[-empyre-] 'deceleration' and dark matters

Tue Nov 1 10:04:39 EST 2011

Dear Dee,
The video I sent around was a link to my Tribute to Ohno Kazuo. Somehow Elisita discovered my Land to Water video. Here are the links for both, to make it simple.

Tribute to Ohno with collage of dance in the environment: http://youtu.be/Osq8ZUfGSLE

Land to Water Yoga, first approximation, a study of flow and learning through curiosity: http://youtu.be/0r-7ErJe_18

I feel a little hesitant to send these through, because they are so full of ME. Well I'm not performing the Land to Water Yoga - so that's good. You see one of my students in Mexico in the video. I know the words we all post are also full of who we are and what we think, but there is something so telling and personal about images. You can't escape being revealed. Words reveal too, but they can also hide I think. Martha Graham said "movement never lies." To some extent I believe her.

Best, Sondra
On Oct 31, 2011, at 1:22 PM, dee reynolds wrote:

> Dear all
> I confess that ironically, this list is going somewhat too fast for me as I go about multitasking, which at the moment includes many hospital visits for myself and members of my family - including this afternoon where I had a very unpleasant experience of 'deceleration' while positioned very uncomfortably inside an MRI  scannner for 20 minutes of clock time which felt like an eternity . . .
> anyway I was thinking that was the last day and hence rushing to respond to some posts from  earlier before it was too late (deceleration bites the dust!) , but now hear from Johannes we have till tomorrow evening . .. 
> I'd like to pick up on Elisita's earlier point about combining the political and the aesthetic/meditational sense in a sensible 'movement towards life' - I think it is worthwhile reflecting more here on the possibility of  a 'politics of effort' , which also relates to the pre-effort, pre-acceleration or 'pre-movement' as discussed by Hubert Godard, which is not under the control of the conscious subject and combines the cultural as well as the individual. If we think of (pre) movement as a corporeal textuality, a weaving of energies where the cultural and pre-conscious are inseparably intertwined, then interventions in this economy are going to have repercussions which 'affect' both the individual and culture, which to my mind is the most far-reaching form of political intervention, and does affect the 'balance' of power.
> I would like to expand on this now but my son and the next task call - this time swimming in an open-air pool, a welcome antidote to the enclosed space of the scanner . . .(not yet had an opportunity to look at the Land to Water video but look forward to it, Sondra)
> best
> Dee
> 
> On Mon, Oct 31, 2011 at 6:11 PM, Johannes Birringer <Johannes.Birringer at brunel.ac.uk> wrote:
> 
> 
> thanks Anne-Sarah for sharing your work –  "Outre-ronde - Beyond-Round. (Lentir, sentir, sondre)"   –  with us, and some of the links where we can see the configurations for your interactional design...
> 
> was it just now shown at ZKM in Karlsruhe?    i like the overall "theme" of the exhibition,  "Au creux de l'obscur - Into the Hollow of Darkness",
> but I maybe i am saying so as I read Akram's post and David's reply on the matter of matter (and dark energy);
> 
> it might also be interesting to look at "Outre-ronde" and then ponder again Gordana's many insightful posts and also Claudia's on interaction rituals and how observation or action vibrates in such mediation events..... alongside the (not fully described and thus blurred) re-search Branden is engaged with,  on "Cockpit, Test, Vertigo –– a study of the airplane cockpit as a prototypical space of interactivity"....
> 
> and incidentally, Anne-Sarah, your image & text reference to "Outre-ronde"  (http://aslemeur.free.fr/projets/images/lemeur_zkm_verso_eng_web.jpg) is fascinating, can you repost that text here? and how did you react to Jaime's concepts of "de-visualization," - when you say your work explores the resistance of the image to be seen?
> 
> as to Akram's posts on the accelerations (and galaxies), they make my mind reel outre-rond,
> and underneath the strange equations I remember you drawing on my napkin the other week, Akram,
> now via David the less well hearing Chinese Whisperer*  [what is this?, like horse whisperer? ], i sense many infuriating and exhilarating paradoxes.
> Already they are being attracted.
> 
> –--  let us go one more day and one more night –
> 
> 
> * broken telephone?
> thanks Branden for noticing my small reference to the death of Kittler, I did not know him nor read many of the theories, but the "Gramophone Film Typewriter" (1999) is truly wonderful.
> 
> Somehow i am so amazed at Akram's writing about SOUND and the beginnings of the universe, hearing matters, that i am confusing the telephone with the gramophone.
> 
> 
> ** oh, i checked on Chinese whisperer, in the wikipedia:
> 
> >The name "Chinese whispers" reflects the former stereotype in Europe of the Chinese language as being incomprehensible. It is little-used in the United States and may be considered offensive. However, it remains the common British English name for the game.>
> 
> there goes..
> 
> peace
> Johannes
> 
> 
> >>Anne-Sarah schreibt>>
> 
> Thank you very much for these discussion theme, so interesting to question with technologies ! Some of you may be interested in my interactive work Beyond-Ronde (Outre-ronde in french)
> http://aslemeur.free.fr/projets/images/lemeur_zkm_verso_eng_web.jpg
> 
> I would like to testify of the surprise I got watching people interacting with my early work-in-progress.
> How can we have someone slow down through an interactive art work ?
> 
> In my work, the screen is cylindrical so that the image can move around the viewer. It appears, disappears and moves according to his/her behaviour and gaze direction (sensor on the head). My purpose is (mainly) to lead the vewer to a contemplative state while querying his/her desire of controling the image that is escaping his/her gaze, as long as they are moving 'too' fast.
> I discovered that as long as the image is moving fast to avoid the viewer\'s gaze, the viewer is moving fast too. They can\'t stop moving and looking for watching. The viewer is really reacting/imitating/following the image position. Even if they see it is aimless (they hardly see the image).
> 
> I had to have several progressive phases. One where the image disappears without moving, one where the image appears and moves faster that the viewer, till he can\'t turn anymore. One featuring a slow tango between the image and the viewer. The last one, the contemplation one, without movement (but variations in the image).
> 
> I would be happy to get any comments or links to other similar works,
> 
> Anne-Sarah
> http://aslemeur.free.fr/projets/outre_r_eng.htm
> http://aslemeur.free.fr/projets/outre_r_video.htm
> 
> 
> 
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> 
> 
> -- 
> 
> 
> Dee Reynolds 
> 
> Dee.Reynolds at manchester.ac.uk
> http://www.watchingdance.org/
> http://watchingdance.ning.com/
> 
> School of Languages, Linguistics and Cultures 
> University of Manchester 
> M13 9PL 
> UK
> tel: +44(0)161 275 3212 
> 
> 
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