CIRCLES OF PEOPLE

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 \\\\\ \\ \\\      \\          Conferences and manifestations     \\       \      \\\\               \            \\\  \\             \                          \     \\                            \           \\\     \                       \\\    \ \ \\  \\\                                    \\\            \ \        \                       \\\\\\\\\\\\\\\\\ \ \             \                      \\                                                      \\ \            \\\\   \\       \\\\ \\\\ \\\\\\\              \\                             \             \\\                 \\\\\    \ \\            \\\                \\ \\                     \\\\  \                           \\\\                    \\\      \ \ \  \ \  \\\                                          \ \ \                    \                                        \\\\\    \\           \\ \               \\  \ \                            \\\                  \\\       \ \\\\\\\\\\\\           \\             \                                     \  \\        \\\\                        \\\                           \\\\\\\\\\\\\\\\\\\\\ \\ \ \\\\\\\\\\\\                                 \\        \       \.             \\\          \ \           \\\\             \\  \.             \\\\.       \\.              \             \\        \\\              \\\           \\\\ \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ \\\\    \\\\.     \\\\ \\\                     \\              \\\\\\                     \\.                     \\\. \                   \\\\\\\\\\\\\\\\\            \\      \ \.                  \\\                                           \\                \\\\\\\\\\\\\\\\\              \\            \\              \\               \\                      \\               \\\\\\\\\\           \\\               \\\           \\\\\\\\\\\\

Six Formats, due to its matrix of practices, formats, people, contexts, and knowledge, is using a combination of forms and formats to make accessible and visible the research conducted for three years.

Six Formats presents itself through 3 intertwined elements that combine and support each others.


The present webpage on Research Catalogue aims to give a condensed overview of the research project and invite the visitors to navigate between the main elements (re)presented:

- a timeline of the order in which the formats were conceptually approached,

- short presentations of the six different formats (green boxes),

- the methodology followed and developed by Six Formats (circles, processes, values).


In addition, an object of communication and a series of articles work toward different strategies of inviting the visitors (larger circle of people) to the articulations, questionings, and reflections developed within the art-based research project. These two elements involve/connect knowledge from inside and outside of the project as well as contributions from the artists/researchers who participated in one, several of the formats, or to the overall project.

6F does not aim to control the circulation of knowledge. 6F works with activation and facilitation of circulation in the sense of appropriation, re-appropriation, recycling of the knowledge previously co-articulated - as for Cogne, knowledge is anyway specific to the particularities of the context where it is (dis-)placed or performed.


Cogne believes that the only format in which the research project and its content can be really manipulated (digested, before being recycled)

is a few-days workshop - a situation involving a limited amount of participants (between 3 and 7) and the different tools, materials, and knowledge materialised in the object of communication.


If you are interested in a Six Formats workshop, please contact Ingrid Cogne.

 

 

 

Six Formats at the Arts-based Research Day #2

Academy of Fine Arts Vienna, 23.05.2017

 

Title: Six Formats - Communication in Progress / in Process |

With: Ingrid Cogne, Julia Hölzl, Tobias Pilz

 

Six Formats approaches the 2nd Arts-based Research Day as an opportunity to explore a situation of meeting with a particular audience, as well as a context where “presentation” could be considered as an additional format to the project.

Cogne, Hölzl, and Pilz propose a “situation” in which practical knowledge can unfold and circulate.

It is 1) a flexible format of communication, 2) an invitation to a process of (re)articulating knowledge through “doing”, 3) a manifestation that does not aim to “cover” and (re)present Six Formats in its entirety, and 4) a moment of suspension that does not stop the movement created by the project.

Due to the particular intention of the setting proposed, please note that:

1. The situation does not have a moderator,

2. Everybody present in the room is part of the situation,

3. Questions are welcome any time (afterwards it is too late!)

 

The three circles correspond to the levels of involvement of people in Six Formats. There are three levels of interaction: the main team of the research project,  extended teams involving co-researchers for each format, plus a wider public/audience including peers and visitors. The circles illustrate the multi-layered aspects of communication that Six Formats deals with: from internal to the project, to internal to the institution(s), moving outwards a larger team or number of people involved. The circles are subject to formal and informal levels of structuring in which forms of verticality and horizontality come into play. The wider circle revolves around each of the partner institutions that engage their particular audiences in/to the proposals coming out of the processes of the extended circles.

 

The lists of the co-researchers for each format can be found on the timeline.

 

PRESENTATION, COMMUNICATION, CIRCULATION

Values


For Six Formats, “values” are a series of position(ing)s that accompany the vision of its research. Six Formats is subject to formal and informal levels of structuring, in which forms of verticality and horizontality come into play. A process of perpetual attention, reflection and adjustment is required in order to notice the (un/wanted) structures appearing and to articulate them to a degree where they become negotiable.The “values” relate to the economies of participants but also work attitudes and modes of address. They invite to think “how” to enable or foreclose “being”, “meeting”, and “co-working” in the different formats, constellations of people and processes in/for Six Formats.

They are:

“thinking and doing bigger than oneself”

“engagement and responsibility”

“win-win”

“reciprocal activation and facilitation”

“reading, listening, position-re-positioning”

“perpetual (re)negotiation and transformation”

circles of people

post-

pre-

process

Six Formats hosted by the Theatre Studies Research Centre,

Faculty of Humanities of the University of Lisbon (Portugal), 02.10.2017


Title: Meeting an audience – Practical (dramaturgical?) knowledge at play

With: Paula Caspao, Ingrid Cogne, Julia Hölzl, Tobias Pilz


More than considering a format as a “tool” for the communication of a particular content in the field of artistic research, it seems crucial to look at a format’s particularities – the kinds of associations and circulations it may generate, allow or disavow – within the very moment of meeting with an audience (which differs depending on the institutional partners, from peers to visitors).

What is the practical knowledge that comes into play?

How to approach the dramaturgical aspect of that knowledge?


After a research period on the format Lecture-performance in Montreal, in January 2017, in Lisbon Six Formats set out to what is called a “post process” in the frame of the project – a working period to revisit and reactivate its main issues, fragilities, and further possibilities.

For five days, Paula Caspão, Ingrid Cogne, Julia Hölzl, and Tobias Pilz gathered to:

- question the relations: format as tool vs. format as meeting vs. format as event;

- outline the writing of an article, understood as displacement and/or circulation between doing and writing;

- challenge/exhaust situations of communication.


publication

The invitation sent to the co-researchers of Format Exhibition proposed two elements that remained central throughout the processes:

1/ using the notion of "time" as a filter—while “time” was not the theme of this format, everything was discussed or proposed with a temporal perspective in mind,

2/ taking into consideration the context of Kunsthalle Exnergasse (KEX) that was approached as a partner out of an interest in its specific history as a non-commercial, project and theme-oriented Kunsthalle in Vienna.

       

Format Exhibition was the only format initially planned to have two processes.

 

During the first phase of the pre-process (April-September 2015), Ingrid Cogne, Elske Rosenfeld, and Klaus Schafler (artist and member of KEX's team) concretized the organizational aspects, composed the Exhibition Working Group (EWG), and decided to pay particular attention to the philosophy of KEX. Its status in the structure of WUK, the history of the building, the history of the exhibition space, as well as its past and upcoming exhibitions were central information to the research.


The "exhibition" in process (/the questioning of this format) became a facilitator, the exhibition space became a body, and issues of acoustics and sound turned out to be a recurring theme. In some of the participants’ experience and for KEX's team, the noise coming from the club below and the echo in the room made it difficult to follow talks held in the space. Working with the acoustics allowed the EWG to concretize various interests and brought about a beneficial intervention for KEX.


How to transform a space without transforming its appearance? To develop this vision, the group collaborated with sound expert Peter Böhm.

 

exhibition

Facilitation


Facilitating is an opening. Facilitating is creating and giving space.

Facilitating is not fixing. Facilitating is not taking care of.

Facilitating is an attitude. Facilitating is a tool to be defined again and again.

 

Six Formats works toward a positive context of/for working.

The facilitating dedicated to each format (to implement the presence of the research project in the partner institutions and to set-up the initial situation of working for the pre-process - and often also process) does not want to become leading.

 

Cogne uses “facilitating” and “situation as facilitator” as dramaturgical tools.

They imply strategies and tactics being/thinking bigger than “production”. They build on practical knowledges

(in movement) that call for choreographical and dramaturgical abilities and experiences. “Facilitating” and “situation as facilitator” build and build on three type of spaces:

physical, social, and conceptual.

The methodology of Six Formats proposes particular practices that enable circles of ‘meeting’:

- From thinking institutional and contextual set-ups of meeting

- to creating spatial and temporal framings and forms of sociability

- to supporting spaces wherein strands of research can expand, carry, friction each other.

 

Each relation created (between 6F and an institution, between the co-researchers, and in between all its various components) is in/of perpetual re-negotiation and transformation.  

Facilitating calls for practices and attitudes. Filtering, reading, listening, positioning are constantly confronted to RE- in the art-based research project Six Formats.

symposium

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The pre-process (second phase) with the entire working group began in October.. During a series of online meetings, the six co-researchers began to position themselves regarding the opportunity (/challenge) of approaching an exhibition from its form/at (vs. from a content) going further than exhibiting a process (DIY aesthetic, or the public presentation of a working situation), while keeping in mind the filter “time”.

 

Process 1 (January 2016)

Having the filter “time”  in mind, the working group practice and working schedule was built on suggestions, determinations, and intuitions of the six participants concerning exercises, tasks, activities, and excursions. The group went through phases of dispersion and concentration, gathering information and processing or discarding it. At the same time, they approached the following questions:

What happens when Exhibition is chosen as a format of communication of an art-based research to present an articulation (and/or process, practice, product)?

Does one think of the spatial components of exhibition as being the/a medium? Can one instead exhibit the space itself? Should the group’s thinking be illustrated through a selection of works? Should the thinking take place through the works themselves? What are the spatial needs of “an” exhibition?


In-between process (February-May 2016)

Measurements were done to determine where and in what way the acoustics of the room could be improved with a limited budget. Two of Böhm’s suggestions for interventions were selected and implemented in the space at the end of June 2016.


In parallel, Cogne and Pilz conceptualized and implemented the A5 booklet —customarily distributed at all shows produced at KEX—as a tool that would support the proposition made during process 1.

Format

 

For Six Formats, the notion “format” qualify spaces (settings/containers), moments (events/encounter), tools (codes/means) that are commonly created/used to publicize (validate/disseminate) art-based related knowledge.

 

Publication, Exhibition, Symposium, Lecture-performance, Screening, and Workshop are notions that activate representations, perceptions, understandings, behaviours, and expectations. These formats come from/are developed/can be found in various fields of activities - others than Art. Depending on the background of the people encountering them and on the context in which they are encountered, these notions “perform” as format and/or as tool. Six Formats treats and questions each of them as context, method, object, as well as and above all as knowledge.

 

lecture-performance

Cogne at the Conference> Modelling Public Space(s) in Culture,

Lokomotiva - Centre for New Initiative in Arts and Culture, Skopje (Macedonia), 13.10.2017


Title: Artistic formats and institutions: (re)articulation, (re)presentation, and (dis)placement

By: Ingrid Cogne


Depending on the role one has (artist, choreographer, curator, researcher, dramaturge); Depending on whether or not it is a co- (which form of co-? how many are involved, etc.); Depending on the intention(s) of the proposal one has (its layer(s) of complexity, its relationships to others – audience, peers, passers-by, etc.)… > A specific relationship/contract/way of working needs to be created.

 

In other words, the focus is not on artistic formats that need to be instituted by institutions, but on communication and ways of co-operating between the ones who are linking artistic formats and institutions.


Time


Six Formats challenges “the order of appearance different formats

usually have in the context of a research project.

Six Formats thinks “the other way around”.

 

Six Formats builds on six selected formats commonly used in relation to the presentation, communication, and circulation of knowledge in art-based research: publication, lecture-performance, exhibition, symposium, screening, and workshop.

Six Formats treats formats as knowledge.

Six Formats facilitates series of co-processes, ongoing self-reflections and re-articulations aiming for reciprocal attentiveness to the respective needs of the project, its partners, and co-researchers.

Six Formats, which runs from 2015 to 2018, is funded by the Austrian Science Fund (FWF, PEEK, AR291-G21) and hosted by the Academy of Fine Arts Vienna.

screening

The booklet became the space where questions of visibility, perception and imagination, or "placebo" that had been central to the group’s thinking about, what was after all still called, an "exhibition" or a "show". Describing in the booklet exactly what had been done would destroy the efforts of subtlety. Flirting with the borders of the perceivable, the booklet invited visitors to the search for an expected effect.

 

Process 2 (June 2016)

In addition to the two hidden acoustic interventions described, the working group decided upon a series of (more or less) subtle manifestations based on placebo, duration, and visibility.  A detailed description of the manifestations and the ways in which they were implemented can be found in the annual catalogue Kunsthalle Exnergasse 2016 (ISBN 978-3-902946-14-0). It is during process 2 that the working group initiated the writing of the text dedicated to Schallwirkungen auf Mensch und Tier.

 

Post-process (July-December 2016)

Cogne developed the material gathered during the processes, set up additional meetings with Böhm, Fedorenko, Pilz, and Schafler in order to conceptualize an articulated—both visually and content-related—proposal for the KEX annual catalogue.

A text revealing the group process and describing the acoustic interventions, along with the series of manifestations based on placebo, duration, and visibility, was published in KEX’s annual catalogue 2016. The article suggests ways in which presentations or talks at KEX could be optimized; it is built on the relation acoustic perceptions, hearing, and placebo effects.


An additional web page dedicated to this format will soon be available on Research Catalogue.

workshop

CO-

EXHIBITION

Six Formats at the The Swedish Research Council's annual symposium on artistic research 2017, Stockholm University of the Arts, 28-29.11.2017

Title: “Format is knowledge”

By: Ingrid Cogne

 

HOW to facilitate the dialogue between Six Formats and the Swedish Research council’s annual symposium on artistic research 2017, knowing that:

- The art-based research project Six Formats analyses specific formats commonly used to communicate art-based related knowledge in the present day – insisting on the relation format-content,

- Symposium is one of the formats that Six Formats is working on,

- The theme of the symposium is: Meeting around the research practice - Presentation formats in artistic research.

 

Based on Cogne’s statements that “Format is knowledge” and “Six Formats methodology is not a recipe”, what is proposed here is 1) a process of (re)articulating knowledge through “doing” and “meeting”, 2) a manifestation that does not aim to “cover” and (re)present Six Formats in its entirety, and 3) a moment of suspension that does not stop the movement created by the project.

As research is, for Cogne, analyzing the doing while being in the doing, the symposium is approached as an opportunity to re-explore (through the doing) this format as well as the ways in which (<HOW>) practical knowledge can unfold, meet, and circulate.

Based on her previous work, Cogne proposes a “diptych” of two situations: “one-on-one conversation” and “table talk”.  The intentions are 1) to challenge the format and context of the symposium, 2) to facilitate both in-depth discussions and informality, and 3) to resist the performative aspect of standardized presentations.

 

Day one: one-on-one conversation

Five 15 min. conversations, 1 person at a time (upon registration), no audience

Day two: table talk

One 40 min. meeting, 4 participants (upon registration), no audience


elasticity, tension, suspension


                                                                                                                                          
                                                                
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moments of


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Format PUBLICATIONOctober 2015

Title: Publication in/and transformation

Initiators/Facilitators: Ingrid Cogne and Elske Rosenfeld

Partner Institution and Filter

Scriptings (Berlin, Germany) / Achim Lengerer

Co-researchers working week:

Ingrid Cogne, Aron Kullander-Östling, Achim Lengerer,

Patricia Reed, Elske Rosenfeld, Tomás Ruiz-Rivas.

The invitation sent by Elske Rosenfeld to the co-researchers proposed to use this format as a platform to rethink the main keywords/filters of Six Formats - ‘situation’, ‘presence’, and ‘performativity’ (issued from Cogne’s PhD thesis) - taking as starting points keywords such as : Periphery (location, and in relation to discursive centers); Intuition (way of learning and doing that does not yet know where it is going while producing its own formal or affective logic); Urgency and distance (relation of one’s artistic practice to the concrete political projects it relates to or the ones that one also engages in).

 

Pre-process (February- April 2016)

The working interrogated together via online exchange how symposium can be reconsidered and reworked together as a format of disseminating and sharing forms of knowledge, including and especially artistic knowledge. A particular time was dedicated to the presentation and discussion of  the co-researchers’ practices in relation to “a politics of form” (both form- and content-wise) in order to challenge the conventions of the format symposium.

 

Symposium in the original sense of the concept is something that is both about entertainment and the exchange of knowledge. A situation, where physical enjoyment, playfulness, excess and the production/use of knowledge are not contradictory.

Format SCREENING II: March 2018

Facilitator: Ingrid Cogne

Host institution: Academy of fine Arts Vienna (Austria)

Co-researchers: Ingrid Cogne, Rafal Morusiewicz,  Rebecca Arthur

Format WORKSHOP: February 2018

Facilitator: Ingrid Cogne

Partner Institution: Academy of fine Arts Vienna (Austria)

Format SCREENING I: October 2017

Facilitator: Ingrid Cogne

Concept development: Ingrid Cogne, Rafal Morusiewicz and Rebecca Arthur

Partner Institution and Filters: Monokino (Oostende, Belgium) / Rebecca Arthur and Anouk De Clercq

Host institution: Workspacebrussels (Belgium)

Co-researchers working week: Ingrid Cogne, Rafal Morusiewicz, Rebecca Arthur

Format EXHIBITION

Processes: January 2016 and June 2016

Facilitator: Ingrid Cogne
Concept development: Ingrid Cogne, Elske Rosenfeld and Klaus Schafler

Partner Institution and Filter:

Kunsthalle Exnergasse (Vienna, Austria) / Klaus Schafler

Co-researchers of the two working weeks :

Ingrid Cogne, Jonatan Habib Engqvist, Corina Oprea,

Elske Rosenfeld, Tobias Pilz, Klaus Schafler.

Exhibition “Schallwirkungen auf Mensch und Tier”:

on display at the Kunsthalle from July 6th to July 21st 2016.

Commissioned: Peter Böhm

Format LECTURE-PERFORMANCE: January 2017

Facilitator: Ingrid Cogne

Concept development: Ingrid Cogne, k.g. Guttman and Paula Caspao

Partner Institution and Filter: Artexte (Montreal, Canada) / k.g. Guttman

Co-researchers of the working week: Paula Caspao,Ingrid Cogne, k.g. Guttman, Tobias Pilz,

Noémie Solomon and the contribution of Felicitas Thun-Hohenstein.

Post-process 1 (October 2017): Meeting an audience – Practical (dramaturgical?) knowledge at play, with Paula Caspao,

Ingrid Cogne, Julia Hölzl and Tobias Pilz, R.E.A.L. and Theatre Studies Research Centre, Faculty of Humanities of

the University of Lisbon (Portugal).

Post-process 2 (January 2018): Paula Caspao and Ingrid Cogne, Polo Cultural Gaivotas (Lisbon, Portugal)

Process (April 2016)

In April 2016, the working group met for seven days at Transit Cluj (Romania) run by Attila Tordai-S – who was both a participant and a facilitator for the format Symposium.  The main local partners were – in addition to Transit – Acasa and infokiosk, with whom the working group met: “in-formal exchanges, in-formal spaces, in-formalities” (Gerardo Montes de Oca).

The research group thought the format of symposium as a situation in which to address and play with aspects of creating/sharing/disseminating and exchanging/appropriating/practicing knowledge. How to make a symposium that remains tethered to both arenas of academia and from the field of artistic practices and brings into play ways of engaging knowledge taken from both?

When discovering the energy of the city and the dynamic of the group, the participants cautiously considered their respective positions, the position of Six Formats in the context of Transit Cluj, and the ways in which ‘knowledge’ should/could be approached in a situation of multi-layered meeting. The notion of ‘hospitality’ became central (within the working group, in relation to the context, in relation to Six Formats, and regarding knowledge) and multi-layered (who is hosting who, who is guest when, who is hosting who, who is hosting what, what is hosted by whom?).

Different contexts, situations, methods of working with, within, and out of the working group were approached– both physically and conceptually – oscillating between visiting and hosting (a context, a group, another practice, or knowledge). Perceptions and representations of ‘symposium’ as a format for meeting and/or working led the working group toward using ‘symposium’ as a filter more than as an event: every proposal and situation was thought and approached from, via, and for it. ‘Articulation’ and/or ‘circulation’ were at the heart of the research.

Format SYMPOSIUM: April 2016

Keywords for new (counter-)institutional practices. A Philosophy of Practice/Symposium

Concept development: Elske Rosenfeld

Partner Institution and Filter: Transit Cluj (Romania) / Attila Tordai-S.

Co-researchers working week: Freja Bäckman, Ingrid Cogne, Yasmine Eid-Sabbagh, Gerardo Montes de Oca, Elske Rosenfeld, Attila Tordai-S.

Post-process (September 2016): Elske Rosenfeld and Freja Bäckman, Bergen Assembly (Norway)           

PROCESS(ES)

Six Formats follows a protocol of processes. The basic structure of these processes is as follows: pre-process, process, and post-process. Six Formats wants to be flexible and continuously re-adapts this structure to the needs of each format.

The notion of time is central in the art-based research project Six Formats. The different processes in each format propose, identify, use, and develop different forms of meeting and communication. For each of the identified ‘pre-‘, ‘process’, ‘post-‘ (and ‘in between’ when needed) the guest researchers are involved in varying degrees. These different temporalities are part of the methodology of the research conducted. They rely on the possibilities and limits of engagements and responsibilities that the invited researchers can/may/are willing to dedicate to Six Formats.


In practical terms, the pre-process is the foundation of the working structure and principle of working. In the methodology of Six Formats, the pre-process is a timespace wherein Six Formats, the partner institutions, and the co-researchers tune. The tuning also concerns the ways in which the format concerned is approached (conceptually and methodologically). In and for Six Formats, each location of each format is a co-participant: it is filtered by one co-researcher who has pre-knowledge of the particular institution. For each format, the pre-process period leads up to a physical meeting.


Each process consists of a working-week during which the approach to the respective format is expected to come into practice/view - in combination with the (re)articulations of the visions of the co-researchers and in dialogue with the conceptual and practical needs of the relations format-context-content. The process is a timespace of movements. After experimenting the format Exhibition (2016), Cogne decided to apply its protocol based on a double process to the last two formats of the research project. The initial duration (/time-frame) of a process - between 5 and 8 working-days - appeared to be limitating the relation articulating-doing. A protocol composed of two processes reinforces the intention of creating positive contexts of working for co-researching. A double process creates the possibility for an in-between process during which the co-researchers can enrich the conceptualization of the methodology of each of the formats and materialise tools and objects that are needed to pursue the research. An in-between process supports reflection, accentuates attention to perpetual adjustment, and opens a space wherein the pre-conceptions of the relation format-context-content become negotiable.

SYMPOSIUM

Post-process (September 2016)

The post-process took place in Bergen (Norway), where Bäckman was part of the Partisan Café, a meeting space within the Bergen Assembly. Rosenfeld and Bäckman created a poster based on a series of questions they articulated to address their – respective and common –concerns while being in the context of the working group in Cluj. Conflicts regarding the content and communication of this object appeared within the working group as the invitation for this format was to discuss the circulation of knowledge within and outside the research group.

For each format, a post-process is initially planned. “Initially” means that a post-process does not have to take place. It can also take different shapes and have different intentions of result: from consisting of a series of online meetings during which the processing of a format requires the production of an object, to placing the post-process in a (different) context in which a moment of presentation, communication, circulation positive to 6F can be performed. The difference between process 2 of a double process and a post-process is situated where the questioning developed in one of the formats moves to a larger questioning, to an articulation that touches the entire art-based research project (e.g.,. the format Lecture-performance, in which the questioning of the relation between format-context-content developed into a re/search on the moment of meeting with a/the largest circle of people, touching the notion of event and dramaturgy of presentation).

 

LECTURE-PERFORMANCE

Between being a result and a practice, this series of three notions addresses a layer of knowledge that has been observed in 6F. Knowledge is in movement. Knowledge is at the center but not frozen. The various activities, processes, formats, structural changes, and geometries that happened during a time-space of 3,5 years require/d practical knowledge that touches the field of Expanded Choreography, choreographic dramaturgy, and improvisation: flexibility, perpetual movement, and compulsory re-reading and re-filtering of the multiples elements, components, and relations both in the doing and in the articulation.

 

This text is the thirdtext of a series of three. It builds on different figures and images of the relations that have been observed in the research. It articulates the practices, tactics, and strategies between 6F, knowledge, and movement. Rather than dealing with the moment during which knowledge is (re)activated, (re)articulated, (re)filtered, this text deals with the circulation of knowledge. From presentation, communication, to circulation, and in-between, 6F invites to (re)consider positions of knowledge and potential approaches/ways in which one deals with it on different scales (micro, meso, and macro).

 

Knowledge in/and transformation. Elasticity, Tension, Suspension is a writing about a journey between presentation, communication, and circulation; a journey about what “circulate” means. When does a text shift to another end? When does a text arrive to the same end than another text? How far does elasticity (have to) go? How much tension, elasticity is/are needed for circulation? How active one is (or how much one needs to be active, or how much one needs to be aware of being active)? ... thinking of an unconscious carrying/passing on/circulation of knowledge.

 

Keywords: 

  - knowledge, communication, research

  - points of departure, points of transition, overlappings, destinations

  - vehicle, transport, shift, arrive

  - attitude, tactic, strategy, value


A triangle:


                              Attention - Tension






Distraction - Suspension                  Circulation - Elasticity



Another triangle:



                            Elasticity - Knowledge

 

 

 

 

 

   Tension - Attention                     Suspension - Destination

ELASTICITY, TENSION, SUSPENSION

in progress

Invitation


Six Formats thinks bigger than oneself. Six Formats invites several co-researchers

to each of the formats. The “invitation” goes beyond participation. The “invitation” initiates

the working situations. It presents the art-based research project Six FormatsIt calls for acknowledging the “HOW” as much as the “what”. It announces the protocol of pre-, main, and post-processes. It addresses the value of shared, equal and reciprocal “engagement and responsibility” toward the situation, the process, the overall research project, another, others.

An invitation is specific for each of the formats. It aims to facilitate a positive context of working. It presents the context and situation in which the format is implemented by 6F. It proposes points of departure to be explored by the working group. It shares the main questionings and hypothesis of the entire research. It activates the questionings of the relations format-content-context for that particular format. It invites the co-researchers to create a dialogue between one’s own interest and 6F. It initiates the circulation of preexisting or rearticulated knowledge. It proposes a win-win situation to be expanded.

 

The protocol applied to the format Lecture-performance is different to the other formats, as it was not part of the initial list of formats. Lecture-performance already presents itself as a multitude of practices and traditions in the fields of Visual Arts, Theater, and Choreography. Here, the filters of Six Formats – situation, presence, and performativity – are at the heart of the questioning of the relation between bodily-spoken-group languages in the performing contents (/knowledge). How to consider “perform a lecture”, “a performative lecture”, and a “lecture performance”? How to think lecture-performance in relation to ‘writing for a lecture’? What is the understanding of the notion/word ”lecture” in both cases?

Another particularity of this format is that the co-researcher invited to be a ‘filter’ between the research project and the partner institution is not employed there, but is an active freelance artist/choreographer/researcher in the Canadian Arts scene.


This format went through several phases and configurations of co-researchers: a structure that one could qualify of at variable geometry.


Pre-process 1 (spring 2016) started with an online exchange involving k.g. Guttman, Paula Caspao, and Ingrid Cogne. Together they co-articulated a specific vision of Lecture-performance for which Guttman proposed Artexte as partner institution.


Pre-process 2 (November 2016) consisted in Cogne traveling to Montreal in order to implement the format Lecture-performance in the context of its partner institution.

During her stay, Cogne encountered Artexte’s collection and had meetings and working sessions with Guttman, Noémie Solomon (co-researchers), Hélène Brousseau, and Jessica Hébert (librarians at Artexte). Exploring the collection of Artexte, they noticed that Lecture-performance did not have a box dedicated to it. The pre-process team considers such gesture as a “dispositif” to create a dialogue with the collection, but also as a way to communicate and make the experience of the working group/week at Artexte existing in the collection.

 

The invitation, sent by Cogne to the entire working group, proposed to fill in the absence of such box in the collection as well as condensed material from the pre-processes gatheringa detailed and oriented literature/bibliography from pre-process 1 and a selection of thoughts and statements:

- To remain researchers in-practice instead of becoming historians

- A collection as participant, as a filter

- A collection as fluid, in movement, animated

- It is not because it is not catalogued that it does not have an existence

- Spontaneous search, looking, touching. Browsing is needed.

The methodology of Six Formats is structured by circles of people. The amount of co-researchers - for the entire project or for each particular format - varies between 3 to 8. This variable geometry engages notions such as “meeting”, “hospitality”, “invitation”, “engagement”, and “responsibility”. How to facilitate and engage (within) the im/material aspects that spaces of ‘meeting’ and ‘working’ provide when projects are built on the gathering of people? How to articulate the im/material aspects that support co-researchers to create and engage when co-processing?

Co-processes are subject to formal and informal levels of structuring, in which forms of verticality and horizontality come into play. One level of the project’s process of reflection and perpetual adjustment is paying attention to these structures and articulating them to a degree where they become negotiable.


Between November 2016 and December 2017, Ingrid Cogne and Julia Hölzl articulated a text that aims to cover potential representations and projections of CO-practices, within and outside the art-based research project Six Formats: a text being a CO-terminology- re/search. Usually thought (of) as being merely a prefix, and/or in terms of collaboration at that, they aim to think (of) the CO- as such, and not only in relation to-.

Writing from an “I” perspective, Cogne and Hölzl consider that there is no “we” in language, nor in Six Formats. This decision asks the very question of (the authority) of writing: Language is (as) representation.

MOMENTS OF

Process (January 2017)

Considering ‘a format as a form of knowledge’ and ‘a collection as a participant’, the working group aimed at 1/ exploring how knowledge can become performative or not; 2/ identifying how zones of movements and the creation of relationships may be located; 3/ unfolding and summing up the process of the week through a Lecture-performance; and 4/ challenging the relationships between orality and materiality, articulation and transportation through different modes of communication. Yet, the intention was not to fall in the binaries and/or matter of relation between inanimate and/or incomplete collections and “present live bodies”.

A box was created and made public via an event unfolding and summing up the process of the week through the format Lecture-performance. The fact that the content was publicly shared fulfills Artexte's criteria to become part of the collection. By using the format Lecture-Performance, the content becomes "inscribed" into the collection.

The box contains a box in the box and two documents: “Lecture-performance guidelines” [French version click here] and “Submission of Lecture-performance items to the related folder”  [French version click here].

 

Post-process 1 (October 2017) took place in Lisbon, and was dedicated to the use of a format - in this case Lecture-performance -  as a “tool” for the communication within the very moment of meeting with an audience. What is the practical knowledge that comes into play? How to approach the dramaturgical aspect of that knowledge?

The working group gathered to:

- question the relations: format as tool vs. format as meeting vs. format as event;

- outline the writing of an article, understood as displacement and/or circulation between doing and writing;

- challenge/exhaust situations of communication.


Post-process 2 will take place in January 2018, in Lisbon, followed by a conference presentation in London.

Convinced that plural/ity is not only a sum of  “I” (neither is “we”), one of the main values of Six Formats is to “think bigger than oneself”. How does it articulate between theory and practice, “vision” and “doing”?

CO-, for Cogne, calls the between and in-between “I”(‘s). Within Six Formats, CO- does not point towards (additional/added) identity, but conceptualises its practice through facilitating circles of meetings and invitations to interactions: from CO-researching to CO-imagining.

Engaging authors such as J.L. Nancy, L.O. Jaaniste, P. Stamer, and A. Lepecki, some of the questions addressed are: Can the CO- exist as such, without being imagined (as such)? Can a CO- be as particular as it can be general? How does CO- relate to a singular plural? Is CO- an alternative to WE?

A situation of perpetual re-negotiation and transformation implies a constant openness and attention toward repositioning. Outside and beyond generalisation that limits its potentialities, CO- wants to be thought as potentiality instead as a fixed concept.

 

Knowledge


Six Formats approaches knowledge as a question.

Six Formats engages with knowing itself and ways of knowing.

Six Formats treats knowledge neither as a predefined concept, nor as an element to be defined/limited. Knowledge is multiple and varied. Verbal, embodied, affective, intuitive, cognitive, visual, practical, and tacit knowledges are potential.

 

 

 

CO-

Six Formats is a multilayered research project aiming to (bring and keep) focus on the ways in which art-based related knowledge performs and is performed. At first, the abstract of Six Formats used “presentation”, which was replaced by “communication” in the second year, and finally by “circulation” at the end of 2016.

 

Presentation, communication, and circulation are three different intentions. This declination of notions reveals different relations to knowledge, authorship, and others. For Cogne, presentation corresponds to a time and space of/for sharing a process of articulation; communication fits knowledge that one wants to be used as points of references; and circulation is meant for knowledge to (be) move(d) and be transformed.

 

By using circulation, Cogne reinforces the positioning that knowledge is context-specific and requires a perpetual re-articulation to be of/in use. The triangle or triptych “content, context, format” is multi-relational and has several points of entrance/activation.

 

In order to keep flexibility and manipulation of knowledge of/within Six Formats by its various protagonists (with different experiences and intentions of the research project), Cogne decided not to do a publication - in the sense of linear textual printed matter.

 

Already in 2015, Cogne had envisioned a 3D object to facilitate circulation(s) within the maze that 6F is, both for the visitor(s) but also to support the practice of “improvised matrix of articulation” (p.107, Choreography of objects – choreography of ideas, Cogne, PhD thesis: Displacement(s) as Method(s), 2015) that Cogne regularly performs when invited to talk about Six Formats. This object opens to and for manipulation and transformation. It combines:

 

- one box (a container that frames and creates support for temporary points of reference)

- six forms (that can (re-)present one to six of the formats involved in the research)

- three layers ( that can be (dis-)placed and illustrate various elements of the methodology of Six Formats: circles, processes, and transversal themes).

 

Additional textual components suggest routes of exploration (keywords and cards to be combined) and give insights to the articulation developed within Six Formats (a series of three articles).

 

 

 

Layers

 

Six Formats is multilayered, and opens situations that put in relation(s) various elements:

Format - Content

Research Project - Partner Institutions

Research Project - Six Formats - Research Groups

Six Formats - Each format

Format(s) - Format(s)

Project Values - Methodology - Implementation

Circles of Individuals - Series of Processes

Methodology - Articulation - Circulation

 

in progress

OBJECT OF COMMUNICATION (working title)

WORKSHOP

The invitation sent to the co-researchers of this format emphasized “the doing” rather than an outcome:

NO production of an object,

NO event or public manifestation.

 

Six Formats underlines a tendency of over-communication in the artistic and research-in-practice fields: there is a gap—both quantitatively and qualitatively—between its communication and its manifestation. Cogne and Rosenfeld gathered peers who use “publication” as a tool or a format in their specific artistic, activist, and professional practices and productions.

 

The pre-process of Format Publication was composed of two phases. The first phase (March-July 2015) involved an exchange between Cogne, Rosenfeld, and the host (/filter) Achim Lengerer, who had run the travelling showroom and instant publishing house Scriptings since 2009. A series of meetings took place online every few weeks, specifying the intentions of the coming six-day process and the level of visibility desired (/considered appropriate) for this format and for the overall visibility and modes of communication for Six FormatsThe second phase (July-October 2015) consisted of online meetings with the remaining co-researchers dedicated to finalizing the structure of the working week.

 

The process (October 2015) gathered the six co-researchers at Scriptings. The Publication Working Group considered the use of publication in relation to projects that are process-oriented, durational, addressing different audiences, and dealing with diverse themes and materials. The research process combined inputs from the participants with general discussions and collective work on texts (physical and digital forms of writing, editing, and publishing). The double layers of 1/ a self-organized working process, based on equal responsibility and engagement, and 2/ the lack of a goal to work toward during this short process (such as a meeting with an audience) created a complex working environment, considered enriching by some participants and difficult by others.

 

Format Publication did not have a post-process.

RE-

 

Each format is a co-process of ongoing self-reflection and re-articulation

aiming for reciprocal attentiveness to the respective needs of the project, its partners,

and co-researchers.

 

Context(s)


Six Formats is hosted at the Academy of Fine Arts Vienna

and financed by the Austrian Science Fund (FWF, PEEK, AR291-G21) which places the project in a very institutionalized framework. On the other hand, the art-based research project Six Formats (dis)places itself in various locations chosen in relation to the specific format.The partner institutions such as Kunsthalle Exnergasse, Scriptings, Artexte, and Monokino offer a range of contexts with particular histories, artistic activities, and politics of institutionalisation. More or less on the street or oriented toward visibility and communication, each of the partner institutions are participants as much as the co-researchers invited - contributing with knowledge regarding practices, contents, values, and more (depending on their specificities and interests).

PUBLICATION

SCREENING

Six Formats proposes and searches for a methodology of attention and reflection that:

- has the potential to be useful in the field of artistic research,

- can bring together different discussions on the theme and foreground them, vis-à-vis the knowledge or more palpable, quantifiable contents and outcomes of the research.

The project responds to the increasingly academised field of art-based research with practices and ways of research that are/can be ephemeral and process-oriented. Six Formats proposes values of (co)working, challenges (re)presentations of knowledge, and circulates visions and protocols that are/can be explored as positionings, strategies, and tactics.

 

No to one more nice…*

 

The methodology of Six Formats invites - and wants - to be transformed, recycled, challenged … instead of - claiming to - being applied: the methodology of Six Formats is not a recipe. Each proposition, articulation, even positioning is in relation(s); depends on the meeting(s) with a context and its reading, with the identification of a content and its multi-layers, multi-understandings, and multi-manifestations.

 

The figures illustrate the main relations of the art-based research project Six Formats, as well as the principal elements on which the protocol of 6F builds on (such as “circles of people”, and “pre-, process, post-”). The figures also introduce the positioning of the main researcher(s) (“format is knowledge”) and the openings of the research (in purple).

 

On the research level, the project aims to take risk, challenge its own articulation – and this for each of the researchers involved permanently or temporary – again and again. It involves flexibility regarding time, articulation, and implementation depending on the needs of the project. A perpetual reading of the situation is compulsory as knowledge is in perpetual movement. To be able to create situations that can challenge and expand the practices of the research team and the participants in such a way has proven to be an extremely valuable process.

 

The concrete relation between concept/theory and practice is to be RE-decided and negotiated. Six Formats looks for fallouts that happen when they collide and battle for space and time.

 

Peeks of the methodology of Six Formats appear across the exposition within the frame of grey forms and ellipses. Peeks address notions that are very present in Six Formats, but that, at the same time, can be referred to in different ways or placed in various fields.

What does one state as what? How does one present a term according to the use(s) one has of it (in the project, in each format, in general, etc)?

 

* publication, exhibition, symposium, lecture-performance, screening, or workshop

The notion “filter” is a methodological “tool” of Six Formats that serves/channels the research within and between the formats. A filter is both pre-, parallel, and post-: from supporting the refinement of the vision and ambition of each format to bouncing with the particular and overall articulations of Six Formats as the research goes along.

In Six Formats, filters are facilitators.    

- People as filter:

“Filter” in that case is a role/position proposed to one co-researcher invited. For each format, the methodology of Six Formats implies the involvement of a researcher having extended (conceptual and practical) knowledge of the venue. This co-researcher facilitates the access to and the circulation of information about/from/related to the context. This filtering has been proved extremely productive in Six Formats, letting the working groups and the facilitator(s) concentrate on the research.

“Filter” is also an attitude - more than role/position - that one chooses to have in order to engage one’s skills, experiences, and backgrounds in the art-based research project by “thinking and doing bigger than oneself” and at the same time pursue/articulate/develop personal questions of research in dialogue with peers.

 

- Filter as a tool:

Filters are elements to be developed. When a working group has to decide what to work on (and also how), filter(s) can be tools, points of departure or reference. For Example the notion of “time” was the filter within the format Exhibition. In that case, “time” was not content but the perspective from which the working practice was performed. Six Formats developed various practices involving filter/filtering, such as “texts” that Cogne and Hölzl manipulated as filtering lenses in their process of co-writing CO- or when the “collection” of Artexte was meant to be a filtering tool that the working group of the format Lecture-performance could use to dedicate the research to the relation between bodily-spoken-group languages and performing knowledge, rather than on the gathering of contents.

Be it that the content is predefined, or the how,

be it that a factor/word is predefined, but not the content,

Be it that an existing work/context is defined as point of departure… Each working group of each format implemented its practice with/applied to its process a set of tools as filters.

 

Built on Cogne’s previous research, Six Formats proposes the following three filters:

 

- Situation as filter:

Situation refers to the question of how a configuration of persons and their energies, in a particular spatial and temporal setting, becomes part of the parameters that shape a process of working in such a way that a moment of meeting can appear. On a methodological level, these parameters are elements that can be worked and reworked in order to facilitate the collective process and phases of production. For example, a situation will be affected by the number of persons involved and their intentions regarding their being there. To look at “situation” means to consider the contract that is involved implicitly or explicitly concerning ‘how to behave’.

Can the dynamic of the situation be manipulated by the ‘mise’ in space, the arrangement, and gathering of persons with different backgrounds, types of knowledge, and work?

The ‘in-between’ and the ‘how’ of each situation are particular types of contents that are considered on the same level of importance as the specific focus and content each of the formats will bring to the table.

On yet another level, situation always relates to a specific context. In the Six Formats constellation of people/contents/themes, of spatial and temporal arrangements respond to the institutional or public setting within which they take shape. How to work things out between these two aspects - the situation created and the context the situation relates to - is part of this set of considerations.


- Performativity as filter:

Performativity is a filter that addresses pro-activeness and willingness to respond to things as they are. Performativity relates to how elements come together into process. How does “doing” in the now, in a particular situation relate to and is directed towards a larger perspective?

Performativity as filter implies a responsiveness to the consequences that actions have had for the situation.Performativity implies a process of “instant composition”. How to avoid a pre-planned outcome overruling what happens in the concreteness of acting together in the now and how to go instead with what is there?

Performativity refers also to a particular group dynamic that allows processes to shift and unfold around the engagement between different subjectivities. It insists on, works with and disturbs some of the codes that tend to structure group dynamics.

Six Formats uses ‘performativity’ as a lens - toward awareness and attention - to question and perform the different formats.  

 

- Presence as filter:

Presence as a filter is an on-going reminder drawing one back into the situation. Presence means a shift from a projection of what is supposed to happen to being in the doing.

To be present requires one to acknowledge one’s being in the situation, and at the same time reading and understanding how one is doing this. This means to consider oneself, but also the others in a situation, be it collaborators or audiences.

Presence as filter has different functions or involves several levels of presence.

Presence places the focus on the “now”: ‘now we are working together’. It implies an investment of everyone present and an awareness of the potentiality of the configuration of the working group. Togetherness goes further than the verbal level and includes a bodily level, too, a level of comfort around each other, a play between different energies.

How to be capable of reading a process going on, of grasping the potentiality of what is happening and incorporate it consciously? How to invite a degree of presence to different circles of people?

Presence as filter calls to remain attentive to each moment and to negotiate between instant immersion and the overall research questions and visions of Six Formats.

METHODOLOGY

FILTER(S)