performative publishing, project

Change Log of Common Things

14 September-4 December 2016

common thing - 1

Our individual researches are the basic material for the work in a block.

This page is a log board for tracing the canges and alternations of every item* that has be brought in to the common space as a common research good.

Every research is present in form of a careful selection of three items that han be declared as common good for the duration of this block.

• One item from your research that you can define as a resource for yourself and others. Resource are things that transform when we use them!
• One tiem that you declare as a tool. Tools are things that we use in order to transform other things.
• One item the describes a ‚gap’ in your research. Gaps than, are not-things: Gaps are consciously or unconsciously ignored or desired elements in the field of our researches.

Everyone engaging in this block – participants, mentors, but also people from beyond a.pass and public – will treat, change and transform this material. The collection of these items is the base of our commons and is further developed and investigated in the Fridays Open Session. The gathering of items in that space is be under constant transformation. This transformation shall be documented on this page.

* the term ‘item’ is already an alternation form ‘element’, an the things were named before. It is likely, that we will change this terminology throughot the course of the block.

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———————————————- WRITING SERVICE ———————————————-

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• Please encircle up to five keywords across all categories, or add new keywords in the space provided, then hand this page to the writer.
  
  

Language:
ENGLISH / DUTCH / FRENCH

Method:

LAPTOP / NAIL-POLISH / PEN & PAPER / TYPEWRITER

Style and Form:

ACADEMIC / ADVERTISEMENT / ANGRY RANT / CYNICAL / DIARY ENTRY / FAIRY TALE / FREE ASSOCIATION / FREE VERSE / INSTRUCTION LEAFLET / LETTER OF RECOMMENDATION / MANIFEST / MYSTICAL / MYTH / ODE / OPTIMISTIC / PERSONAL CORRESPONDENCE / PESSIMISTIC / POETRY / PRAGMATIC / PROSE / RATIONAL / RHYME / ROMANTIC / THEORETICAL / ……………….. / ………………. / ……………. /

Content:
209 / ATTENTION / BELL / BOX / CONFLICT / CYBORG / DIARY / DISPOSITIF / DOCUMENTING / CAMBIO DE CERRADURA SIN LLAVE CARE / CLAPPERBOARD / CORRESPONDENCE / DECLARATION / DESK / EMBODIMENT / EXCESS / FRAMING / FRIDAY / GENERICALY SPECIFIC / GOD / HAND-EYE COORDINATION / INVISIBLE / LIGHT / LIGHT THEREMIN / LILITH / LOCATION / LOVE / MD-RECORDER / MIRROR / MOIRRRE / MOVEMENT / NAIL-POLISH / NON-DUALITY / NON-UNDERSTANDABLE / OPENLY CONCRETE / PASSAGE / PERSONAL / POETRY / POLITICS / PRACTICE / RECALL / RECORDING / SCORES / SELF / SPACE / SOUND / TEXT / TEXTING / THE HOLE CAMERA / THEORY / THE SELF / THIS SPACE / TRANCE / TRANCE TEXTING / TYPEWRITER / VERGENCE / VISIBLE / ………………… / ……………. / ………………… / ……………. /

HAVE YOU EVER WONDERED WHAT YOU AND YOUR MIRROR IMAGE HAVE IN COMMON?

-ARE YOU LOOKING FOR A WAY BEYOND FLATNESS ?-

TRY OUT OUR NEW FRIDAY SESSION – SEE YOURSELF THROUGH THE CHAOTIC LENS OF A FLUCTUATING SELECTION OF CONTEMPORARY POOR

RETURN TO YOUR PROJECTED LIVE KNOWING THAT A REVOLUTIONARY SYSTEM OF COMMONING WHAT WAS ONCE PRIVATE IS SO COMPLICATED IT WILL NEVER HAPPEN DURING YOUR LIFETIME. WATCH GROWN UP PEOPLE DO WEIRD THINGS YOU DONT UNDERSTAND AND FEEL HOW LIVE COULD BE WAY MORE COMPLICATED THAN YOU EVER FELT. IT IS EASY!

FIND PEACE AGAIN WHEN YOU LOOK INTO YOUR MIRROR

FREE TOOLS AND RESOURCES PROVIDED TO FILL YOUR GAPS

WARNING: ALL FOOD SERVED WILL BE VEGETARIAN – NO REFUNDS

SUBJECT: 01101100 01101001 01101100 01101001 01110100 01101000
CREATION DATE: 0 – 134064h.

HUMAN ACCES CODE: L I L I T H

MANIFESTATION:

subject breached non-dual protocol by applying nail-polish __subject stated ‘I got Friday on my mind / I could be your Fairy / Baby / Let’s embody across all categories / your SELFSPACE or mine / let’s become invisible / doesn’t that sound fine?’
SOLUTION:

__recommend increase testosterone dosage during next TRANSE fase __removal of excess SELFSPACE __thorough cleaning of the optic fiber passages __removal of the other

– APROVAL OF NCH DIVISION REQUIRED –

07/10/2016

paying attention to Anarchitektur_commons.pdf

Synchronizing moving image and sound.

ari resource smaller pic

Written translations of videos capturing the body movements and gestures of my mum taking care of the domestic environment. 

These written translations take the form of poems/scores – set of instructions, sequences of movements.

The Theremine is a chaotic instrument that make the re-doing impossible. It uses the lack of electronic precision as a generic rule to create singularities. It is a tool to experiment and notice the small changes which occur in identical gestures.

A conversation with Theremin, who has been declared a cyborg, and later on a poem for Theremin.

Observation: for each scores, observing changes that occure at a body, psychical, emotional and imaginary level. Weight, tension, focus, gaze, scale, feeling of enlarging/shortening, solid/fluid, unique/multiple, colours, emotions, image, association,…

Heart:

• feeling the heart beat through inner focus: fingers, hands, feet, temples,…

• start laid down, try to feel/hear your heart beat where it reveals itself clearly, look for less obvious place where you can feel it, change position and do it again.

• Start sitting cross-legged, relax your upper body and let your neck and more of your body oscillating according to your heart beat.

• place your hand under your jaw to feel your heart beat with your fingers.

• Reproduce the heart beat in live with your voice

• move another part of your body on the rhythm of your heart beat

• bend your knees on your heart beat

• jump on your heart beat

• by two: place your hand under the jaw of the partner, and do the same scores as above

• move/dance on the rhythm of your heart beat, with or without helping technology (stethoscope,…)

Vibrations :

• alone: produce sounds with your voice (changing the tone and volume) and try to localise them, by feeling/following their vibrations, in your body.

• By two : one partner is producing the sound and the other is localising it helping him/herself with hands or other body parts

• By two : back to back, together or one at a time, the partners produce sounds and localise them within their bodies.

• move/dance following the body parts that naturally resonate with the produced sound

• move/dance resisting to follow the body parts that naturally resonate with the produced sound.

Narration :

• declare out loud a specific statement and feel what this declaration is doing to your body, physically, emotionally.

• declare out loud a specific statement and repeat it while moving. Feel what that does to your body and how the movements are created through this declaration.

• declare out loud a specific statement and repeat it while changing its shape, tone, speed, volume, emotion with which it is declared.

• authentic speech : talk without caring about the meaning of your speak, just follow your mood

Time:

• stay in one position for a long period of time (to be determined) till you start noticing subtle changes in your body, tension of the muscles, pain, focus,…then change position and do t again or just start moving slowly.

• Gaze at an object in the space and observe how your perception is changing with time, how your awareness of your look change and your acknowledgement of the object itself start changing too.

Listening:

• multidirectional listening: listen to all sounds of your surrounding environment (down, up, right, left, front, back, far, close) with the same intensity. Don’t focus on any of them, but try to hear them, to let them enter your hear equally.

• Intimate listening: turn your gaze on the inside and listen to the sound produced by your body (heart, breath, digestive system,…)

• in/out: mix the two previous scores and listen to the inside and the outside with the same intensity of presence in your mind

• group listening: picture that you connect your ear, your listening to the one of the other in the group and try to hear what and how they hear.

Blind:

• blind your eyes or keep them closed for several hours and act normally, move, walk, eat, sit, talk,… and notice how your other senses get increased.

• By two: both blind their eyes and then connect to each other through one body part and start moving, trying to tune within the partner and to reproduce the same movement. One will be leading and the other one following. Change role without opening eyes.

• Deaf dance: move/dance, trying to make as less noise as possible.

Grimaces :

• make grimace in front of a mirror. Change the speed and the intensity going from one grimace to another. Notice the emotional change within you.

• Make grimaces in front of a mirror and expand them to your entire body. Be attentive to the different tension, emotional changes,…

Breath/tone :

• start breathing normally then go for producing a tone but keep it there. Don’t go for it entirely, just stay on the threshold between breath and tone.

• Start producing a sound and then go for changing it. The same way, don’t go entirely for the change, stay on the threshold.

• Tone/grimace: in front of a mirror, produce a sound (tone or breath or whatever) and expand the physical consequence of it in a grimace and then expand it to the body. Then change tone, or change grimace or tension in the body and see how the three of them are relating to each other.

• Choose a point in the space. Breath in and scream at it with a specific emotional aim that you’ve chosen before: love scream, rage scream, hate scream, melancholic one, sad one,…

• produce a sound and repeat it; Try to hear it and to produce it the same way again and again. See how your perception of it is changing and how you get used and unused to it.

07/10/2016

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“By two : back to back, together or one at a time, the partners produce sounds and localise them within their bodies”.

We started from this “back to back” score and then we implemented it following our body and the divers discoveries we made. We choose to tune, to produce the same tone, which allowed us tu feel more clearly the vibrations produced by our own voices. The low frequencies were easier to feel because of their location in the chest when the higher pitch, resonating only in the skull can’t really be transmitted from one body to another. Although the higher pitch vibrations are easier to sense if producing through humming…the closed mouth and then your skull itself works as an inner sound box.

The next step of this experience was to come up with a score that could help us to extend in our bodies the vibrations produced by our voices. To do so, we decided that one of us would lay down on its back and produce a tone out loud, and would try to keep this tone unchanged while the other would manipulate its body : lifting up, pushing, pulling, displacing it.

• Sum up of one partner’s experience : subtle changes of the tone according to the manipulation of the body. To push or pull on member changed the tension of the entire body, affecting the position and the tension of the diaphragm, that is then affecting the production of the tone by making it louder, lower or affecting the pitch. Notice that after this subtle change, it is always possible to come back to the original tone (the chosen one) although it is sometimes uncomfortable, a feeling of having to force myself to produce a less natural tone. After a while, it seems that the body and the mind starts to understand the inner process of those slight changes and starts to anticipate the change, by producing a different tone when the body manipulation didn’t happen yet. The movement of pulling the lower part of the body (the legs) spread down the vibrations (almost reaching the pelvis area and modifies the basic tone towards a lower one. I assume it does so because of pulling down and relaxing the diaphragm. The more we are relaxed, the more the vibrations can spread and extend to the entire body.

• Sum up of the other partner’s experience : to manipulate the body produces variations in my feeling of gravity and according to the intensity of those changes of gravity, the initial tone fluctuates. It happened that some tiny manipulations cause a sensation of dizziness and this very sensation also affects the tone itself. It seems that the emotional state of the person also affects the tone that is being produced (when one anticipates the dizziness that is to come or anticipate the touch, or the manipulation to come). When the neck and so the throat are manipulated, the voice casts off and is followed by a strong feeling of dizziness. It seems that this specific area is a physical as emotional knot that can be unfolded through voice mixed with specific manipulation.

surrounded a.pass

16.09.2016

Practices for perceiving a common space
to start with

1. Enter a space, and first listen. –  Tune your focus to the sounds in that space. Tune your focus to the sounds beyond that space. Tune your focus to the sounds of your self . Make a sound – and listen.

2. Close your eyes, visualize in front of your inner eye how you saw the space the last time, or how you imagined it before you kew it. Open your eyes and juxtapose this image onto what you see now. Walk bit around.

3. Walk around, feel the space, touch some surfaces, enjoy them – or not, feel the floor, feel the walls, feel the dimensions, feel the distances, the distances of your body. Feel the things. Feel time passing.

4. Imagine yourself as an object in that space. There are things in relation: the floor is a thing in relation to a thing on the floor. These things are in relation to the walls (that are things). Time is a thing in relation to the things – and of course you as well you are one of those things, in that space of relation. Have a look at them. Have a look at the relations. they are in change.

5. The things are there. No need to own them. You have access. They respond to you as much as you respond to them. What does it mean to make yourself accessible to the ‚things‘ in this space.

6. Close your eyes. Position yourself within these relations. Visualize in front of your inner eye how you saw the space when you entered. Did your perception of the space change?

7. Open your eyes and shake your body.

This space:  a note
This space is available to you. It has been made available using institutional tools. Convincing the tax society to pay the rent (to pay someone who legally is entitled to own that building). Layers of societal, cultural, political and legal contracts formed through history cover the availability and the allowance to do our experiments – to a certain degree. The institutionalization of the procedure to make space free for a specific intent has obvious consequences. It forms our intent as much as we can form it. a.pass tries to take this as much as possible as a dialogue with the institutional demands and tries to stretch and bend them.
Of course this stretching and bending has an impact: we are within a system. We willingly decided to be within.
There is a city around this space. The city, the society, has other demands then the institutions. We are in experimental dialogue with those demands as well – and institution like ours always translate form institutionally governed demands to societal and personal demands. The translation can be used critically, constructively and subversively on all those levels; the institutional, the societal and the very personal. Changing the narratives, as Kate put it.

This space is dedicated for common use, and for the next three month everything in it as well. What does that mean? How and to what degree does this change the narrative? How does it effect and affect us as a group and as individuals, and can we translate this altered narrative to the outside?

My resource is my body in that space, and in relation to the commonality of that space and all, and everyone that is in it. In order to excavate, activate it as a common resource I would like to propose the practice described above. 

(16/09/16) acting like a God, i suddently wanted to change the whole space, but my gradioseness didn’t bring me very far. I only changed the tools-table to another location.  Also after wondering around the space trying to get familiarized with what was there, i took all objects which materiality appealed to me, and i placed them in a collage-like playground. Anouk finished it later with the actions she performed on it.

16.09.2016

applied the respurce on as a tool on that litle realm:

Thanks for providing it! Surrounded by everyones concentration, I set myself free to performe without showing, just play! creating my space, in the space. excavaiting my own resource in a gap of someone else. Think its a gap, wasn’t even aware the surce of the gap. Just enjoyed playing in it and exprloring my resource throug my body.

common thing - 5

16 September 2016: Added set cards from the Declaration tool: 
Playground / Battlefield

Developed a score: Lie down on the self / Push your ear against it / Listen to the sounds above the self with one ear / Listen to the sounds below with the other / Listen to the wood ; the shelf ; the self ; in between

16 September 2016

The self’s trip

a new “no self” is born

common thing - 4

30 september 

Theremin has been declared, or acknowledged as, cyborg, and she was engaged in a conversation.

Lay (under the table)

Take your time to Feel gravity effect from skin to viscera, blood included…

Then you are a territory

Ring the conflict bell 

Listen to the anecdote/story

Browse your body feelings during the anecdote

Recall the story as if it’s set in your body.

Share your embodyment.

project

a tool for changing text in 4 steps with the aid of movement

1) Find a recording of a lecture or a speech you are currently interested in. It can also be written text, in that case you will need a reader for this practice or record yourself reading it. It is advised to begin with one author per track, so a panel discussion for instance is not a good start. Recording should be minimum 15min long.

2) Just before you play the track in the space, or before your reader starts doing so out loud, take 5min and pretend you do not know who you are. Simply play with this thought, time the 5min.

3) Move/improvise to the text as you would to a song. Or not. Try various strategies of moving, but do not stop for the whole time of the track/text reading.

4) Write down or record yourself speaking about your experience, it can be shared with your reader. Try to construct this testimony in much the same manner as you have experienced it – via multiple temporary centers of attention. Form the next text.

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7.10.2016

used as a listening aid within a group of 4 people

different types of texts and voices used
changes the understanding of listening and the body´s role in relation to it

recorded a feedback session afterwards – intended to be used as a text for next session

use of it changes the perception of your own body in relation to the voice that is being listened and moved to

changes the meaning construction

common thing - 24

Hi, look through me. See how it looks like to be seeing yourself doing it.

Use me as a camera to view the commons. See how time slows down and reverses when you take the time to stop doing and start observing.

project

16 September 2016: Added set cards from the Declaration tool: 
Playground / Battlefield

Developed a score: Lie down on the self / Push your ear against it / Listen to the sounds above the self with one ear / Listen to the sounds below with the other / Listen to the wood ; the shelf ; the self ; in between

16 September 2016

The self’s trip

a new “no self” is born

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This has been (mis)used as an apparatus for encountering the common space…used as a player instead of a recorder, due to a misinterpretation of the function of the object itself, it allows one to enter the common space as an individual first. Listening to music – in that specific case medieval french music – with the two earphones on, cutting the individual from the rest of the hearable space.

Then by removing one earphone, that came with the wish to share more, to put more in common by sharing the music with someone else, it moves the integration of the individual a bit further towards the common. By keeping one earphone unused and one used, the process of self-integration in the common space starts to evolve causing little physical encounters – the user of that tool starts to feel the need to interact physically, through touch and smile with it’s surrounding.

The next phase is to remove the two earphone but to keep the device in hand, so to open up even more to the space while keeping feeling safe thanks to the device that reminds the user of its individuality or the specific state he/she was in while listening to the music in the first place. This phase causes a free ride to do whatever in the space, not really knowing how, what or why…the user of the recorder start to just interact with the space itself…as if the moves in the space, the sound the user produces was a continuity of the music he she was listening to.

16 September 2016: Added set card: ‘Religion as a Mood’

16 September 2016: Added set cards from the Declaration tool: 
The Land / – Your land
Free access to land organized by the users commonly / free access to things organized by the users commonly / free access to me organized by the users commonly / free access to us organized by the users commonly
Private space vs. Intimate space vs. Stand alone

common thing - 14

16 September 2016: Added set cards from the Declaration tool: 

Let go of the idea of Ownership / Authorship
*** Gain Authority

16 September 2016: expansion of the terms:  

Look = perceive

Reach = concentrate

Grab = be interested

Take & Look = investigate

Displace = re-search (test/challenge/practice)

Take & Throw = critique

Throw to someone = disengage / enable / communicate

“The world created by thought, the world of words, language, and concepts, is the world of opposites: ‘Up and down’, ‘this or that’, ‘inside and outside’, ‘right and wrong’, ‘black and white’, ‘true and false’, ‘positive and negative’, ‘me and you’ and so on. The world of words, language, thoughts, concepts, is a dualistic world of apparent opposites. But, in reality, do opposites exist? What we are really pointing to when we use the word ‘non-duality’ is something that goes beyond all of these mind-made opposites. But how can we talk about something that goes beyond opposites, when even our attempt to talk about non-duality is dualistic? So, what the word non-duality actually means is really very difficult to describe or put into words. In fact, you could say it’s impossible. For we are not talking about non-duality as opposed to something called duality, we are not talking about pro-duality as opposed to anti-duality. In fact the non-duality we speak of is not the opposite of anything. This is impossible to understand logically or rationally. To see what is being spoken of, we must go beyond our ordinary way of thinking and seeing.

I am a dancer, a performer, a teacher, a researcher and a shiatsu practionner. Since I have encountered the work of Lisa Nelson in 1999, my dance practice shifted from exercising the body to exercising the attention. Now, I see the body as a vehicle for the attention and its dance a reflection of its state of awareness.

15 September 2016

The act of telling personal story can very easily be a political act, but that does not make it a political story.
How can you transform a personal story into a political one? Can it be both, 1+1=3, and, or, not? 

List of encircling keywords: framing, perspective, communication across worlds, across different state of minds, paradigm shifts, reversal, being with, language as the force that constructs reality, …

16 September 2016:
 

16—-09—-2016

23-09-2016

23 -09 -2016

The typewriter revolution

Richard F. H. Polt is a professor of philosophy at Xavier University. He has written about and translated works by Martin Heidegger. Polt is a typewriter enthusiast active on the Typosphere^[1] and former editor of the quarterly ETCetera publication about manual typewriters.

Richard Polt, the author of The Typewriter Revolution, talks about the growing interest in typewriters, what they are doing with them and why: https://www.youtube.com/watch?v=0TcKYEnA-PU

^{intzrview of Richard Polt:} https://www.youtube.com/watch?v=HTe6d23zBjg

I transcribed the beginning of  the audio recording of my  first mentoring session with Femke .

I want to add it to “the breathing archive”.

I usually transcribe audio recordings with my computer.

It took the whole session to transcribe few minutes of the conversation.

There where a lot of obstacle on the way.

I like mistakes and obstacles on the way.

30/09/2016

Type writting performance score:

The typewritter is placed on a  heavy table.

The performer drags the table in the room, consciously making a lot of noise.

She looks for a “good place to start”.

The “good place to start” is an usual place to typewrite.

The performer types standing.

She transcribes a conversation that is recorded on her phone.

She mesures her action with the cicada candle.

She smells the cicada candle burning as she listen to the sound of her action.

Sometimes she stops typing and listen to the room.

When she feels it’s a “good moment”, she resituates the table.

She drags it again to another unusual place, for example, too close to someone. 

She can leave the table to check what other poeple are doing around, grab a coffee or go to the toilet.

She sometimes engages with the practice of others.

She sometimes stays behind the table as a spectator.

As she does not want to destroy the plastic dance floor that she secretely hates,  she places the table on a wool blanket.

She drags the blanket  and pay attention to re situate the table in between the plastic dance floor and the wodden floor.

She wants to make sure that dance can happen anywhere in the space, especially in the margin.

She wants to make sure that her actions can be seen as dance.

She lays on the blanket half under the table and listen to the recording with the eyes closed.

She leaves the blanket and let the audio play alone.

15 september 2016

This resource is Text. This Text was inspired/produced by my love life during the summer of 2016.
It is not all and every piece of text that originated because of love this summer, it’s a first selection.
More might be added during the course of the block, or not. I can be asked for clarification about the Text;
But I’m not obliged to answer. The Text as they are here, can be used in any way you see fit.
There are no digital versions available. Exit strategies for transformed (parts of) Text must be talked through with me.

16 September 2016: Added set cards from the Declaration tool: 
What kind of tradition do we need today? / What kind of ceremony do we need today? / what kind f representation of togetherness do we need today? / What kind of common intimacy do we need today?
Re-thinking the made dominated institution / economy as a masculine practice
Love as institutional practice?
Emotional attachment / belonging, possessing, owning, appropriating, claiming, responding, adding, developing, …

———-16——09——-2016————————————————————————————————————————

16-09-16

<3 <3 <3

16.9.2016

-tried to use beauty product to make something ugly

-realized it is not easy to male

-not easy to make “ugly”

-identified my gap – excess

-started making ugly christmas cards prematurely

16 -09 -2016

a new “self” is born

(varinia, 15/09/16) If my resource is the passage btw the invisible to the visible, it sounds a bit paradoxical to have as a gap the non-understandable. I guess this shows more like a desire: i want to see what i can not understand. I want to be able to see, apprehend and include in my life what i can not understand. Something like that. (I don’t say i manage). 

16. September 2016:

16/09/2016

The mirror’s trip

The mirror is resting on my belly, It goes up and down with breath.

The mirror becomes a marocan tea pot.

It multiplies

I put it on the grass carpet

Then I don’t see anymore

I imagine that it faces the entrance of the studio. No body enters.

someone is drawing a hairy man

no someone is making music

It is a field of hight grass

I become a monkey

there is a wall, hummmmmmmmmmmmm

a very organic wall

i can’t resist i need to touch

it is impossible to leave

it has to be sudden

23-09-2016

meditation on logic and the exhaustion of meaning

the cards create their own logical system following the logic of a dream. intuition builds a system of cards that is neither random nor certain.  in practice logic appeared to be something very fragile. some logical connections depend on millimeters, a little movement of a card could shift a line of relationships and disrupt the just created relational meaning.

(varinia 15/09/16) They say that, as a concern in art, the passage btw the invisible to the visible is sort of absolet. Too many works have been based on this issue. A mentor in the first block told me that the West is obsessed with “unveilling”….yeah maybe there is something liberation-like in this. But i am not interested in liberation, (i should think of another word for liberation), i guess i am after the visual, not necessarily the denunciatory. So think of the visual. How can you make things visual….

Foucault wrote a text on this (don’t recall it exactly) and in dance/theater jargon we use a lot this word when we refer to a structure meant to reveal something else that what is showing. It is like a performative strategy that in a way tells you “what you see is not what is happening” or “what is happening is in the excess of what you see”.