dans sans joux

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telepresence = being present in remote spaces and remoteness being here

Einen Ort in der Erinnerung festhalten _

Sich auf einen Ort besinnen _ Sich einen Ort einprägen _ Einen Ort wiedererkennen _

Orte, die Vater und Mutter betreffen _ Orte der ersten, der letzten Begegnung _

Orte der Liebe, des höchsten Glückes _Orte des Todes _

(from The Choreography of Architectural Space)


from the lab journals_ _ (dialogue between dap-lab and ADAPT partners)

As an advancement on from my last thoughts (20/04/05 'fuzzy thoughts'), I present to you the concept of the labyrinth.
I have new thoughts/ideas connected with this whole 'memory' aspect (have been studying Merleau-Ponty) and the creation of the 'telematic dress.' It is difficult to represent memory and the past accurately, our brain compensates and we remember from our position in the present/future. In terms of garments/dress, I wonder about the design and the process of its creation or indeed the state/partial state of its existence.

In the case of 'Victorian' dress, the Arizona piece, the garment is the 'time traveller' and has many stories to tell, it exists in its finished well formed, fully resolved state. Keira Hart dancing "outside" the Victorian hoopdress (in the Arizona site)


My piece (in the Nottingham site) exists in its developmental states/partial states, fragments from the past and the present (during the performance) and hints to the future. It is fluid and has the potential to react, can move and exist in different states, alters the pathways of memory, avoids predictable or predetermined solution. 'Genesis', I don't know, maybe I am not making sense right now, I need to consider this further.

My thoughts on this are just beginning to emerge, but I'm thinking that the dress should not emerge fully until the end of our telematic sessions. It will be created through ideas and movements/explorations that occur as a result of our link ups with other sites (Japan, Brazil, Arizona). The 'Telematic Dress' will be the product of our connections and linking of ideas.'

The Labyrinth (20/04/05 'Fuzzy Thoughts'):

I imagine a piece that can morph/change/adapt, (throughout the live telematics performance), a piece that maybe starts in one shape/form/place (ie. a Victorian silhouette (as with ASU's piece), tied in and restricted, structured), but can travel (through time across boundaries) to become something else at another point or place, (i.e. a more fluid eastern inspired piece (link with Saeko in Japan), where structure diminishes and fabrics unwind).

The fabrics used would be the same, but the arrangement and (in the case of the Victorian piece) the underpinning structures would change. For instance, the gathered overskirt becomes the veil, the bound in bodice, the expressive sleeve... The crinoline structure could be made of bodies, other performers who emerge from under the skirt to release the structure, change the shape. Hands/arms could wrap the body, indicating the corsetted restriction possibly.
The multiform body
(after tests with Djuanita Soonpodra): Our project is pure concept at this stage, and I will need to spend time exploring the practical feasibility of this idea, how to get from one shape to another through dance/performance and interaction with the fabric/pieces. I liked Johannes' comments on 'self organising systems' within nature/artificial life (22/04/05') and I think that there are many parallels to be explored here.

The notion of auto-poetic sounds interesting, perhaps you can talk to me further on this. Perhaps the 'Labyrinth' suggestion is too 'predictable' although, I would not be dealing with it in a necessarily predictable sense. It needs to be explored.

We shall have some prototype pieces ready for our telematics date in May (Michele Danjoux), and plan for a more complex tri-partite collaboration (Nottingham, Tempe/Arizona, Sydney) during the 2005 "Digital Cultures" Festival.




photo: top: Katura Isobe, blurred virtual dance (c) 2007

second row: Keira Hart (Arizona) dancing in virtual space outside the hoop dress; Helenna Ren dancing in Nottingham studio together with 'Victorian Dress" projection (c) 2005

bottom row: Helenna Ren performing in "tedr" for Digital Cultures Festival. Design concept and art direction Michèle Danjoux (c) 2005

Reference: Wolfgang Meisenheimer, The Choreography of Architectural Space: The Disappearance of Space in Time, Paju Book City: Dongnyok Publishers, 2007.


(c) Michèle Danjoux