Comments for still live process blog

Comment on three makes a couple by Jane

Jane — Sun, 23 Jul 2006 16:08:23 +0000

Hi
Finally got around to looking at the micro50s. Interesting work. I cant yet get them onto my video ipod so, unless you have found someone else who has one, you will have to wait for someone more technically proficient to help me sort it out.
Meanwhile, thoughts on what I have seen…umm, odd responses. They makes me think about what I am longing for when I view dance on a small screen.
‘Where are you?’ I find myself saying. ‘Simon, is that you? Who are these people? Show yourselves’. Odd, isn’t it, as though dancing for me on a little screen would really let me ‘see’ you, ‘know’ you and yet that is what I long for. Perhaps the Lacanian ‘lack’ that is generated in the space between your microscopic dancing and my longing eyes is resonating with other meanings, other possibilities but my longing eyes search the screen and it can only reveal the ‘lack’. ‘Don’t stop, please don’t stop, I haven’t seen you yet’. Yes, the response does seem to be getting more sensuous the more I write about, interesting…
And finally, a word about development over time. I love the sense of development in these small pieces as they progress through time, each task revealing more complexity of thought and action. The sense of ‘something’ is increasing. Lovely.
Jane

Comment on no news is good news by Simon

Simon — Wed, 19 Jul 2006 04:43:05 +0000

yes – strange wee phenomenon that one isn’t it? The “celluloid” version definitely loses the continuity of the first… which, perhaps, in turn affects how the audio impacts on the experience of viewing. I’d still be keen for us to try variations on the flicker effect. playing with opacity of that layer for example.

Comment on three makes a couple by skellis

skellis — Wed, 19 Jul 2006 03:23:09 +0000

well. monogamy. laugh.
there is something quite strong in the sense of “longing” that is developed in watching these “micro50″ events. of wanting them to go longer, but knowing in doing that they would be denatured. why not longer? at what point do they approach a “regular” length in terms of how they are experienced? why 50 frames? why not 70? or 100?
i am all finished here in Perth now – just waiting for a plane.
see you both soon.
ske

Comment on butter churn by still live process blog » no news is good news

still live process blog » no news is good news — Tue, 18 Jul 2006 05:15:26 +0000

[…] finally got some footage of simon to be able to add him to the growing archive of 2 second films. in cutting the film i was keen to see what effect adding audio could have – based on the effectiveness of the audio in the last one i made. so i went for something a little funny – funny ha ha not funny odd. […]

Comment on butter churn by skellis

skellis — Mon, 17 Jul 2006 07:47:55 +0000

i wonder what it might be to choreograph EACH frame for the camera? To storyboard the projects and then shoot them? So different from what might be called a “shot-gun” approach to microFilm making in which a bit of material is shot and then recontextualised through a two second temporal frame.

Comment on (un)sighted – second time by dc

dc — Thu, 13 Jul 2006 14:11:29 +0000

this second session had more parameters than the first and, for me, this provided a clearer focus in the dancing.

i particularly was interested in the locate/relocate terms and how the first, locate, for the unsighted person is about gaining information (of course the sighted person receives tactile information as well) and then by relocating the other body they are providing information (and of course receiving further information about the architecture of the other body – and perhaps their own). so, by engaging in this simple task there is an interdependent development of awareness.

also as the unsighted person i got a lot out of locating and relocating my own body – in relationship to the other body and through my own impulse. it’s a simple score for moving, locate then relocate.

having contact improvisation as a base practice, i found that even while keeping away from the contact vernacular (as part of the task) there is always a wealth of information that is transmitted through contact… and, even when not consciously processing it, that information provides spatial and vectoral information.

in dancing this way there were moments of complete surprise when having moved out of touch coming back into touch unsighted and sensing the other body they would be not where i may have expected. but, even then this quckly lost it’s surprise because it became the known. that is, i knew that in those moments i was coming back into contact (when unsighted) there could be unknown connections, which enabled me to actually be a little unaffected by the lack of ‘sense’.

more to write about stimulating risk… but it will have to wait until the next day.

Comment on Siegal and networks – CQ by still live process blog » remembering the form

still live process blog » remembering the form — Wed, 12 Jul 2006 14:55:47 +0000

[…] the flickbooks that Simon and I have been working on has been delayed for so long by all the other things we’ve been doing. and now i’ve started getting stuck into it again i’m remembering the sparks that got me excited. it’s surprising how some of the thoughts about the flickbooks are present in many of the posts in this blog. all the talk about Siegal’s complex community networks is very much a part of the flickbooks in terms of opening up the project to participation from anyone. also, the tiny experiments with the flips that I been doing and paea has taken to hand also has a link through the shifting of the relationship with the body and time. and of course now i’m thinking about space and the discussions brought about by the interview with Godard and the representation of space and topos in these tiny digital.analogue.digital scrapbooks. […]

Comment on OK. Baby steps. by Simon

Simon — Wed, 12 Jul 2006 12:56:36 +0000

Well – it can’t be MUCH more than 2 secs. Again I find myself fascinated at the capacity for being “moved” by these materials (doesn’t seem to matter who cuts them). In part I think it has to do with the smallness of the window that opens up as a “popup” – ie I don’t think it would be as significant for me if projected onto a big (or even regular sized) screen. The act of clicking, then seeing the window, then the (fast) download (am VERY used to having to wait for video watching) … and THEN followed by the brevity and density of the materials.
I think you and David are onto something here.

Comment on remembering and filtering by skellis

skellis — Tue, 11 Jul 2006 03:37:31 +0000

Paea – just been reading yet another CQ article (never has one magazine filled time so well). It’s called “Phenomenological Space” and is an interview with somatic educator Hubert Godard (a href=”http://www.resourcesinmovement.com”>Resources In Movement.

In it he talks about SPACE as being “the imaginary building of our relationship to the world”, and which is distinct from TOPOS (“real, geographical, measurable space”).

I want to quote him at length here:

“… space – not the topos – is in fact an imaginary space of action. It doesn’t exist. There is no contact with space out of time and history. The context and my history give the affordance [a term Hubert has borrowed from perceptual psychologist, James Gibson] of what can happen in terms of whole-body gesture and movement. Any why that? Because the space in fact doesn’t exist; it’s a space of action. And this action-space is phenomenological, if you will. The phenomenon of space is sensory based, unique to each person, and time dependent.”

I guess what he discusses reminded me of your post above. In terms of “escaping history” — but the article itself is wonderfully rich for considering context in performance, and the bringing of “self” (in relation to space) to an awareness of expectation, sociological and geographical context, and subjectivity.

But let’s read it and then talk.

ske

Comment on Siegal and networks – CQ by skellis

skellis — Tue, 11 Jul 2006 03:07:26 +0000

Well – I want to have the last word (as you sit across from me tugging on your right ear) — I offered the idea of “commenting” an idea or a process … in a coding type manner.

/* note to help us remember to consider commenting as an aid to articulating process/methodology */