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10/27/19

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
-Suddenness

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

Camera Movement Vocabulary Includes:
-Sweeping Actions
-Suddenness

4_M_VisibleTime_1
4_M_VisibleTime_2

Personality Vignette:

Body Vocabulary Includes:
-Playfulness
-Care/Thoughtfulness
-RISK
-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:
-Reveals
-Selfies
-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

9.27.19

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
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?

9.13.19

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…

9.8.19

Progression:
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

8.30.19

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

What does it mean to frame something? Physically? Psychologically? Intentionally? Can you unintentionally frame? How? Bias?

What happens to our bodies when we purposefully avoid the frame?
The word capture was resonating
put myself there, take charge of this frame
My eyes stayed in my body (I did not cyborg, connnecting my vision with the camera’s)

What are things that cameras do? From The Camera by the Life Library of Photography*
-preserve something
-people’s stories
-prioritize
-create a sense, sensation, a feeling
-create illusion
-translation
-portray emotion, relay emotion
-tell stories
-just aesthetics
-a search for beauty
-composition (place in space)
-personality, character
-abstraction
-extension of vision
-visible time, crystallized motion, traces
-proximity, zoom

4_E_1: Search for Beauty:
looking for the camera, looking for the viewfinder reflections? what was beautiful? what were you searching for?

4_E_2: Personality:
Were you showing personality? were you searching for others’ personalities? how did your personality come out? how did you see others’ personalities come out?

4_E_3: Relaying Emotion:
What happened with texture? what happened with effort? how were you making shapes? how were you distinguishing and translating to body your own emotions? were they ‘clear’?

4_E_4: Visible Time/Traces
repetition? quality? shape? camera movement? swoopy

who is the capturer?

How did you find yourself seeing and being seen in each of these scenarios?
-movement personalities? does that feel like a clear and personal thing to you? does exhaustion play in? how?
-how were you making decisions about HOW to hold the camera and WHERE to point it?
-can we start to do this stuff not just for the camera but for our own vision frame and the vision frames of everyone else in the room?
-what kinds of body things were you doing to make these things visible?
-interaction of camera? when does this happen? (i feel like save it for a very special moment in time)
-if you are attempting to record your vision, what you see, does it need to be ‘smooth’?

How does your movement vocabulary translate to the camera? what is the vocabulary of camera movement?

Maybe this is an attempt at creating our own gaze. Camera gaze? Multiple Gaze?

Camera Movement Vocabulary:
Camera slides across the floor
Flipping the perspective
Stillness- setting it down
Bird’s eye view
Rotating
Leaving the space
Shakiness
Smooth Movement
Camera tracing dancing motion
Level Change
Speed (variety of speeds)
Rocking
Proximity

Camera Compositions:
-cameras facing each other
-cameras recording other camera’s viewfinder
-cameras turned to face self (selfie)
-revealing yourself as the camera person

What is the body language of the camera person?
What is the quality of the camera movement?
When are you foregrounding the body and when are you foregrounding the camera work- can it be both? Do you have to choose?

 

*The Camera. Amsterdam: Time-Life Books, 1984.