Affective Atmosphere: A Non-Representational Method of Devising Film Performance and Fiction
(2022)
author(s): Pavel Prokopic
published in: Journal for Artistic Research
Affective atmosphere is a new method of directing film performance and producing experimental fiction in the tradition of art cinema, which emerged from a wider practice research project entitled Affective Cinema, funded by the UK Arts and Humanities Research Council. As an approach to filmmaking, affective atmosphere prioritises the becoming of an event over a narrative/production plan, and uses experimental production strategies to maximise the potential of spontaneous directorial decisions and the unpredictable flow of reality for generating alternative narrative/dramatic film structures. The method is rooted in practitioner know-how stimulated by reflection, but also informed by a synthesis of the key concepts of Deleuze and Guattari, and theoretical writings on atmosphere (Böhme, Griffero) and film performance (Benjamin, Del Río). In this way, the project meaningfully applies philosophical concerns to filmmaking, expanding, in the process, on theoretical understanding, while embedding this knowledge tacitly in artistic practice. Furthermore, the research leads to the development of a set of applicable film production methods, unified by a clear rationale and a creative purpose linked to demonstrable outcomes.
Animalium
(2019)
author(s): Lise Hovik
published in: VIS - Nordic Journal for Artistic Research
Animalium is a continuation of the artistic research project Neither Fish nor Fowl which investigates the significance of affect in performing arts for kindergarten kids and consists of theatre-making, film making and writing. Affect has been philosophical, emotional, and material inspiration in the creative process, and in relation to the young children audience. The theatre project developed by Teater Fot is Inspired by posthumanist philosophies, and the project investigates human as animal in musical and sympoietic interplay with young children. We investigate the strange and weird in-between, in transition, in the undefinable; neither fish nor fowl, but perhaps chickenlion, orangerobot, dragonurchin or birdfish? The exposition is a translation from theatre to text, pictures, sound and video, and explores how the translation twists, twirks and turns the theatre into virtuality. By this translation details come close-up and new shapes and colours emerge – the body and space of theatre are transformed and translated into the strange materiality of the screen, and the work will expand in time.
Practices for the future / an Artogrphic approach
(last edited: 2024)
author(s): Sebastian Ruiz Bartilson
This exposition is in progress and its share status is: visible to all.
Task submission for course Dokumentation, reflektion och kritisk granskning / Documentation, Reflection and Critical Review
Application of Artographic methods towards own and/ or others dance practice.
Project "Practices for the future"
Ornamentation based upon More-Than-Human-References: Moving Towards an Ecology of Trust
(last edited: 2022)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
This performance-presentation exhibits ornamenting processes of I/ voice /force and becomings between sounding notes/structures/forms. In short: articulating mattering-processes through force and form. Following a transforming web of acts and encounters, desire and urge - becomings of I/voice - are continuously meeting that-which-isn’t-yet-known. The form (or stage) presented, is a landscape and a twisted borderland made up of nomadic theory (Braidotti 2011) and artistic operatic madness (Belgrano 2014). The force is a chorus of intra-active voices mourning the loss of a city, loss of life and loss of trust. Departing from a nomadology illustrated conceptually, politically and contextually by Braidotti, the I/voice/force move through structures of sound, characters, emotions and statements chanted out of fear and pain. Each vocal sound marks a conclusion and a beginning. Limiting. According to Lacan, limits - being wounds or scars, or marks ”of irreplaceble losses as well as liberal thoughts.” According to Deleuze, limits - ”points of passages, thresholds, and markers of sustainability” (Braidotti 2011). Limits = Conclusions and Beginnings. What comes in between all limits are transformations, as in complex ecosystems of indeterminable encounters. Everyone being part of such an encounter is being touched by the presence of its in/non/human neighbours. Together they form a world of more-than-human-references. An irrational structure in it’s own becoming. The purpose of this paper is to show how each vocally fragmented ’conclusion-transformation-beginning’ of a microscopic moment, generates patterns being part of much larger global patterns. Along the way every act and every turn of I/voice/force will, by means of emergent properties, be diffracted and giving birth to multiple voices. One voice will become I-being-more-than-one-voice, trusting in its own ways, colours, shapes, forms, and non-sensical appearances. As a result, this paper calls for further investigation of transformative processes with/out limits, and thus moving towards an Ecology of Trust.
Between control and uncertainty
(last edited: 2020)
author(s): Marta Wörner Sarabia
This exposition is in progress and its share status is: visible to all.
"Between control and uncertainty" is a practice-led research that combines the kinetic study of the body as a structure and the implementation of media and expanded choreography tools to de-pattern the conventional relationship between body and space in performative environments.
Moreover, on a meta-level, the investigation reflects on the tension between control and uncertainty in the act of research itself.
With the firm belief that the body has inherent philosophical and epistemological knowledge which can be activated by experiencing and observing movement, I embraced the challenge to name and contextualize that knowledge.
This inquiry started from my fascination for the kinetics of the body and its ability to reorganize itself in comparison with other micro and macro structures that do not move that way, such a, for example, the microstructures of materials like metal, rocks or the macrostructures built by the geography of the city and the Port of Rotterdam.
The interdisciplinary research addresses the dichotomy structure-destructure and its application and affections to the body. In this sense, the research proposes a tool for de-patterning the habitual relationship between the body of the performer and the external space and offers to the audience a door for de-patterning their relationship with performative spaces.
The research has been framed under the inspirational umbrella of the idea of performing the Deleuzian concept of “becoming”, (deriving from the Latin verb “devenire” which means “coming down, falling in, arriving to”).
The physical inquiry is focused on the action of “falling in”, "devenire". The exploration led to an articulated and defined set of physical and interdisciplinary exercises that are the core of the dance practice ‘falling in’.
In concordance with the practice, the findings of this research can be seen as ways of controlling and ways of facilitating, allowing, provoking uncertainty within the choreographic practice-led research frame.
This research artistically materialized in the performance Falling in. Notes on body space and matter premiered in 2019.
Task submission for course Dokumentation, reflektion och kritisk granskning / Documentation, Reflection and Critical Review Application of Artographic methods towards own and/ or others dance practice. Project "Practices for the future"open exposition comments (0)