- Back to [[Diagonal time]]

# Fishing analogy Craft is frequently described as the process of making. It involves utilizing existing materials to create new artifacts, requiring specific skills, and opposing the law of entropy. Craft is a means of transforming raw materials into something tangible and significant. It demands patience, creativity, and meticulousness as an art form. As my previous medium of art making was costume design, I was fascinated by the craftsmanship and craftsman who holds the knowledge that holds the history and value. But as word craft is so deeply connected with the physical material, I need to find another way of articulate the making process when I work with choreography as my material is expend into the non-physical concepts. It is quite recent that I uses the analogy of fishing. Fishing gives the notion that things are already there, and it is more the matter of discovery, and waiting. it reminds me of Michelangelo Buonarroti's quote: “The sculpture is already complete within the marble block, before I start my work. It is already there, I just have to chisel away the superfluous material.” --- Back to [[Diagonal time]]

# Project description_week 6 The second week, titled "While They Hesitate, Time Slips Away," is a project exploring the concept of uncertainty. It aims to challenge the dancers' bodies by giving them the contradictory task of articulating the uncertainty that exists at the border of these two spheres: stage and daily life. The entry point of this project is the exploration of uncertainty as a factor that can be used and manipulated in the context of performance or art. This idea is delved into the intricacies of uncertainty and how it exists in our lives. Through a combination of bodily research, movement, and conversations, the project aims to challenge the dancers' bodies by giving them the contradictory task of 'articulating uncertainty'. This contradiction produces the gap between certainty and uncertainty. Throughout the project, the dancers are encouraged to stay with the uncertainty and to make a commitment to it. The dancers are also encouraged to look for the small moments that exist within their reach and that remain shortly and soon slip away. In these ways of articulating uncertainty, the dancers experiment, pushing the boundaries of what is possible and exploring performativity. 'When they are holding the space, they are looking for the small beauty While they looking for the small beauty, the uncertainty was always there. While the uncertainty is always there, clarity only exists very short amount of time. In order to articulate temporary clarity, the body moves. When the body moves they hesitate. While they hesitate, time slips away. While time slips away, gravity shakes. When gravity shakes, they are holding the space.' -Choreographer's note 20230209 The project serves as a reminder of the fragility of our existence, where certainty and uncertainty are intertwined and one often leads to the other. The movement in the performance has no definitive ending and never reaches a conclusion. The dancers actively deny reaching the point of ending, causing them to enter a state of loss. This state of loss reveals the dancers' personalities, beliefs, values, and lastly, the urgency. By allowing the dancers to stay in a state of loss and not trying to fix or deny it, the performance showcases the vulnerability and raw side of the dancers. The focus on insecurity and exposure add a level of depth and relevance to the performance, as it highlights the complexities of uncertainty in a meaningful way. As the dancers move their bodies, gravity shakes. When gravity shakes, the dancers are holding the space. --- Back to [[Appendix]] Back to [[Applications]]

# Project description_week 5 ### Summary 'It is Determined by in-Relation' is a collaborative dance project that brings dancers together to explore the negative entity in dance. ### The negative dance The question of 'what is negative dance?' is the centre of this project. the concept of 'negative dance' is incorporated, with the contradictory notion of the dance existing with the presence of the dancers as a paradox. This will create a challenge for the dancers as they strive to bring the idea of negative dance to life through movement. Through the process of exploring the concept of negative dance, the dancers are encouraged to engage in a thought-provoking and imaginative process that challenges their creativity. ### The negative entity and in-relation The project aims to address the paradox of negative entities and existing dance by introducing the concept of "in-relation." The idea that everything is relative is emphasized through the use of relative measurement mathematics. By identifying a reference point and defining the relationships between elements, the abstract concept of a negative entity can be brought to life through physical expression. The project strives to bridge the gap between contrasting ideas and offer a unique perspective on the integration of negative entities and existing dance. ### Method This process of exploration and evolution is designed to challenge the dancers to continually stretch their imaginations. For the agency of this challenge, the choreographer suggests generating the 'collective score'. The project develops the method to create a collective score through improvisation and discussion. The choreographer's role is highlighted as a facilitator who initiates the task, facilitates the conversations between dancers, and at the end produces the score. This method often start from a single word that developed into a sentence, and the collection of the sentence became a dance score. The dancers develop their skills to execute the score into bodily movement. Throughout this certain procedure, the negative entity of dance will be explored and integrated into the performance, adding depth and nuance to the final dance performance. The usage of collective scores invited is not a set choreography but blurs the boundary of the individuality of dancers that unfolds diverse dance personalities. dancers will work together to produce a unique dance performance that is not determined by one directional choreographer's direction but instead emerges from the collective relation. --- Back to [[Appendix]] Back to [[Applications]]

# Project description_week 7 "Most Things Have Been Done" is an experimental dance project that aims to explore the relationship between doubt and movement. The project seeks to integrate the dancer's doubt as a material for movement, using text generated around the theme of doubt as a dance score. The project's aim is not to create a final performance piece but rather to function as a laboratory or workshop where dancers can observe their emotional and psychological experiences during the creative process. The project acknowledges the negative emotions that may arise during the process, such as doubt, and failure, and worries. The project encourages the dancers to observe and analyze their emotional and psychological experiences that can arise during the process of creative expression. The observations help to highlight the complexity and dynamic nature of the dancer's experience, focusing not only on the moments of confident movement but also the moments of doubt and insecurity that are inherent to the creative process. These moments can include feeling lost, disappointed, or scared of not producing something of value. There is a fear of forgetting something or not being able to solve a problem, frustration, and an anxiety-provoking loop. The project also reflects on the feeling of being wrong or disturbed, describing the appearance of tension and diagonal lines, and the difficulty of dealing with silence. The project's focus on doubt and insecurity highlights the importance of finding a position, taking time and space, and working with uncertainty to move forward. The acknowledgement of these negative emotions and their integration into the creative process can provide a more profound understanding of the dancer's experience and a more meaningful creative expression. The choreographer in this project functions as a facilitator, providing the procedure of writing-extracting-moving-discussing, and organizing the group to follow that procedure. The project encourages the dancers to generate text around the theme of doubt and objectify the text by extracting the sentences and using them as a dance score. The role of the choreographer is not to comment on what the dancers do but rather to provide a structure for the dancers to explore their creative expression through the lens of doubt. This structure creates a space for the dancers to move and express themselves freely while they allow doubt to appear. To provide a neutral outer perspective, the project implements the role of a 'notator,' who stays with the process and makes graphical and text notations of the dancers' improvisation. The notator's role is to observe and record the dancers' movements, which can provide insight into the emotional and psychological experiences of the dancers. When the improvisation is over, everyone looks at the notation and discusses it, providing a collaborative reflection of the creative process. The notator provides an outer perspective that is more neutral and objective, highlighting the subtleties of the dancers' movements and emotional experiences. --- Back to [[Appendix]] Back to [[Applications]]

# Project description_week 8 Points: Silence and quietness become precious as if tiny matters are being held and examined. The sensation of calmness is explored through travel around the body. The use of stillness and sudden shifts create an atmosphere. In contrast to the intensity of the preceding movements, a lightness descends upon the dancers. This sudden shift causes confusion, but the bodies remain clear. Contradictions abound. At any moment, drama can erupt or dissipate, leaving behind only after images. The search for something is ongoing, a responsibility that must be carried. Certainty appears briefly before tilting, collapsing, and pausing. Even when the dancers seem to have reached a point of conclusion, it is not truly the end. Through the fixed gaze of the dancers, there is a sense of searching for something amidst the movement. The consistency of the movement is juxtaposed with an awkwardness that seems inherent to the body, creating a feeling that something is missing, and the performance is on the brink of disappearance. The use of continuous composition further adds to the sense of disorientation, as the feeling of continuousness is constantly elusive. The dancers walk backwards, they cannot escape the confines of their square, and the quality of their movements is affected by the continuous movement. Scenes appear and disappear abruptly, creating a non-linear dramaturgy that leaves behind only after images of dance. In contrast to the intensity of the preceding movements, the sudden shift to lightness causes confusion, yet the clarity of the dancers' bodies remains intact. The contradictions abound, highlighting the complexity of the human experience. The exploration of silence and quietness adds a sense of preciousness to the performance, as tiny matters are held and examined. The sensation of calmness is explored through a journey around the body, and the dancers hold themselves while searching for others. The dance piece showcases the use of various techniques to create a sense of disorientation, disconnection, and human complexity, inviting the audience to engage with the intricacies of the performance. --- Back to [[Appendix]] Back to [[Applications]]

# Work-in-progress To conclude the week, the framework extends an invitation to the audience for the work-in-progress showings. While presenting something publicly in just five days may seem like a tight schedule, it has served as a motivator for the team to work with focus and has become a means to connect the project with the public. here I add the video of each weeks presentation and the notation by Marlene ### week 5_It is Determined by in Relation " Words and expressions that I just encountered and that I somehow can relate to in relation to your work: ... in the scheme of things ... I will start a new nuclear missile crisis with my emotions ... mayhem " -Notation by Marlene 2023-02-02 <iframe src="https://player.vimeo.com/video/811293551?h=236e8f26a1" width="640" height="564" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe> --- ### week 6_While they hesitate, time slips away "It is a great mystery how Jesper suddenly looked like Jørgen, the character. How the music from very far was suggesting a party in Berlin, but not a party the four protagonists took actively part of. It was just there in the background. They were searching for something common, something to hold on to. Testing and examining objects and their functions in order to find and give meaning. Being clear in the uncertainty. Studying the oddness of this world with no connection. No signal. Something about finding the missing link or meaning in a world with no signal. " -Notation by Marlene 2023-02-10 <iframe src="https://player.vimeo.com/video/811339857?h=b1bf12aa3d" width="640" height="564" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe> --- ### week 7_Most things have been done. " Haunted angels captured in a room of objects. Someone is drawing his imaginations and that is be unfolded in space. Or is he the one in control? He draws, They execute. Or the other way around? Why do I look more at you than on them? Searching for light. Computer game style, sound is dominant. I react immediately like dear in the forest when the hunter comes. The three angels are going to a contemporary photoshoot. What if the angels could sing If they hosted us with beautiful welcoming songs? I get aware of everyone around the performance space. " -Notation by Marlene 2023-02-17 <iframe src="https://player.vimeo.com/video/812716925?h=2c74b67ca4" width="640" height="564" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe> --- ### week 8_I know less therefore I do more " Black out, walking, hanging, dropping. repeating, changing in repetition. Gathering air, while looking next to you. A dialogue with yourself, catching the sides of the wall. When there is only surface left, showing you both sides of the space, I regret entering the stage. Falling into regretting, if satellites were humans. It is done by looking. Strangely slow, a catwalk in the dark. I know less and therefore I do more. Hands and lines, reaching toe edge of us. If only we could be in sync, but I have to touch myself before. Tilted melody, Ever pulsing circles of small feet. Finding the way in a squad of confusion. Three little horses in a land of (I don't know what) The fly and the mouth. Irregularity, waiting for the moment to open the space between us. I will go for the kitchen dance. " -Notation by Marlene 2023-02-23 <iframe src="https://player.vimeo.com/video/812724981?h=fb1c63c5e6" width="640" height="564" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe> --- Back to [[Vertical time]]