Exposition

Let me be your middle (what is the middle writing?) (last edited: 2019)

Outi Condit

About this exposition

In the context of this course (speculative commentary) and in the context of my research (Networked Actor Theory, a title which was gifted to me by my friend, colleague and collaborator Vincent Roumagnac, playfully evoking Actor-Network Theory, thus drawing connections between my multiagential and technoentangled research and the material-semiotic toolkit developed by Michael Callon, Bruno Latour, and John Law among others; this gift itself serving as an example of how voices, agencies, matters, and turns twist together, in my research, maybe in everyone's research, but as an actor I'm particularly interested how one becomes with and through another, an other, machinic, fleshly, and/or precariously human) I have been thinking about writing. What, how, where, when is writing in artistic research? How can I write? In Figures of Touch (2018) Harri Laakso writes that the task of artistic research is to "keep grasping towards what cannot be grasped, to encounter the unknown as unknown, where the unknown will not be revealed, but indicated." My experience over the past four years has been trying to find ways to frame assemble perform provoke something of the elusive experience of being, in the words of Lisa Blackman, "more than one, less than many", inhabited and moulded by relations, matters, (secret) agents, machines and ghosts, yet still managing to find some space to wriggle. As an artist researcher I feel I am inhabiting and inhabited by the middles of art and performance making, and epistemological practices, not as binary oppositions, but as fields of historically situated and contingent tensions. What is legible as writing is changing. This mini-exposition consists of entangled writing experiments made through the Remote Control Human machine, developed in the context of my research as a speculative re-assemblage of elements, bodies and politics belonging to the dispositifs of theatre. Here I enquire how does this artistic (researcherly) arrangement produce writing, how can the artistic strategy both write and be considered as writing, and how does the entanglement of voices, agencies and identities that I associate with the works made through Remote Control Human translate into multimedial, expositional writing. The writing experiments were arranged in the following way: I asked artist researchers who are either already entangled with my research or whose interests or approaches somehow intersect with mine to collaborate. For each I wrote a "script" or a "seed", maximum one page long, attempting to write towards them, placing myself in the intersection of my approach and theirs, but also projecting towards the future, imagining myself in the apparatus with them. I sent the scripts about a day before each session, and invited them to edit and rewrite freely, as they liked. Then I asked them to perform their version of the script in front of the camera, through the Remote Control Human machine, with myself as their remote control avatar. I also asked them to decide on the location and frame the image, in effect, to split their artistry into two: to both inhabit and perform through my body, and to control what the camera sees as well. In practice the arrangement was realised through a telephone connection in between the "driver" and the "avatar", in this case myself, and simple game mechanic consisting of signals via a dog clicker: one click for speech and two for action. In addition the "driver" could see through two screened streams from two action cameras, one on the body of the "avatar" (P.O.V.-cam), and another behind the filming camera, so that the "driver" could see both the frame of the camera and the "avatar" behind it (panopti-cam). Remote Control Human plays with questions of agency and mediation; human and technological agencies and processes of human and technological translations glitch, gap, and collide in the assemblage. The voice is displaced and the actorly body becomes a stage, not an empty stage, although sometimes, momentarily, void of meaning, presence, and sense. If its possible to consider that this apparatus produces writing, where and when is the writing and who is writing? Is this collaborative writing, machinic writing, even kin to automatic writing? For this exposition I collaborated with Vincent Roumagnac (Uniarts Helsinki), Simo Kellokumpu (Uniarts Helsinki), Mika Elo (Uniarts Helsinki and Stacey Sacks (Uniarts Stockholm). The exposition is in progress.
typeresearch exposition
date26/03/2019
last modified11/09/2019
statusprogress
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/595744/595745/651/195


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id name copyright license
595752 Commentary try out Vincent Outi Condit All rights reserved
596138 Screen Shot 2019-03-27 at 14.01.18 Outi All rights reserved
596150 Simo writing try out compressed Outi Condit All rights reserved
596161 Mika commentary try out compressed Outi All rights reserved
596181 Mika gif tryout Outi Condit All rights reserved
596198 Mika fast gif 1 Outi Condit All rights reserved
596218 play/pause Outi Condit All rights reserved
596221 Screen Shot 2019-03-27 at 16.57.43 Outi All rights reserved
596222 Play Outi Condiy All rights reserved
596223 Play Outi Condit All rights reserved
596224 Pause Outi Condit All rights reserved
596225 Pause Outi Condit All rights reserved
596226 Play Outi Condit All rights reserved
597977 Stacey RCH writing1 Outi Condit All rights reserved
597981 Stacey RCH writing1 Outi Condit All rights reserved
597988 Stacey RCH writing1 Outi Condit All rights reserved
597989 Stacey Outi Condit All rights reserved
598013 PLAY SIMO & VINCENT Outi Condit All rights reserved
598014 PAUSE SIMO & VINCENT Outi Condit All rights reserved
598019 PLAY SIMO & VINCENT Outi Condit All rights reserved
598020 PAUSE SIMO & VINCENT Outi Condit All rights reserved
598024 PLAY Outi Condit All rights reserved
598025 PAUSE Outi Condit All rights reserved
598028 PLAY Outi Condit All rights reserved
598029 PAUSE Outi Condit All rights reserved
598056 Outi Condit Outi Condit All rights reserved
598059 Outi Condit Outi Condit All rights reserved
598068 Mika short Outi Condit All rights reserved

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