January 2020, performed at KABK. Presentation of a performance, as a try-out of how does my design of a performance work with an audience.
Discoveries were interesting, as the placement of people (their amount and my relationship to them) has become a part of the measurement and directed me in my performed decision making. From the side of the fourth wall, what happened was they were moving with me. As a whole we were creating a movement of allocating ourselves (performer and audience) in relation to one another in the given frame.
What I as a performer aimed at doing was operating from this "contactless" state, where I am purely measuring the physicality of space and my relation to it through my chosen (and made) unit of the black ball. To amplify my presence as a living being I was breathing in an exhadurated manner (and also to aid myself to create a separation from the rest of the averagely-breathing people), which made it charged with some sort of emotional physicality or presence, as was said in my feedback session.
This I found surprising as it was not my intention to bring any theatricality or emotion, but to rather perform a rational, measured action - with a subjective contemplation.
But only by doing the performances I design, will I probably find out what is it that I am, or want to be, expressing by doing.
there are so many decisions to be made... (sketch)
During our workshop (Resonance and its Acoustic Bodies) I discovered the possibility to create a feedback loop of vibrations on the surface of a home-made drum. Technicalities: transducer, contact microphone, black balls and a drum. Once these elements were activated, what started happening was, that the black balls got placed within the given frame, on the base of the vibrations they themselves were producing (which got picked up and amplified by the contact microphone, and re-reproduced by the transducer) on the surface. For my eyes, what I saw happen was, a scientific randomness that was ever-changing and therefore could be called arbitrary, but on the other hand was not at all arbitrary. The balls allocation was not static or defined.. or yes, for an instance of a moment - its position was precisely defined - by itself and by the relation of all other black balls to one another.
As a continuation of this discovery, I created a drum of 50x50cm, and wanted to activate this mechanism on top of it, as a kinetic sculpture. The drum would be placed on four (organically broken) left-overs from a stone sculpture I encountered in the ceramic workshop.
This work was to be presented two days before our academy closed down because of covid-19.
I still keep on making small black balls of various sizes if once I will have the opportunity to work with the transducer again...
somewhere, between presenting my performance and developing this sculpture, with help from Sebastiaan I started developing a variation of my performance, in which it was not me and my subjectivity deciding the allocation of the black ball (therefore - my unit), but a generator of randomness, on a 8x8 grid, placed into space (throughout cables and LED lights/noise generators) which would decide for the performer to where he or she (but preferably it would be me, who performs) should place the black ball, one by one. The random noise generator works on the base of binary codes which then choose one place (0 or 1) on the 8x8 matrix.
This project stayed unfinished for now, but might be continued soon.