kathryn nusa logan is a collaborative interdisciplinary artist


4_P_Preserving A Moment_1
4_P_Creating A Sensation_1
4_P_Visible Time_1

Things to remember:
These things are a part of your composition:
shape of clothing
nail polish
shape of ceiling
geometry plays into the whole space
you want to be swooping in and out of listening to this
the shape of the lights
all of this is a part of each vignette
how does the shape of the room play into each vignette?
every scratch on the floor, every breath
considering your body when you have the camera
socks/no socks?
really set up your shot
picking it up/setting it down: how are you making decisions about these transitions?
is five minutes enough time?
how are you ending
take your time setting up each first frame

4_Q_Preserving A Moment_1
4_Q_Creating A Sensation_1
4_Q_Visible Time_1
4_Q_Preserving A Moment_2
4_Q_Creating A Sensation_2
4_Q_Visible Time_2

4_R_Preserving A Moment_1
4_R_Creating A Sensation_1
4_R_Visible Time_1
4_R_Preserving A Moment_2
4_R_Creating A Sensation_2
4_R_Visible Time_2


Progression (Attention, Space…)


is anything missing?
remember to be playful, risky
add to the improvisation score:
everybody in both frames

mini progression before each vignette?


Further Specifying Scores:

everybody’s feet in two frames
cameras see each other
everybody in two frames
looking good

Preserving A Moment
start in a pose
both cameras see something, one camera moves on
camera watches dancers with other camera
return to something
body as archive

Creating A Sensation
moving camera versus still camera
action happens but cameras don’t record
sliding on the floor

Visible Time
stillness for one camera and one dancer
dancer movement and camera movement match
sweeping action
catch something
specify sequence
disrupting the trace

4_O_Preserving a Moment_1
4_O_Creating a Sensation_1
4_O_Visible Time_1

in general, work on beginnings and endings
work on thinking in more detail about the camera frame


4_N_Preserving A Moment_1
4_N_Preserving A Moment_2
4_N_Preserving A Moment_3

returning to the beginning
we really sat in things today
keeping my frame narrow
trying closing my eyes
the length of time of “the moment” varies
do i want to preserve this moment?
is it ten seconds? a photo?
touch has come up. the body as archive in relationship with the camera as archive.

4_N_Creating A Sensation_1
4_N_Creating A Sensation_2

Sound can determine the sensation
rain? thunderstorm?
today was creepy, uneasy

4_N_Visible Time_1
4_N_Visible Time_2

working on tracing the movements from 2 seconds ago, 10 seconds ago, a minute…



Still Learning to be okay with what’s not got by the cameras because that is central to the work: the actualization of limits means much is not included. Everything is not framed. Existence is collectively realized. Accept it, accept it, accept it.

1 Looking Practice Progression:
Attention, Space, Geometry, Frame, Multiple Frames, Sequencing, Adding Frames

Visible Time Vignette:

Body Vocabulary Includes:
-Bodily Sensing of Time Passing
-Sweeping Actions

Score Includes:
-Stillness for One Camera and One Dancer
-Dancer Movement and Camera Movement Match

Camera Movement Vocabulary Includes:
-Sweeping Actions


Personality Vignette:

Body Vocabulary Includes:
-Following aesthetic urges: Planning Ahead

Score Includes:
-Everybody’s Feet in 2 Frames
-Shaky Shaky, FACE
-Cameras Looking at Each Other

Camera Movement Vocabulary Includes:
-Following Aesthetic Urges: Planning Ahead

Run: 4_M_Personality_1
Run: 4_M_Personality_2

“the stakes of negotiation are higher” – Davianna
“playfulness makes an act of cyborging different- I don’t want to cyborg in the same kind of way” -Dian


Multiple Frames
Adding Frames

Practicing Smooth Camera Movement Strategies so that it is available to us when we’re working

5 minute vignettes:
Further specifying scores, movement and camera movement vocabularies

Preserving a Moment
time loop, eternal
wish I could feel this again
awareness of the passing moment
what does this bring up in your body?

how can we partially think about the camera and partially not think about the camera- experts moving on- choosing
people not working with cameras not just in their own world
be really particular about setting up your frame
how can you make these events flow into one another
what kinds of camera vocabularies live where within this vignette?
be clear about proximity, about repetition

Creating a Sensation
sensation of what? of missing something? is it determined each run?
ask the future audience with your movement decisions to watch this in a certain way

Visible Time/Traces
stillness for one camera and one dancer
dancer movement/camera movement match
sweeping of cameras

reveals, selfies
shaky shaky face
cameras looking at each other
“i think this will look cool”
playfulness + thoughtfulness + risk
wear your favorite outfit, but be specific
the stakes of negotiation are hight -DG
playfulness makes cyborging different, i don’t want to cyborg in the same kind of way -DJ


4_K_1 :
Hiding things from the camera
Stillness of camera and dancers switched off and on
when cameras saw eachother, camera operators were not cyborging! 
What about signals of stop, start, approach

What about quality of movement? When does it do what? When do you do certain dance moves and what are those? Where does this sound come from? Why? What is it doing?

Pedestrian movement with the camera- must be taken care of. Get more comfortable trying things makes movement quality gravitate toward pedestrian when you’re holding the camera- leaps and jumps would feel overly performative.
If your eyes can make dramatic things happen, do you need to do dramatic things?
Reality things came up like just taking care of the camera.
The camera pulls you out of the zone
You have to take responsibility for the camera

1)Both Cameras see something, 1 camera moves on
2)Camera watches dancers with other cameras
4)Cameras Looking at Each Other
5)Cameras look at same person, but two different parts of their body

-time loop, eternal
-I wish I could feel this again, don’t forget
-want to catch something rare

what is preserving a moment in your body? what does this bring up?
what is your body language when holding the camera?
what happens with timing? effort? weight? shape? why?
imposing camera preserving on others

1)Moving camera vs. still camera
2)sliding on the floor
3)one camera looks at ceiling, one looks from the ceiling
4)shaky, shaky, face
6)action happens but camera does not record

seems to be a sensation of missing something, generally
slow it down. slow it all down.

1)1 camera moving, 1 camera still
2)Dancers movement/camera movement match
3)Slide on the floor
5)Interrupting 2 frames

You forget that you don’t get to start over- with cameras you have to say “yes,and” because it was capturing everything before, during, and after your “mistake”

Bodily sensation of time passing

1)Cameras look at two parts of the body of the same person
2)Camera doesn’t see the action
4)Camera looks at other camera’s viewfinder
5)Shaky shaky face

Will they wear different costumes for each vignette?
If shaky camera isn’t that different from non-shaky camera, then it loses its effect.



Progression ( 4_J_1)
5 minute review of camera tools/composition/perspectives (4_J_2)
5 minute run remembering:
“Search for Beauty”, “Personality”, “Relaying Emotion” and “Visible Time” (4_J_3)

Trying New Sequences:

Telling a Story
-How do you tell a story with and without the camera? Do you feel like the subject? What’s the story?

Preserving a Moment
-are you endeavoring to preserve a moment in your vision frame too? or just with the camera? is everyone preserving a moment? What does this bring up for you bodily?

Personality of the camera? or how does the camera contribute to your personality? What does personality DO bodily? What does it do “bodily” to the camera? Is personality being shown only in relationship to the camera, or is it happening in your bodies, between you, in each others’ frames as well? Are you “having a personality”? Are you putting on a personality? In what way is this becoming performative?

Visible Time
How and why do the cameras start to take precedent?

These are all things cameras do, or reasons cameras are used. what happens if we attempt to do these things ourselves, without cameras?

What are the people who are holding cameras doing while they are holding cameras? What does THAT mean?

What kind of moves are you doing?

Should we do many events?

What happens if one or more goes suspiciously dark? What do we do?


Attention, Space, Geometry, Frame, Multiple Frames, Sequencing, Adding Frames

wondering where the cameras should be to start and end

“incorrect use” of a tool of archive

it’s important (radical?) that they are being themselves, feeling what they feel in a consensual relationship of image giving and taking in this space

the way your frame changes inside of a single movement as you’re feeling things…


warmup, work, watch

cyborg duets
detailed score with specific actions
physicality heightens the moment, heightens the person
rapid transfer of frames
what kind of space do you feel like you’re in, or would you want to be in?

dynamic, investigation, curiosity, searching for things- the camera, looking, seeing, composing, frame, perspective, dancers’ experiences, dancers’ perspectives, always changing, can’t be duplicated, something about change, improvisation makes space for discovery and play, can be focused on the process,

stairs, something that could hide you without you leaving the space, sources of light, shadows, mirrors…


Attention, Space, Geometry, Frame, Multiple Frames, Sequencing, Adding Frames
[I’m thinking about this as adding in tools, as opposed to a progression that happens in sequence, one after another. This builds.]

-clearly ignoring the cameras not for the sake of ignoring them but for the sake of being very interested in a different frame at that moment

-what kinds of camera movements are you using as this happens? when do you think to be creative with the way the camera moves?

-when is the camera an extension of my body and when am I composing for its frame?

a story:
4 people in their own spaces are listening and also sharing space- one person and two cameras look on but are they participating or listening or… what? the sound of the room is like a perpetual outbreath- it goes and goes, like wind it doesn’t take, it just moves on- and maybe this is why it feels this way.

[an aside: taisha paggett’s work asks this too- is based in a sensorial exploration and reaction to seeing and being seen and existing in a particular place and describing those sensations and that architecture through movement, texture, shape, quality…]

[an aside: Re: Atlas and Cunningham: perfectly crafter geometrically for a specific frame/point of view- we are doing this with our framing but not just for one frame, for the frames of everyone in the room. It is improvisaion- Sgorbati- because of the crucial element of consent in being seen as well as describing exactly your sensations in a moment, which will always be changing, listening to how you feel and describing that with movement is a perfect way of listening to/trusting ourselves, and our wants and needs.]


Camera flip moves!
How is stillness showing up in your bodies too?
Use camera composition tools for the camera and for ourselves