a piece...together?

WE ARE GERRYING

2011-12-08T09:18:00.000-08:00

Video fragment of the apt#6 experiment WE ARE GERRYING at ImPulsTanz, Vienna 2011, with: Rodrigo Andreolli, Lerna Babikyan, Fernando Belfiore, Antonella D'Ascenzi, Cristian Duarte,Lucie Germon, Regina Picker, Paz Rojo, Olga Vavilova, Noemi Viana Garcia and audience.

How does Gerry feel?

how does Gerry feel?

2011-06-10T11:57:00.000-07:00

apt? in Vienna, Impulstanz festival

ProSeries 2011 - July 25 - August 5 | 13:30 - 19:30, Kabel

children's games, pieter bruegel

"a piece...together?" is an artistic framework that holds the question and the problem of: what, what for, to whom, which and how WE is, from a variety of practices (choreographic, diagrammatic, experimental, performative) with which we pretend to communicate the question of WE today, as one that is political, philosophical, existential, kinetic, corporeal and social expression.

On the occasion of this ProSeries Project and together with the participants this research, "a piece...together?", will conclude in a performance-event at ImPulsTanz.

In the framework of "a piece...together?" we elaborate strategies for problematisation of what it means today to make, to be, to move, and to think together: the meaning of the verb "to piece together" suggests an assemblage made by different parts and/or facts that are apparently incoherent and that are separated in between them. In the middle of the parts (a piece) and together (each one of us), there are suspended dots in between as little and micro parts suspended and suspending in between the thing to do and the people involved as uncertain continuities. In short, the title "a piece...together?" suggests the question for making or constructing in common, about thinking with new words and new corporeal engagements the autonomy of WE in its most embodied forms of precariousness, chaos, senselessness and dispersion; how to hold that together and what would be the implications and consequences of such.

In "a piece...together?" we will propose collective games, corporeal experiments, performative anonymous gestures and cartographic practices co-relating to the indicative present of the world in between each one of us through crossings and breakthroughs in a choreography of crashes and discontinuities. In this sense, and with a co-(i)mplicated and reflective desire, which "a piece...together?" proposes for this ProSeries Project, it emphasises on the idea of a choreographing process, research, transversality and participation, becoming generator of a Choreographic-Share-Able Project.

To that end, we invite participants to hold the question(s) of improvisation, unpredictability, amusement, uselessness, radicalism and (why not?) high concentration, because...

How to distract and to unproject the totalising image and/or sometimes imposed project of the concept of WE? Which would be the conditions and the necessary practices that could liberate its sense? How can we dispose the sense of WE without legitimising it or, doing it, under any democratic premise of equality? How can we dispose WE in a plural and co-implicated way? Is it possible to sustain a coherent WE in plurality? And for how long? How can we dispose the body and its senses in a horizontal, plural and sharable way (without the predominance of the I/eye?) With what kind of tonalities can we dispose body and thought if we expose the sense of WE in plurality? In another way: Could we invent a name that also sensibilises WE as one that doesn’t know how to articulate itself yet, and probably will never do? Which is the use and value of being and losing time together? Isn’t it true that sometimes losing time (which, who's, what time?!) is a way to give time and thus to open other fields of perception and sensibility out of the dominant and known ones? What does imply to reconsider perceptively and sensibly the use, the value, the production, the functionality and the time of our implication in the world?

Impulstanz festival

2010-11-04T18:50:00.000-07:00

foto: renato paschoaleto

WE have kidnapped the description of we think, we like that.

At the moment, we are packing.

Therefore, we have put (WE) into brackets.

Anyhow, we have good intentions.

WE are imagining what WE is or could be.

more soon...

WE THINK, WE LIKE THAT

EXPERIMENTS #3 and #4

Where:

Festival Contemporâneo de Dança - São Paulo/Brasil

sala paissandú - galeria olido

When:

experiment #3: 04/11

time: 20h

experiment #4: 05/11

time: 20h

around WE THINK, WE LIKE THAT

videos experimentos #3 e #4 - we think, we like that

2010-11-03T16:06:00.000-07:00

the table-word game #2

2010-11-03T07:43:00.000-07:00

2010-10-25T18:43:00.000-07:00

sala paissandú - galeria olido

2010-10-23T13:49:00.000-07:00

we think, we like that ?

2010-10-23T06:53:00.000-07:00

residência #4 de/residency #4 of "a piece...together?"

atualmente desenvolvendo/currently working on we think, we like that

cristian duarte e/and paz rojo

CED_São Paulo

making of video of WE MAKE ROOM #1:

previous/post anterior:

WE MAKE ROOM #1

flaiér wmr #1

créditos/credits: click ®

when we are gerrying #1

2010-10-20T19:39:00.000-07:00

when gerry left gerry alone...

2010-10-20T19:06:00.000-07:00

when we are gerrying

2010-10-20T19:01:00.000-07:00

when we are gerrying #3

2010-10-20T18:56:00.000-07:00

when we are gerrying #2

2010-10-20T18:44:00.000-07:00

we make room #1 - photos 2

2010-10-17T19:12:00.000-07:00

when we make room #1 - photos

2010-10-17T19:09:00.000-07:00

we make room #1 - photos 1

2010-10-16T19:14:00.000-07:00

convite experimento WMR #1 invitation/invitación

2010-10-14T14:29:00.000-07:00

residência #4 de/residency #4 of "a piece...together?"

atualmente desenvolvendo/currently working on we make room

cristian duarte, paz rojo e leo nabuco

CED_São Paulo - Mapa CED

créditos/credits: click ®

previous/post anterior:

We Think, We Like That

2010-10-12T22:34:00.000-07:00

CED_São Paulo

residency 4 "a piece...together?"

currently working on we make room

cris, leo and paz

credits

We Think, We Like That

2010-10-05T18:22:00.000-07:00

um artefato ?

english español

Em "we make room" tentamos experimentar as relações compartilhadas entre corpo, espaço, palavras e som com a intenção de criar uma intimidade sensorial entre elas.

Considerando que percepção é uma ação sensível, trabalhamos com condições espaciais específicas e equipamento "low-tech" que pudessem operar som para/pela pele.

Em “we make room # 1” fabricamos um artefato direcionado para os sentidos, que inclui:

uma pessoa,

uma sala coberta de papel laminado,

um audio-coletete,

uma música.

WMR #1 propõe uma entrada em um espaço e um toque elétrico (visual e sonoro) no corpo.

WMR #1 está sendo criado em colaboração com Leo Nabuco.

2010-08-25T20:35:00.000-07:00

an artifact ?

português español

In “we make room” we are trying to experiment with the shared-relationship in between body, space, words and sound with the intention to create a sensorial intimacy in between them.

We consider that perception is a sensible action, in this regard we are working with specific spatial conditions and low-tech devices that can operate sound towards and from the skin.

On the occasion of “we make room # 1” we have fabricated an artifact directed towards the senses, which includes:

a person,

a room covered with metallic paper,

an audio-vest,

a song.

WMR # 1 proposes an entrance to a space and an electric (visual and audible) touch in the body.

we make room #1 is being created in collaboration with Leo Nabuco.

making of:

WE THINK, WE LIKE THAT - experiments

2010-08-25T12:53:00.000-07:00

español português

WTWLT is also an experiment proposal to share with others. Through out an open call, we invite people to add themselves as participants to the work-frame of We think, We like that.

The questions that frame WTWLT are:

How to distract and to unproject the totalizing image and/or sometimes imposed project of the concept of “WE”?

Which would be the conditions and the necessary practices that could liberate its sense?

How can we dispose the sense of WE without legitimazing it or, doing it, under any democratic premise of equality?

How can we dispose “WE” in a plural and co-implicated way?

Is it possible to sustain a coherent WE in plurality?

And for how long?

Which is the relationship in between the name WE and its verbalism (the action), meaning “to WEing”?

What kinds of senses and/or linguistic inventions, thus ways of existence, appear when we verbalize the name?

How can we dispose the body and its senses in a horizontal, plural way and sharable way (without the predominance of the I/eye?

With what kind of tonalities can we dispose body and thought if we expose the sense of “WE” in plurality?

What happens when “the name” is of the senses of those who perceive it, thus the name’s sense is shared perceptively and sensibly instead of rationally directed or legitimazed?

Should we necessarily work only with the name “WE” or, is it rather possible to consider another name that can put WE at stake, share it as well as abstract it?

In another way: Could we invent a name that also sensibilizes WE as that that doesn’t know how to articulate itself yet, and that it will probably never do?

Could then “GERRY” be a name but an action, a relationship, a landscape, a dessert, a quality, a planet of people and things, spaces and objects intertwined among themselves in contact?

Is it possible that by acting a “Gerry” we can sustain and valorize the sense of WE in its inevitable decomposition and disfunctionality?

How do then WEing and/or GERRYing fragalizes us?

How individuals shared by different GERRIES can find places of complicity trust and support?

Which is the use and value of being and losing time together?

Isn’t true that sometimes “losing time” (which, of whom, what time?!) is a way to “give time” and thus to open other fields of perception and sensibility out of the dominant and known ones?

What does it imply to reconsider perceptively and sensibly the use, the value, the production, the functionality and the time of our implication in the world?

The first two experiments regarding these questions took place at La Caldera, Barcelona on the 4th and 5th of August 2010.

In the first session we focused on the name of WE. During the second session we worked with the name of GERRY. On the following, we describe which are the parameters, conditions and possible strategies with which we worked in each session:

WTWLT - experiment 1 - THE WE GAME

WTWLT - experiment 2 - WE ARE GERRING

WTWLT - experiment 2 - WE ARE GERRYING

2010-08-25T12:51:00.000-07:00

“crossers” WTWLT 2: Fernando Quesada, Aimar Pérez Galí, Antonio Caballero, Iolanda Murakame, María Grande, Alexis Upierre, Cristian Duarte y Paz Rojo.

Parameters

Idea: GERRY shares WE

Place: a dance studio

Time frame: 1 hour and 30 minutes

Basic task: to create, invent games and situations in between. Perceiving the actions simultaneously and in a co-implicated way by those who are creating it (instead of making it happen through explication or a common agreement)

Necessary materials: any object that you can find in this or the other rooms (dressing room, toilets…etc) you can use at any moment; a handy mobile camera with which you may take photos, or a photo camera; a computer from which you may want to play some music at some point.

Conditions

Everything is a GERRY or it is GERRYING.

Gerry is a verb that is a subject, object, circumstance, quality, action, question.

Possible strategies

• You may want to begin the experiment relating persons and things asking yourself the following (or using these uestions not literally but in action.). Please, notice that your perception of these uestions may change at any moment through out the experiment:

Where is gerry?

What is gerry?

How does gerry feel?

What is gerry doing and how?

Where did gerry go?

• In order to help yourself in the activity of Gerrying, you can use as Gerries all the objects you may find in this or the other rooms.

These are some of the registered images of the experiment “WE ARE GERRYING”:

photos:

video:

WTWLT - experiment 1 - THE WE GAME

2010-08-25T12:49:00.000-07:00

“crossers” WTWLT 1: Fernando Quesada, Aimar Pérez Galí, Antonio Caballero, Silvia Sant Funk, Iolanda Murakame, Cristian Duarte y Paz Rojo.

This experiment was for the first time crossed with the fractal “the table word game”.

Parameters

Idea: To construct a discourse together

Place: a dance studio

Time frame: 1 hour and 30 minutes

Basic Task: In between verbal language and action, you might map out and articulate performatively what, whom, how, why, what for, when, where “WE”.

Necessary materials:

• a big table (consider its size depending on the amount of participants that will join the experiment);

• a paper that covers the table;

• lost of color pens;

• a handy mobile camera;

• a computer from which you may want to play “songs” at some time.

Conditions

• We can only speak using the pronoun “we” (so we are not allowed to speak through I, you, he, she, they, it)

• We cannot negate or make questions in return

• We can only affirm, add, support what it is said or done

• Through out the experiment you may map out the concepts, entries, access points that are at stake at the moment and that can support the build up of the discourse and the action together

• Relate and cross the concepts, entries, access points in the map together with what is happening and what it is graphically manifested over the table.

• You may feel that you want to relate performatively with what is written and what is spoken and what it is activate it in the experiment.

• At the same time, we are all responsible and in charge of the registration of the event. During the experiment we pass on the camera from one to each other, eye to eye, point of view to point of view, sight to sight recording what is going on.

Unfortunately we lost the documentation of the experiment due to a camera’s error. After being exposed greatly during an hour and a half to the question of WE. In order not to fall into frustration, we decided to record a video in which, as a way to recall and critically think over what happened, we would speak over again about what we did.

PART 2

PART 3

PART 4

WE THINK, WE LIKE THAT

2010-08-25T12:31:00.000-07:00

a movement performance and a series of open working sessions

We think, we like that is body and space. Space and body. What are two or more bodies holding on the question of “we”? How to embody the intercorporeality and the interrelation that is sustaining them? This performance consists on the creation of a construction that insists on sustaining the problem and the question of whom, what, what for and how...WE.

In between asignificance and the name, as if we would be kids, or better said, as if our curiosity and tonalities would not be other, but to be in contact and to make without future...How do we elaborate a coherent bodily discourse in plurality?

The questions that frame WTWLT are:

How to distract and to unproject the totalizing image and/or sometimes imposed project of the concept of “WE”?

Which would be the conditions and the necessary practices that could liberate its sense?

How can we dispose “WE” in a plural and co-implicated way?

Is it possible to sustain a coherent WE in plurality?

Which is the relationship in between the name WE and its verbalism (the action), meaning “to WEing”?

What kinds of senses and/or linguistic inventions, thus ways of existence, appear when we verbalize the name?

How can we dispose the body and its senses in a horizontal and plural way (without the predominance of the I/eye?

With what kind of tonalities can we dispose body and thought if we expose the sense of “WE” in plurality?

What happens when “the name” is of the senses of those who perceive it, thus the name’s sense is shared perceptively instead of rationally directed?

Should we necessarily work only with the name “WE” or, is it rather possible to consider another name that can put WE at stake, share it as well as abstract it?

In another way: Could we invent a name that also sensibilizes WE as that that doesn’t know how to articulate itself yet, and that it will probably never do?

Could then “GERRY” be a name but an action, a relationship, a landscape, a desert, a quality, a planet of people and things, spaces and objects intertwined among themselves in contact?

Is it possible that by acting a “Gerry” we can sustain and valorize the sense of WE in its inevitable decomposition and disfunctionality?

How do then WEing and/or GERRYing fragilizes us?

How individuals shared by different GERRIES can find places of complicity and support?

Which is the use and value of being together or spending time together?

Is it true that sometimes “losing time” (which, of whom, what time?!) is a way to “give time” and thus to open other fields of perception and sensibility out of the dominant and known ones?

What does it imply to reconsider perceptively the use, the value, the production, the functionality and the time of our implication in the world?

At the same time this proposal is fractalized into open working sessions to the question of WE. Through out an open call, we invite people to add themselves as participants to the WE and GERRY tools (a link there to experiment???)

2010-08-25T12:08:00.000-07:00

an artefact ?

português español

In “we make room” we are trying to experiment with the shared-relationship in between body, space, words and sound with the intention to create a sensorial intimacy in between them.

We consider that perception is a sensible action, in this regard we are working with specific spatial conditions and low-tech devices that can operate sound towards and from the skin.

On the occasion of “we make room # 1” we have fabricated an artifact directed towards the senses, which includes:

a person,

a room covered with metallic paper,

an audio-vest,

a song.

WMR # 1 proposes an entrance to a space and an electric (visual and audible) touch in the body.

we make room #1 is being created in collaboration with Leo Nabuco.

WE THINK, WE LIKE THAT - experimentos

2010-08-24T20:40:00.000-07:00

em construção

flying words

2010-08-24T12:22:00.000-07:00

an explosive gesture

español

With this proposal, we want to investigate the relationship between gesture and poetry, context and place, sign and content, sense and movement, use and value.

Our intention is to invent a machine that explodes what we think. We will experiment with places and situations and, there where thought and action take us, we will turn on the machine.

The machine will fly up words.

Our bodies fly in airplanes and in our dreams. Cross or try to cross borders just as thoughts try, sometimes to release themselves from themselves. “Flying words” is a choreography of words without a predetermine direction, which is planned under the conventional principles of any narrative, or fiction: beginning (departure, ignition), development (flight and climax), and end (arrival or landing).

We may pay attention to the moment when ignition is activated and, the trajectory of the words and how they flight give evidence of its ambivalence. We are aware that to “fly out words” enables a decomposition of meaning and a trajectory conditioned by the circumstances that surrounds them (like the wind that moves them in the air or the intensity of the explosive that flights them). You may think that, by flying out words we are moving them ahead, or that we expect to release a “utopic and exoteric liberation” of them. But what we consider here is, that each flight implies a movement and that itself “exploded” implies a demobilisation or an interruption of its usual, obvious and dominant trajectory.

These words don’t wish to be free, but to be disposed, moved and returned in smoke and warmth.

With this gesture we’d like to redefine “the problem of verbal language in relation to sensible experience”, therefore, we are interested in “the experience that touches” (the one that resonates in the ears and that leaves behind traces of images that breath and smell smoke). In this sense, we could control them beforehand, but as, an explosive gesture, we don’t wish to control their course and significance. Therefore, “Flying words” is an aesthetic and ethical event. A GESTURE POETRY MACHINE… an explosion of sense(s) flying in the air.

Flying words 1: October 2010, city of Sao Paulo, Brazil (exact date and place to be confirmed soon)

2010-08-24T12:15:00.000-07:00

un artefacto ?

En “we make room” estamos experimentando la relación compartida entre el cuerpo, el espacio, las palabras y el sonido con la intención de crear una intimidad sensorial entre ellas.

Consideramos que percibir es una acción sensible, debido a ello, estamos trabajando con condiciones espaciales específicas y dispositivos low-tech, los cuales operan sonido –a y desde la piel-.

Con ocasión del primer experimento (WMR # 1) hemos fabricado un artefacto dirigido a los sentidos que incluye:

Una persona

Una habitación cubierta de papel metálico

Un audio-chaleco

Una canción.

WMR # 1 propone una entrada a un espacio y un tacto eléctrico visual y audible en el cuerpo.

we make room #1 será creada en colaboración con leo Nabuco.

WTWLT - experiment 2 - WE ARE GERRYING

2010-08-24T08:44:00.000-07:00

english

“crossers” WTWLT 2: Fernando Quesada, Aimar Pérez Galí, Antonio Caballero, Iolanda Murakame, María Grande, Alexis Upierre, Cristian Duarte y Paz Rojo.

Parámetros

Idea: Dejar que GERRY comparta a WE

Lugar: Un estudio de danza

Marco de tiempo: 1 hora y 30 minutos

Tarea básica: crear, inventar juegos y situaciones entre sí. Percibiendo la acción de manera simultánea y co-implicada por quienes la construyen (en lugar de hacerlo de manera explicativa y de común acuerdo)

Herramientas necesarias: cualquier objeto que se encuentre en la habitación puede ser utilizado en cualquier momento; una cámara de móvil con la que hacer fotos ó una cámara fotográfica; un ordenador desde donde se puede poner música en algún momento.

Condiciones

Todo es un GERRY y está GERREANDO

Gerry es un verbo que es un sujeto, un objeto, una circunstancia, una persona, una cualidad, una acción, una pregunta…etc.

Estrategias posibles

• Puedes empezar el experimento relacionando las personas y las cosas preguntando lo siguiente (en acción, no de manera literal. Tu percepción de éstas preguntas puede cambiar en cualquier momento a lo largo del experimento):

¿Dónde está Gerry?

¿Qué es Gerry?

¿Como siento a Gerry?

¿Qué es lo que Gerry está haciendo y cómo?

¿A dónde se fue Gerry?

• Para ayudarte a construir, puedes utilizar como GERRIES y para GERREAR todos los objetos y las cosas que haya en esta habitación y las demás (vestuarios..etc).

Estas son algunas de las imágenes registradas del experimento “WE ARE GERRYING”:

fotos:

WTWLT - experiment 1 - THE WE GAME

2010-08-24T08:40:00.000-07:00

english

“crossers” WTWLT 1: Fernando Quesada, Aimar Pérez Galí, Antonio Caballero, Silvia Sant Funk, Iolanda Murakame, Cristian Duarte y Paz Rojo.

Este experimento lo cruzamos por primera vez con el fractal “the table word game”.

Parámetros

Idea: Construir un discurso juntos

Lugar: Un estudio de danza

Marco de tiempo: 1 hora y 30 minutos

Tarea básica: entre el lenguaje verbal y la acción, mapear y articular perfomativamente qué, quiénes, cómo, cuando, dónde “nosotros”.

Materiales necesarios: una mesa bastante grande (considera el tamaño dependiendo del número de participantes en el experimento); papel que cubrirá la mesa; muchos rotuladores de diferentes colores; una cámara de móvil; un ordenador desde donde se pueda poner “canciones” en algún momento.

Condiciones

• Nada más que podemos hablar utilizando el pronombre “nosotros” (ni yo, tú, él, ell@s, ella).

• No podemos hacer preguntas ni negar nada

• Solamente podemos afirmar, añadir, apoyar y/o continuar lo que está siendo dicho ó hecho.

• Escribe sobre la mesa los conceptos, entradas o puntos de acceso y resonancia del momento, estos servirán y os ayudarán a construir y relacionar el discurso y la acción juntos.

• Relaciona y cruza los conceptos en el mapa con lo que está ya escrito sobre la mesa ó lo que se está diciendo ó haciendo en el momento.

• Posiblemente sientas el deseo de relacionar performativamente lo que se escribe, se dice y se hace.

• A su vez, todos somos responsables de la documentación del experimento. Durante el mismo, pasaremos la cámara unos a otros con el objetivo de documentar ojo por ojo, mirada tras mirada, punto de vista tras punto de vista, lo que ocurra.

Desafortunadamente, perdimos la documentación del experimento, debido a un error de la cámara. Después de haber estado expuestos durante una hora y media de manera extraordinaria a la cuestión de WE, y para no caer en frustración, decidimos grabar un vídeo con el objetivo de registrar lo que ocurrió pensando crítica y retrospectivamente en la experiencia.

video (soon)

WE THINK, WE LIKE THAT - experimentos

2010-08-24T08:36:00.000-07:00

english

Además de una performance, WTWLT es una propuesta-experimento para compartir con otros. WTWLT son también sesiones abiertas de trabajo a la cuestión del nosotros. A través de una convocatoria, invitamos a personas a agregarse como participantes para investigar la puesta en juego de We think, We like that.

Las preguntas que enmarcan WTWLT son:

¿Cómo distraer y desproyectar la imagen totalizadora e/ó impuesta del concepto del NOSOTROS?

¿Cuales serían las condiciones y las prácticas necesarias que pudieran liberar su sentido?

¿Cómo podemos disponer el sentido de WE sin legitimarlo bajo la premisa democrática de la igualdad?

¿Cómo disponer NOSOTROS de manera plural y co-(i)mplicada?

¿Es posible sostener un NOSOTROS coherente en la pluralidad?

¿Y por cuánto tiempo?

¿Cual es la relación entre el nombre “WE” y la verbalidad (acción del mismo), es decir “To WEing” (ó “nosotreando”)?

¿qué clase de sentidos y/o invenciones lingüísticas y por tanto, existenciales, aparecen cuándo verbalizamos al nombre?

¿Cómo disponer el cuerpo y los sentidos de manera horizontal, plural y compartible?

¿qué clase de tonalidades exponen el cuerpo y el pensamiento si disponemos el sentido de “WE” en pluralidad?

¿qué ocurre cuando “el nombre” es de los sentidos de aquellos que lo perciben; sentidos por tanto que puede ser compartidos perceptiva y sensiblemente en lugar de ser dirigidos racionalmente?

De otro modo: ¿podríamos inventarnos un nombre que también sensibilizara NOSOTROS como eso que no sabe (ni desea) aún como articularse (y posiblemente nunca sabrá)?

¿Podemos ser GERRY (por ejemplo) no sólo como un nombre, sino también como acción, relación, paisaje, desierto, un planeta de personas, espacios y objetos entrelazados entre sí con los que ser –en- contacto?

¿Es posible que, a través de accionar a “GERRY”, podamos sostener y valorizar la inevitable descomposición y disfuncionalidad del sentido del nosotros?

¿Cómo entonces nos fragiliza WEing y/o GERRYing?

¿Cómo pueden individuos compartidos, a través de Gerries, encontrarse en lugares de complicidad, confianza y apoyo?

¿Cuál es el uso y el valor de perder el tiempo juntos?

¿No es cierto que a veces “perder el tiempo” (¿qué tiempo, de quién ó de quienes?) es una manera de “darse tiempo” y por tanto de abrir otros campos de percepción y de sensibilidad fuera de los dominantes ó los ya conocidos?

¿Cómo entonces podemos reconsiderar perceptiva y sensiblemente la utilidad, el valor, la producción, la funcionalidad y el tiempo de nuestra implicación en el mundo?

WTWLT - experiment 1 - THE WE GAME

WTWLT - experiment 2 - WE ARE GERRING

flying words

2010-08-24T08:21:00.000-07:00

un gesto explosivo

english

Con esta propuesta, nos proponemos hacer un experimento que investigue la relación entre gesto y poesía, contexto y lugar, signo y contenido, sentido y movimiento, uso y valor.

Nuestra intención es inventar una maquinaria que explote lo que pensamos. Experimentaremos con lugares y situaciones y, allá donde el pensamiento y la acción nos lleve, pondremos la máquina en marcha.

La máquina volará palabras.

El cuerpo vuela en avión ó en sueños, pasa e intenta atravesar fronteras, del mismo modo que el pensamiento intenta, a veces, liberarse de sí mismo. “Flying words” es una coreografía sin una dirección predeterminada que, está planeada bajo los principios convencionales de cualquier ficción ó narración: principio (partida, detonación de la palabra) desarrollo (vuelo y climax) y final (llegada, aterrizaje).

Pondremos atención al momento en el que activamos la detonación y las palabras y la trayectoria de su vuelo den evidencia de su ambivalencia. Somos conscientes de que “volar palabras” conlleva inevitablemente una descomposición de significado y una trayectoria condicionada por las circunstancias implicadas en el curso de su vuelo (como el viento que las mueve ó la intensidad del explosivo que las lanza). Pensareis que volando palabras, las movemos “hacia delante”, o que esperamos una “liberación utópica y exotérica” de la mismas. Sin embargo, consideramos que, el vuelo implica un movimiento, y que el mismo “explotado” implica una desmovilización de su trayectoria ordinaria, obvia y dominante.

Estas palabras no esperan ser libres, sino ser dispuestas, con-movidas y devueltas en humo y calor.

Con este gesto, lo que intentamos es redefinir el “problema del lenguaje verbal en relación con la experiencia sensible”, es decir, “la experiencia que toca” (aquella que retumba en los oídos y deja rastros de imágenes que respiran y huelen humo). Por eso, podríamos controlar el vuelo pero, como gesto explosivo, no deseamos controlar su viaje ni su significación en el curso del mismo. En este sentido, “Flying words” es un acontecimiento estético y ético. Una MÁQUINA GESTICULADORA DE POESIA…una explosión de sentido(s) volando en el aire.

Flying words 1: Octubre 2010, en la ciudad de Sao Paulo, Brasil (fecha exacta y lugar, por determinar).

we are gerrying

2010-08-20T18:00:00.000-07:00

about Gerry

2010-08-10T19:56:00.000-07:00

What is Gerry, Gerrying, Gerried, a Gerry?

1. you're not alone, but you are with everything around you.

2. you are Gerry.

3. Gerry is a noun, a verb, an adjective, a name, a circunstance, a relationship, a quality, a sensation, an object, another body ... etc

4. Gerry is when there is no emphasis. Only Gerry.

5. Gerry is never alone.

6. Gerry is never alone because it is perceived by and in others and things.

7. Gerry sees a lot.

8. Gerry doesn´t dissolve you but it involves and implicates you

9. Gerry knows that what perceives is an action.

10. Gerry is all the interests, the textures, the colors and the small actions.

11. Gerry behaves like a child, it changes of interest easily.

12. Gerry is an state of "child."

13. Gerry always says "yes" to things, actions and situations.

14. Gerry insists effortlessly.

15. Gerry holds you inefficiently

16. Gerry does not intend to be efficient

17. You don´t discover Gerry, is rather Gerry who discovers you

18. Gerry is not stable, it is temporary.

19. Gerry prolongs the curiosity-time Gerry.

20. Gerry is of everyone.

21. Gerry is an anonymous crossing you

22. Gerry is not the world in front of you, but the world around you

23. Gerry does not work for you

24. There is nothing particular or personal about Gerry

25. Gerry is a whatever

26. Gerry is a planet to build with your implication in it

27. Gerry is a field of relationships involving your perception

28. Gerry is a relationship between variations and deviations

29. Gerry is a strange proximity

30. Gerry is the incomplete world in your body

Qué es Gerry, Gerrear, Gerreado, un Gerry…?

1. no estás solo, sino que estás con todo lo que hay a tu alrededor.

2. eres Gerry.

3. Gerry es un sustantivo, un verbo, un adjetivo, un nombre, una relación una ciscunstancia, una cualidad, una sensación, un objeto, otro cuerpo ... etc

4. Gerry es cuando no hay énfasis. Sólo hay Gerry.

5. Gerry nunca está solo.

6. Gerry sabe que no está sólo porque se percibe en los demás y en las cosas.

7. Gerry escucha y ve mucho.

8. Gerry no te disuelve sino que te envuelve y te implica

9. Gerry sabe que lo que percibe es una acción.

10. Gerry es todos los intereses, las texturas, los colores, las pequeñas acciones.

11. Gerry se comporta como los niños- cambia de interés con facilidad.

12. Gerry es el estado “niño”.

13. Gerry siempre dice “sí” a las cosas, las acciones y las situaciones.

14. Gerry insiste sin esfuerzo.

15. Gerry te ocupa con esmero en la inutilidad

17. Gerry no tiene intención de ser eficiente

18. A Gerry no le descubres tú, te descubre él a ti.

19. Gerry no es duradero, es temporal.

20. Gerry prolonga el momento de curiosidad GERRY.

21. Gerry es un anónimo que te atraviesa

22. Gerry no es el mundo enfrente tuyo, sino el mundo que está a tu alrededor

23. Gerry no funciona para tí

24. No hay nada particular ó personal en Gerry

25. Gerry es un cualsea

26. Gerry es un planeta a construir con tu implicación en él

27. Gerry es un campo de relaciones y de percepción en el que participas

28. Gerry es una relación entre variantes y desvíos

29. Gerry es una extraña proximidad

30. Gerry es el mundo incompleto dentro de tu cuerpo

Gerry task, experimented in the workframe of Arqueologia do Futuro

we are gerrying tool

2010-08-10T19:33:00.000-07:00

Parameters

Idea: GERRY shares WE

· In order to contextualize “Gerry” please see the movie “Gerry” Gust Van Sant

Place: a studio space

Aproximated duration: minimum 1 h 30 min. max 3 hours

Conditions

Everything is a GERRY or it is GERRYING.

Gerry is a verb that is a subject, object, circumstance, quality, action, question.

Possible strategies

You may want to begin the experiment relating persons and things asking yourself the following (or using these questions not literally but in action.). Please, notice that your perception of these questions may change at any moment through out the experiment:

What is gerry?

Where is gerry?

How does gerry feel?

What is gerry doing and how?

Where did gerry go?

In order to help yourself in the activity of Gerrying, you can use as Gerries all the objects you may find in the room or place the experiment is taking place.

THE WE GAME tool

2010-08-10T19:30:00.000-07:00

Parameters

Idea: To construct a discourse together

Place: a room, studio space

Aproximated Time: 1 hour and 30 minutes

Basic Task: In between verbal language and action, you might map out and articulate performatively what, whom, how, why, what for, when, where “WE”.

Necessary materials: a big table (consider its size depending on the amount of participants that will join the experiment); a paper that covers the table; lost of color pens; a handy mobile camera; a computer from which you may want to play “songs” at some time.

Conditions

We can only speak using the pronoun “we” (so we are not allowed to speak through I, you, he, she, they, it)
We cannot negate or make questions in return
We can only affirm, add, support what it is said or done (These three conditions are inspired by the El Bloc Game por W)

Through out the experiment you may map out the concepts, entries, access points that are at stake at the moment and that can support the build up of the discourse and the action together
Relate and cross the concepts, entries, access points in the map together with what is happening and what it is graphically manifested over the table.
You may feel that you want to relate performatively with what is written and what is spoken and what it is activate it in the experiment.
At the same time, we are all responsible and in charge of the registration of the event. During the experiment we pass on the camera from one to each other, eye to eye, point of view to point of view, sight to sight recording what is going on.

the table-word game tool

2010-08-10T09:44:00.000-07:00

the table-word game tool is a diagrammatic experiential practice whose result is:

a map that is a relational field of knowledge production and, that participants may carry on to their own framework, and use it for further experimentation of their questions, points of crisis and problematization.

a table that is an object, over which you read again how your initial vocabularies have been crossed, performed and shared collectively.

a video of a plan sequence in which you can observe and reflect upon:

· how thought can be experienced as a plasticity of performative actions, movement and images adapting and modifying all the time.

· the transforming experimental process of your vocabularies and actions

· about how those are experienced and moved collectively

· about how those could become future “entries” or “access points” to consider new actions, concepts, problems or questions.

Basic Idea: to write and move across the table the vocabularies, concepts or terms that makes you busy or concerned at the moment; or that you may find interesting in order to problematize and specific field of knowledge in relation to the thinking process and context you are engaged with at the time.

Number of players: undefined

Necessary materials:

· A long table (you may consider the size of it, depending on the number of participants)

· A sheet of paper that covers the table

· As much color pens you think you may need for the experiment (make sure they are strong enough to be visible through the camera)

· Different types of tape (in terms of color, size…etc)

· Your own notebook or diary and books or texts you are busy with at the moment

· Any objects that are related to the process you are in. These objects can be specific of the work you are doing, the cotidianity of your working space you are in, or your personal life

· A mobile-handy camera

· Necessary sound equiptment to play music at some point.

Time frame: min. 1 hour and half; max. 3 hours

Conditions of the game:

· You have to stick to the table as your only working space. The table is the laboratory-space of this production.

· You should start by writing the concepts, vocabularies or terms you are busy with

· You may continue by relating those, to those of the rest of the players.

· Your entries, as well as the others, are constantly “crossed” by somebody else or, your entry point can become the action of somebody else and all the way around.

· All this may be done performatively. Not only the actions you may do, but also the way the word is inscribed in the table, the way it looks, the process of its writing…

· You may consider that, the production you are making together, is an experimental field of performative operations in between verbal language and action, so as such the concepts, entry points or terms at work, should be considered as a “sensible and shareable experience” not only as a rational, intellectual and individual exercise on making relations.

· The registration of the event through the handy-mobile camera is specific of the kind of performativity the experiment goes through: during the game, you may pass the camera one to another, or take it from each other. That means two things: 1. That you are responsible for registering the perception of what you are reading (you own actions, actions of others). 2. That you are responsible for taking or passing the camera to other players all along the game.

· You may want to take the experiment slowly, thinking how the concept speaks in its context; or how the action takes you into a new field of knowledge and performativity.

· You may have the ability to zoom in out of the specific territories you are exploring in the collective map, so you make sure that the relational experimental activity in the game goes on and doesn’t get blocked into one specific area of the map.

the table-word game experiment #1

2010-08-10T09:30:00.000-07:00

the table-word game is a diagrammatic experiential practice whose result is:

a map that is a relational field of knowledge production and, that participants may carry on to their own framework, and use it for further experimentation of their questions, points of crisis and problematization.

a table that is an object over which you read again how your initial vocabularies have been crossed, performed and shared collectively.

a video of a plan sequence in which you can observe and reflect upon:

· how thought can be experienced as a plasticity of performative actions, movement and images adapting and modifying all the time.

· the transforming experimental process of your vocabularies and actions

· about how those are experienced and moved collectively

· about how those could become future “entries” or “access points” to consider new actions, concepts, problems or questions.

Basic Idea: to write and move across the table the vocabularies, concepts or terms that makes you busy or concerned at the moment; or that you may find interesting in order to problematize and specific field of knowledge in relation to the thinking process and context you are engaged with at the time.

Number of players: four

Materials:

· A long table

· A sheet of paper that covers the table

· Many different color pens

· Different types of tape (in terms of color, size…etc)

· Our own notebook and books or texts we were busy with at the moment

· Objects that were related to the process we were in. These objects were specific of the work we were doing, the cotidianity of our working space

· A mobile-handy camera

· Necessary sound equiptment to play music at some point.

Time frame: 1 hour and half

Conditions of the game:

· stick to the table as your only working space. The table is the laboratory-space of this production.

· we should start by writing the concepts, vocabularies or terms you are busy with

· continue by relating those, to those of the rest of the players.

· our entries, as well as the others, are constantly “crossed” by somebody else or, the entry point of somebldy can become the action of somebody else and all the way around.

· All this may be done performatively. Not only the actions we may do, but also the way the word is inscribed in the table, the way it looks, the process of its writing…

· we consider that, the production we make together, is an experimental field of performative operations in between verbal language and action, so as such the concepts, entry points or terms at work, are considered as a “sensible and shareable experience” not only as a rational, intellectual and individual exercise on making relations.

· The registration of the event through the handy-mobile camera is specific of the kind of performativity the experiment goes through: during the game, we passed the camera one to another. That means two things: 1. That we are responsible for registering the perception of what we are reading (you own actions, actions of others). 2. That we are responsible for taking or passing the camera to others all along the game.

This version was made in a residence at L'animal a l'esquena, Gerona (July 2010), with the collaboration of Lucas Condro and Natalia Tencer (Buenos Aires).

2010-07-30T16:16:00.000-07:00

english

Del 25 de Julio al 8 de Agosto los artistas Cristian Duarte (Sao Paulo) y Paz Rojo (Madrid) estarán trabajando en La Caldera (Barcelona) en una serie de prácticas, gestos y experimentos que están llevando a cabo dentro del marco de trabajo ‘a piece...together?’ (previamente en L'animal a l'esquena, Gerona y Teatro Museo Pujol, Barcelona).

Paz y Cristian te invitan a agregarte como participante en dos sesiones de trabajo y a investigar con ellos las propuestas que están haciendo, particularmente, la propuesta we think, we like that.

Si quieres agregarte a la pregunta de ‘a piece…together?’… por favor contacta con apiecetogether@gmail.com

CUANDO: 4 Y 5 de AGOSTO, DE 17:00 a 20:00 HORAS
DONDE: LA CALDERA, Torrent d'en Vidalet, 43 (Gràcia)
COMO LLEGAR: metro Fontana (L2) o Joanic (L4)

financed and supported by @&é"'(§è!

pulsa aquí para ver flaiér

flying words

2010-07-29T08:08:00.000-07:00

under construction

an explosive gesture

With this proposal, we intend to do an experiment to investigate the relationship between gesture and poetry, context and place, sign and content, use and value.

Our intention is to invent a machine that exploits what we think. We will analyze contexts, places... and where thought and action take us.

The machine will fly up words.

The words fly as our thoughts. Our bodies process sensations, memories, desires, perception... languages, phonemes, synonyms, insults, verbs, circumstantial nouns... Our bodies fly in airplanes and in our dreams. Cross or try to cross borders just as thought tries, sometimes, to release themselves from themselves...

a GESTURE POETRY MACHINE, of words, thoughts, images...

as an explosion in the air.

Disempower the word of their meaning...

When ignition is activated, the course of the words can give evidence of its ambivalence.

We may wish to control it beforehand, but as an explosive gesture we can't control its course and significance.

as palavras tocam

2010-07-29T07:47:00.000-07:00

under construction

A sound installation that aims to pierce the senses and provoke a sensorial experience.

words carry experience.

words open spaces in the perception.

perception is an action.

words are colors, images, memories...

words are vibrations.

words can separate us.

words can bring us together.

words can kill.

words can produce life.

As if the sound could touch and dilute the border between inside and

outside.

It is an entrance, a shock that leaves a small vibration in the body.

2010-07-27T11:50:00.000-07:00

español português

we think, we like that is a movement performance. The basic question we ask is: What are two, or more bodies, holding the question of WE? How to embody the intercorporeality and the inter-relation that is sustaining them?

This performance consists on the creation of a construction that insists on sustaining the problem and the question of whom, what, what for and how...WE.

In between a-significance and the name, as if we would be kids, or as if our curiosity and tonalities would not be other than be-in-contact-with and to make-with-out-futures.

we think, we like that intends to elaborate conditions for a certain kind of affirmation on things, relations and affects. Therefore, we are trying to elaborate a practice that uses a tool we call: “WE ARE GERRYING”.

At the same time this proposal is fractalized into open working sessions to the question of WE.

more info on fractals in apt? here @

2010-07-27T02:51:00.000-07:00

Paz Rojo y Cristian Duarte te invitan a agregarte a...

english

Durante los días 4 y 5 de Agosto, Paz y Cristian te invitan a agregarte como participante en dos sesiones de trabajo y a investigar con ellos las propuestas que están haciendo, particularmente, la propuesta we think, we like that.

Las sesiones de trabajo están planeadas para el 4 y 5 de Agosto de 17.00 a 20.00 horas en La Caldera.

Si quieres agregarte a la pregunta de ‘a piece…together?’…

por favor contacta con Paz Rojo en: pazrojo@hotmail.com

Un saludo,

cris y paz

2010-07-26T11:45:00.000-07:00

(the question mark experiment): “a meeting effect”

español português

(the question mark experiment): “a meeting effect” is an experiment that is announced through an open call on the internet. In this call people are invited to participate in the meeting under specific parameters, conditions and strategies, which may change or vary each time, depending on the context and the interest of the people involved/organizing. In this sense, it is important to say that the participants (crossers) are not called for specific reasons or skills, but rather they self-call themselves to take part in the experiment, with the commitment to meet or to make meeting under the parameters, conditions and strategies of this tool.

TQME is an experiment that investigates the changing condition of meeting. As such, it doesn´t intend to manage and organize an usual meeting, but rather to create the necessary conditions that may implicate people and, as a consequence, may uselessly complicate and engage them. Furthermore, TQME doesn´t produce a constitutive place or relationship a priori, but gives the conditions for those to be continuously constituted.

The basic idea of this experiment is to hold the question of what, for whom, why, where, who, how, WE together here?

In order to hold this question, the experiment limits itself to the basic conditions that determine the improvisational and the unpredictable aspects of such a situation. In this sense, the experiment proposes itself as an “open relationship”, in which goal, result or signification is suspended, and where the expectations are subverted with the aim to generate a perceptive and sensible experience, that discovers WE in situation.

The experiment could be perceived as a party, or a group therapy, or any other obviousness that we can possible imagine, and that may have to do with groups of people spending (and losing) time together. What TQME tries then, is to pierce through that obviousness; to go beyond and through; to be closer; body to body; see what happens; to practice other corporeal tones, with the simple aim to just be in contact with the perceptible...and to sustain that.

TQME is also a fiction, whose production ins´t only a performative act, but one that introduces fictitious situations that try to maintain the "standard" tone of the experiment, making sure that those are perceived, discovered and shared by all.

In TQME # 1 the “crossers” were: Quim Pujol, Pere Faura, Arantxa Martinez, Guillem Mont de Palol, Jorge Dutor, Aimar Perez Galí, Edu Villanúa, Antonio Caballero, Mo Pascual, Oscar Dasí, Orestes Pérez-Estanquero, Cristian Duarte y Paz Rojo. This first experiment took place in a private house, which is also an artistic residence place in Barcelona. There, we proceeded the experiment under the following parameters, conditions and strategies.

click here to see flyer

2010-07-25T16:01:00.000-07:00

(the question mark experiment): “um efeito encontro”

(the question mark experiment): “um efeito encontro" é um experimento que é anunciado através de um convite aberto na internet. Neste convite aberto as pessoas são convidadas a participar em um encontro com parâmetros, condições e estratégias específicos, que podem mudar ou variar a cada vez dependendo do contexto e através do interesse ou campo investigativo de quem participa/organiza. Neste sentido, é importante dizer que os participantes (atravessadores) não são chamados por razões ou habilidades específicas, mas que eles se auto-chamam a participar na experiência com o compromisso de encontrar ou fazer encontro através dos parâmetros, condições e estratégias disponibilizados por esta ferramenta.

TQME é um experimento que investiga a mudança de condição de um encontro/reunião. Como tal, não pretende organizar e conduzir uma reunião de costume, mas sim criar condições necessarias para implicar a todos e, como conseqüência, poder inultilmente implicar e complicar. Porém, TQME não pretende constituir um lugar e/ou relação a priori, mas proporcionar condições para que estas sejam constituídas continuamente.

A ideia básica deste experimento é manter a questão do quê, para quem, por quê, onde, quem, como, NÓS juntos aqui?.

A fim de suspender esta questão, a experiência se limita às condições básicas que determinam os aspectos de improvisação e imprevisibilidade de tal situação. Neste sentido, o experimento propõe-se como um "relacionamento aberto", no qual qualquer objetivo, resultado ou significação está suspenso e as expectativas são subvertidas, com o objetivo de gerar uma experiência perceptiva e sensível que descobre NÓS em situação.

O experimento pode ser visto como uma festa, ou um grupo de terapia, ou qualquer outra obviedade que tenha a ver com um grupo de pessoas passando (e perdendo) tempo juntos. O que TQME tenta então é perfurar essa obviedade, ir através e além; aproximar; corpo a corpo; ver o que acontece; praticar outros tônus físicos, com o simples objetivo de estar em contato com o perceptível...e sustentar isso.

TQME também é uma ficção cuja produção não é apenas um ato performativo, mas que introduz situações fictícias que tentam manter o tom “standard” do experimento, certificando-se de que estes sejam percebidos, descobertos e compartilhados por todos.

Em TQME # 1, os “atravessadores“ foram: Quim Pujol, Pere Faura, Arantxa Martinez, Guillem Mont de Palol, Jorge Dutor, Aimar Perez Galí, Edu Villanúa, Antonio Caballero, Mo Pascual, Oscar Dasí, Orestes Pérez-Estanquero, Cristian Duarte y Paz Rojo. Esta primeira experiência ocorreu em uma casa privada que é também um espaço de residência artística em Barcelona. Lá, ocorreu o experimento #1 sob os seguintes parâmetros, condições e estratégias.

clique aqui para ver flaiér

2010-07-25T14:20:00.000-07:00

(the question mark experiment): “un efecto encuentro”

TQME es un experimento que se anuncia por medio de una convocatoria abierta a través de internet. En esa convocatoria se invita a gente a participar en el encuentro bajo una serie de parámetros, condiciones y estrategias, las cuales, varian según el contexto en el que tiene lugar y las preguntas e intereses que se tengan en ese momento. En este sentido, es importante decir que, los participantes (atravesadores) no son convocados por alguna razón específica o por sus abilidades; sino que se auto-convocan para tomar parte en el experimento bajo el compromiso de encontrarse ó hacer encuentro bajo las condiciones, estrategias y parámetros acordados en el contexto de apt?

TQME es un experimento que investiga la condición cambiante de encontrarse. Como tal, no pretende gestionar, ni organizar un encuentro al uso; sino crear las condiciones necesarias que impliquen en él y, como resultado, compliquen e involucren inútilmente. En este sentido, TQME no produce un lugar y unas relaciones constituidas de ante mano, sino que provee las condiciones para que éstas se constituyan contínuamente.

La idea básica del experimento es, sostener la pregunta de ¿quien, para qué y cómo NOSOTROS aquí? para sostener esta pregunta, el experimento se limita a las condiciones básicas que determinan la improvisación y la imprevisibilidad de la situación. En este sentido el experimento se propone como una “relación abierta” en la que cualquier objetivo, resultado ó significación es suspendido y, en donde las expectativas son subvertidas con el objetivo de generar una experiencia perceptiva y sensible que descubra NOSOTROS en situación.

El experimento puede ser percibido como una fiesta, una terapia de grupo, o cualquier obviedad que podamos imaginar,que tenga que ver con grupos de personas. Lo que intentamos pues, es agujerar esas obviedades; ir más allá, estar más cerca. Estar cuerpo a cuerpo. Ver qué pasa. Poner atención en otros tonos corporales con el objetivo simple de estar en contacto con lo perceptible...y sostenerlo.

Por último TQME es también una ficción cuya producción no es sólo un acto performativo, sino que introduce situaciones ficticias que tratan de mantener el tono estandarizado y regular del experimento, asegurándose de que éstas sean percibidas, descubiertas y compartidas por todos.

En TQME # 1 los “atravesadores” fueron: Quim Pujol, Pere Faura, Arantxa Martinez, Guillem Mont de Palol, Jorge Dutor, Aimar Perez Galí, Edu Villanúa, Antonio Caballero, Mo Pascual, Oscar Dasí, Orestes Pérez-Estanquero, Cristian Duarte y Paz Rojo. Este primer experimento tuvo lugar en una casa privada que también es una residencia artística y bajo los siguientes parámetros, condiciones y estrategias.

pulsa aquí para ver flaiér

2010-07-23T16:15:00.000-07:00

click on the image to zoom

2010-07-23T16:12:00.000-07:00

click on the image to zoom

flyers apt?

2010-07-23T05:40:00.000-07:00

CED, 16 de Outubro, 2010

La Caldera, 4 y 5 de Agosto, 2010

Teatro Museo Pujol, 23 de Julio, 2010

L'animal a l'esquena, 10 de Julio, 2010

(the question mark experiment) # 1

2010-07-22T12:39:00.000-07:00

Cristian Duarte y Paz Rojo dentro del marco de trabajo de apt? (y con la colaboración de Quim Pujol y Pere Faura), te invitan a participar en:

CUANDO: VIERNES 23 de JULIO, A LAS 19 HORAS
DONDE: TEATRO MUSEO PUJOL C/ BRUSI 39 entresuelo 2
COMO LLEGAR: desde Plaza Cataluña, tomar ferrocarril a estación Sant Gervasi o Plaza Molina

Si queréis venir, debéis considerar el experimento bajo los siguientes parámetros, condiciones y estrategias:

Parámetros

• Idea: Sostener la cuestión de qué, para quien, para qué, quien, como…nosotros juntos aquí?

• Lugar: Una casa privada, que también es un espacio público puesto que allí se acogen artistas en residencia;

• Tarea básica: hacer una continua construcción-situación inútil;

• Marco de tiempo: 3 horas.

Condiciones

• Juntos en una casa privada en la que somos ambos, intrusos y anfitriones;

• No estamos permitidos a hablar ó explicar nada sobre qué es eso que estamos haciendo;

• No hay objetivo específico;

• No podemos finalizar lo que empezamos;

• Estar ocupado constantemente, poner tu atención en cosas, gente, objetos, acciones;

• Estar en contacto simultáneamente con más de una cosa a la vez (mínimo 2).

Estrategias posibles

• Dejarte llevar por la curiosidad y la diversión;

• Proveer a los demás de comida, bebidas, músicas, pelis (you tube);

• Cocinar algo en el horno;

• Tomar fotos ó películas con el móvil;

• Promover conversaciones en donde producir preguntas;

• Remover, recolocar, reorganizar los muebles de la casa;

• Implicar a los demás en las cosas que haces;

• Ayudar a otros en lo que están haciendo;

• Pedir ayuda a otros en lo que estás haciendo;

• Crear ficciones: durante el experimento, podeis sentir que necesitais crear situaciones ficticias (ó historias, ó juegos). ATENCIÓN: La ficción no debe de imponer un resultado que convierta el experimento en un acto performativo. Si utilizais esta estrategia, debeis considerar lo siguiente:¿Cómo introducir situaciones ficticias de tal manera que, éstas no sean percibidas como un acto performativo, pero sí como una situación percibida, descubierta y compartida por todos?

• Traer algún objeto u objetos con los que os gustaría trabajar si quereis;

• Ralentizar o accelerar tu ritmo normal.

Por favor, confirmar asistencia en: apiecetogether@gmail.com

Mas información en: http://apiecetogether.blogspot.com

Os esperamos!

Paz y Cris

photos from TQME #1 taken from cris duarte mobile

the table-word game

2010-07-21T18:19:00.000-07:00

the table-word game é uma prática diagramática e experiencial, cujo resultado é um vídeo de plano sequência.

Esta prática nos interessa como ferramenta para experimentar com a linguagem verbal, a ação e a performatividade de ambas, produzindo um glossário de regras e materiais com o objetivo de conceituar um jogo que pode ser oferecido a outros artistas e coletivos para que possam praticar e trocar ideias e experiências entre: o processo, a experiência, a imagem, o pensamento e a ação.

O vídeo abaixo é uma versão do mesmo. O que fizemos foi colocar sobre uma mesa o vocabulário com o qual estavamos trabalhando no momento. A ação inscreve os vocabulários e vice-versa.

Simultaneamente, a segunda regra foi cruzar e/ou atravessar as ideias dos outros. Finalmente uma câmera de telefone celular foi a ferramenta que utilizamos, passando uns aos outros, como uma testemunha que, com um olhar subjetivo e experimental, dá evidencia do pensamento em ação.

Esta versão foi feita em residência em L'animal a l'esquena, Gerona, com a colaboração de Lucas Condro e Natalia Tencer (Buenos Aires). Em breve, os parâmetros, regras e estratégias desta ferramenta-jogo serão disponibilizados aqui.