The notion of "recognition" in BSIDES project foregrounds the concept of "emergence" which is directly linked to the concept of "movement".
Moving/dancing feels like a state of bodily suspension where potential lines of time-space-energy configurations are newly proposed: emerging. (This happens when dance does not dance the representation of the body, but when dance dances the very activity of dancing. If dance self recurs to its own kinetic activity, potentializing it, staying abstract).
A body "recognition" of a taking form process has many layers.
The body recognizes when with the perception of a "thing" or a "space, it becomes a sensing vessel retaining a map of the perception even if the connection with the thing or space has ended. The sensing traces continue in the body, as an immediate memory, minus the thing or space that awoke the sensing. In this way the encounter between the body and some-thing and/or some-space else becomes a living recognizable trace.
The body recognizes some-thing/space as well, when it places its sensing experience in a representative context, when the body becomes a conscious carrier of an image representing it towards a perceiver.
This relation between "emergent" and "recognizable" processes has been used as inspiration to construct the dramaturgy of BSIDES project.
This is why we constructed a first part of the performance, where we stay closer to a moment of bodily emergence. Understanding as bodies the body of the performer, the body of music and the body of light. Keeping these bodies in an alive emerging process, connecting a-symmetrically, in an eventful manner (for an example of this type of relation between emergence and recognition see the video of Rob List in Of the Refrain and Emergence chapters).
The second part of BSIDES follows the logic of "recognition". Reproducing the multi layered process of bifurcation in which a process of emergence could be recognized, we constructed two different performances of the second part.
The moment of emergence is there but less palpable. Connection between the bodies of performer, music and light had been brought closer together in order to capture meaning. It is following this logic that performers were asked to interpret each word and sentence of the lyrics of the songs, and to represent them. Yet the play of representations coming in and out of the song, interweaving different types of relations between "word and gesture" and between "body to body" of the performers, created a margin of maneuverability for unexpectedenss to happen.
Here there are short excerpts of the two different groups performing the second part of the piece.
The performers of the first group are: Antonio Onio and Michele Rizzo.
The performers of the second group are: John Sinclair, Iris de Hertogh, Victor Amero and Noriko Nishidale.