Archive for October, 2010

merce cunningham

Merce Cunningham’s amazing performance ! I went it last wednesday 27th of October at the barbican theatre, part of the dance umbrella festival (London). EXPERIMENTAL!

Merce Cunningham’s performance “Nearly Ninety” it is an outstanding show of visual and audio possibilities.  The first act consists on half stage being used, with a gauze on the middle. The lights behind the screen create shadows so strong and mysterious allowing our perception to understand that there is something big behind the screen, which is moving, because the shadows are moving. Suddenly projections ( by Franc Aleu) of geometric futuristic forms start to appear creating together with the shadows (and the occasional silhouettes of the musicians) a doubt on the audience, without knowing if the shadows are from the lights, which are moving, or an object moving, or if the shadows are projections as well. The dancers, with futuristic costumes and minimal movements, dancing with this background create another reality, the idea that we – the audience – are in another planet.

But the best comes with the second act, when the stage is completely revealed, showing a weird  enormous architectural installation as the set design, in which the musicians stay inside, playing live. Some projection screens go down, and a live projection of the experimental musician Takehisha Kosugi experimenting sounds with the movement of nails inside a pan could be seen.

In this moment I could feel the background of the Cunningham/Cage collaborations, and how they succeeded on experimenting with the audience perception mixing sound, image and dance into an experimental, improvisation piece, giving the term multimedia the biggest meaning ever.

 

FIRST EXPERIMENTS

My first experiment for my project on “perceiving time” (still untitled) was very successful. The projector I’ve got is much more powerful than I imagined and the lights from my street weren’t as strong as I’ve imagined! Luckily!

Was absolutely incredible to see myself projected live into the top part of my front door neighbor! And it turned my projected into the discussion of private and public spaces and how can I make my own personal space (in this specific case, my bedroom) into a public space as everyone who is crossing the street can see everything I have and everything I am doing.

It is quite exciting that I can mix different interests and particularities about peoples life in terms if timing and space.

pure time

real duration

continuous

indivisible

only experienced by intuition

endless flow of experiences in an indivisible continuity

metaphysical principles

freedom

reality is always changing

it is all about the process

following my thoughts on Bergson’s study of the creative mind, I intend to use the intellectual “reality” (time) X the intuitive reality; and both realities represented as it follows:

– inside the flat and projected (intuitive reality)

– streets/ audience (intellectual reality)

The action from inside the flat means everything and it needs to be well decided, and for that what I intend to do is Image research about our daily life. I will take pictures of what I believe is a mathematical & pragmatic action / and from there I intend to come out with further ideas.

Some initial images I’ve got:

JACK EPISODE 5!!!!

OUR WEB DRAMA ‘JACK MALCHANCE’ in which I am the production designer.

EPISODE 5!

MORE MORE INFO, CHECK PREVIOUS POSTS !

new project

French philosopher Henry Bergson’s study of time is very influential for the development of media art, and substantial in terms of concepts and studies for art works of different medias.

Henri Bergson’s The Creative Mind: An Introduction to Metaphysics (1946) is a collection of essays and lectures concerning the nature of intuition, explaining how intuition can be used as a philosophical method. Intuition is described as a method of ‘thinking in duration’, which reflects the continuous flow of reality. Bergson distinguishes between intuitive and conceptual thinking, explaining how intuition and intellect may be combined to produce a dynamic knowledge of reality. Relating to my practice, I am interested in the relation between live and mediatized symbolically and how to use different medias to reveal different realities; In several works with video there is the video as a representation of the unconscious or “memory” and live actors as the conscious and present moment, and following Bergson’s studies of intuition and perception of time I have started to relate his studies to my performance proposal.

Bergson distinguishes between two forms of time: pure time and mathematical time. Pure time is real duration. Mathematical time is measurable duration. Real time is continuous and indivisible. Mathematical time is divisible into units or intervals, which do not reflect the flow of real time. My intention for my practice is to explore the use of real time and mathematical time (video recorded) related to the mutual dependence of live and mediatized performances, also related to the development of cinematic staging and editing in 1910’s.

My first response and first idea for the performance is a live action happening inside a flat but projected live wall across it, with a 66 second delay. The idea of the delay is because when first “live” TV started, it was filmed on a kinescope and transmitted to the TV’s, a ‘television image was recorded on motion picture film then processed and projected immediately, but the delay from reception to projection was 66 seconds.

‘it was thought to make the home into a kind of theatre characterized, paradoxically, by both absolute intimacy and global reach’ Spigel 1992

The intention is to work on Bergson’s idea of reality and time to question what’s real, live and possible, if the intellect and intuition provide two different kinds of knowledge, which can be integrated to produce a unified knowledge of reality, one knowledge would be represented by a live “real action” inside a flat and projected outside in the “real” environment of the street, but where the viewer will see the actions as “recorded”. It will be a unified knowledge if reality, one as intellect and other as intuition, as the viewer will have to believe and trust that the action is happening live, once he is only seeing it projected.

 

PETER BROOK


 

 

 

 

 

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