----------empyre- soft-skinned space----------------------
Dear Johannes,
Thank you, it would be great if we could continue the discussion.
I got thinking about my World cup soccer piece 'Intimate Irrelevant Moments'
jackysawatzky.net/single_cappuccino/ and the relationship it has to this
topic. None, was my initial thoughts; however, as I got typing these thoughts
came up.
In my work I was interested in the mediation of the viewers experience, and
effect HD camera technology had on the representation of the players and the
game. I conclude that High Definition images leave less space for the
imagination and have the potential to give an assumption that what the viewer
see broadcasted is not really virtual. What do the viewers need to do to get
back their imagination? Herein I saw an important roll for the space and
place wherein the World Cup was watched.
Harun Farocki made a work about World Cup Soccer,
http://www.farocki-film.de/deepeg.htm also from 2006, the same year I did mine.
He looks at the various ways the game is contextualized. On one of the 12
screens on display there is an abstraction of the game, dots representing the
players and lines their connection, as well as the data derived from this a
computer analyzes of the game.
Thinking about his work, top sports has through the onset of digital technology
an interesting relationship with embodiment and the virtual. As each athlete
presents an extreme embodiment of their sports discipline, though along side
there is a virtual body , data _video, statistics, motion capture data_
collected through all kinds of tracking technology. This virtual body is there
to assist in elevating the athlete slightly above their physical 'limitations'.
In the moment of performance, the virtual embodiment needs to be translated
back , taken ownership off by the actual the athlete. She or he needs take
ownership of their virtual representation to come to a top performance.
Any thoughts , experience with this, work that touch on this?
In a next post I will reply to your question in regard to the camera and
embodiment, as I saw Sue Hawksley recents response and want to take some time
to read her new posts and look at the links, and reflect.
Thank you for listing.
Regards,
Jacky Sawatzky
Artist
Models of Observation
http://jackysawatzky.net
https://vimeo.com/videovectors
"The convergence of media, which is an inherited quality of the computer, has
become unappealing. It reminds me of processed food where if I eat alfredo
sauce or tandoori chicken mix, I always feel like my taste buds are confined
within the limits of the chemicals used to preserve the food, by the
conventions of an mass-produced taste of tandoori chicken or alfredo sauce. I
came to the conclusion that the normalization of the senses is the commonality
between processed food and the computer screen." Screencozies
On 2014-07-30, at 11:42 PM, Johannes Birringer wrote:
> ----------empyre- soft-skinned space----------------------
>
> dear all:
>
> [Kirk schreibt]
> I’m sorry I’ve not been able to participate in real-time, but I have found
> inspiration in many of the comments several days after they were written.
>
> understandably, and as pointed out at the end of the June discussion (sonic
> pathways) here, not everyone is able to write/respond instantly, I almost
> feel such discussions, if they feel worthwhile, as Jackie also just pointed
> out in her post on/from "models observation" (and I really enjoyed getting a
> glimpse of the videos on https://vimeo.com/videovectors, and also found your
> comments on camera style/mediation on past old World Cups [1974] and more
> recent ones quite illuminating), ought perhaps to continue, for a while
> longer, and spill over, or continue to resonate and draw in more of you, if
> needs be, slowly.
>
> Kirk's response to some questions were much appreciated, I had no idea, Kirk,
> that you are in fact working on alternative modeling & archiving -- also,
> the debate now between John and Simon is truly breathtaking, as far as the
> "beyond" is concerned (John's philosophical commentary on dislocating and
> separating memory from individual embodied memory, as well as the earlier
> comments on "maintenance of archive", collective and individual) and thus
> seems to bear on heritage work and what Kirk refers to as issues "
> surrounding embodiment and bodily practices to inform our understanding of
> past cultures. In short, we attempted to look at landscapes and archeological
> records not as sculptures or illustrative records, but to place embodied
> researchers in human-scale (re)constructions."
>
> It then seems also quite relevant (as you mention a certain kind of
> documentation made for academic research contexts) to really ponder the
> question (Simon Taylor's) of sliding scales amongst the "factitioner, the
> quantic surveyor, the data-garnerer", and also then the facebook players
> (must agree here, very well then, if the younger folks think facebook a game
> or a joke, that's nice), and in your case the experimental archaeologists and
> (re)constructeurs testing digital reconstruction technologies for
> "evocations" (an ethnographic term used by Latin American artists who came to
> Houston to work with us on a project in 1997 [see my archiving of "Después de
> la Etnometodología" at http://www.digitalcultures.org/research12.html //
> http://www.digitalcultures.org/Library/transart.html]) of intangible
> heritage.
>
> It would occur to me that a conversation between all of you only just
> started, and perhaps, Jackie, as you mention your concern with how cameras
> (observing and filming) "impose themselves on different qualities of
> embodiment and movement vocabulary" (are you suggesting the camera always
> already manipulates the "user" embodiment and viewer's perception of
> such?).... you may recall that Sue Hawksley mentioned her work on physical
> practices, her choreographic explorations with dancer Freya Jeffs, and she
> also mentioned that a filmmaker was involved, Roddy Simpson, but Roddy's
> impact is not discussed.
>
> <http://theperipateticstudio.wordpress.com/2012/09/11/sue-hawksley-traces-of-places/>
>
> Sue does mention that "Roddy helped out with documenting the process through
> video and photos. Documentation of dance is something I always find
> problematic, especially as I am not a filmmaker; my own efforts generally
> reflect this lack, while professionally produced material reflects the
> presence, perspective and creative input of the person behind the camera. To
> address this concern I wanted for some time to make a piece specifically for
> camera...."
> but I could not find a video of "Traces of Places" and thus cannot comment on
> how cameras can "capture" or move internal pressure, internal inhabiting
> remembered space, trauma, memory.
>
> The repression of pain (to use a Freudian term) would not really be
> dissociative, individually or collectively, would it? How could pain of guilt
> be ever thoroughly dislocated, separated? (growing up in Germany, those
> questions, addressed to our parent generation, always cut quite close to the
> skin). Today, incidentally, Poles and Germans remember the uprising and
> massacre in the Warsaw ghetto in 1944, and the german president remarked that
> it is sheer unbelievable ["ein Wunder"] that the two countries have friendly
> relations today.
>
> Kirk, one would need time to read the articles on your practice and gain a
> better understanding; Simon's brilliant post certainly invites responses and
> I am re-reading slowly what you say, Simon, thus not able to answer yet, it's
> exceedingly complex and sometimes I feel, now encouraged in my feeling after
> you speak of your Minus theatre company as using a number of (playful) second
> languages, that you are stepping out of "our" systems.
>
> This idea, that we are scarcely bound and tethered by "our" dispositifs -
> especially when they are not a fundamentally ordered system – but that we can
> treat them as costumes, was of course what I was hoping to propose in the
> very beginning. Here I sense we agree, that "as useless or failed or with
> whatever kind of abejcture or minoritarian becoming artifacture", the dress
> can be worn in many ways.
>
> (Re: Oiticica and his fabulous colorful parangolés: back in 1968, I
> believe, the sad anecdote goes that he had prepared an exhibition of his
> Tropicalia show for a museum in Rio de Janeiro, and given the parangolés to
> some Afro-Brazilian friends to wear, and as they came dancing in from the
> streets, the museum guards stopped the black dancers at the door and would
> not let them in).
>
>
> regards
> Johannes Birringer
>
>
>
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