#networked performance
#collaborations
HOST’S DIARY - telepresence durational installation at CultureHub’s REFEST'14 Art&Technology Festival (21,22,23 November 2014)
@dannyblueboy@ARTEKLAB@Notengopajaros@saramalinarich The Host Diary pic.twitter.com/hyjdiiRQGx
— rachael runner (@Rachael_Runner)November 22, 2014
Visit Host’s Diary webpage to get a full overview of the documentation processed and archived via twitter of all the interactions made during the connection.
Amazing moments at #Refest@culturehubnyc#Host’s diary by @intact_01#telepresence social power! pic.twitter.com/qsoEYCwyY9
— ARTEKLAB (@ARTEKLAB)November 25, 2014
All information about the piece: www.intact01.net/host-diary/
CONTEXT: Refest. Culturehub, NY.
EXHIBIT: La MaMa Gallery
DEVELOPMENT IN EUROPE:
- House located in Velázquez Street (Spain).
- A room inside Mala Voadora’s Theater (Porto, Portugal)
Starting Time: 01AM (Madrid) / 07PM (La Mama Gallery, NY) / 00AM (Mala Voadora, Porto)
Artists:Intact Ciberculture|Culturehub
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Duplexity State (Sarah Weaver & Daniel Pinheiro, 2020)
A/V networked performance exploring the concept of ‘duplexity’.
Performed live March 10th at Experimental Intermedia Foundation (New York, US) as part of ‘Sarah Weaver: Synchrony Series, Duplexity State’ event and on March 28th online, via zoom, as part of NowNet Arts Online Performance Series [already during the COVID-19 pandemic situation].
More information about the project: https://daniel-pinheiro.tumblr.com/duplexitystate
Utterings
a live networked audio performance for Audioblast #8 (February 22nd 2020, 4.30PM GMT+1)
more information here
Duration: 30 minutes
Livestream (during the festival’s dates) here
Utterings is a project by Annie Abrahams (FR) and Daniel Pinheiro (PT) with Constança Carvalho Homem (PT), Curt Cloninger(US),Nerina Cocchi (BE) and Derek Piotr (US) as invited artists and collaborators and with technical assistance by Jan de Weille.
Utterings is a sound-only networked performance experiment where six artists commit to a 30 min long exchange across distance. The artists gather online and, while blindfolded, they engage in utterings as communication, building on solo’s, duo’s, chorales and silence, creating an on the fly “new” language that forwards attention, trust and affects above rationality. Six sound streams (no instruments used) are interlaced and entangled in one single polyphonic composition shared live in the audioblast program. The protocol for this performance will be written collectively in the week before the performance and will be available here.
Utterings is a collaborative attempt to go beyond the borders and closures created by languages, opening up and transgressing these in a performance that probes meaning through pre-language communication and formerly un-inhabited expressions.
Protocol for connection and more information here
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LAND PROJECT / Mediated Motion
Archetypes of mediated motion across a distance and in relation to the screen
Lisa Parra ( @lisaparra ) & Daniel Pinheiro
Invited to perform at Festival DDD (Portugal) this encounter of LAND PROJECT was shown on April 26 connecting Casa da Arquitectura (Matosinhos, Portugal) and LaMaMa rehearsal studios (New York, US). Throughout February and April, Lisa and Daniel, picked up on the methodologies of their networked practice to develop yet another activation of a movement duet across a distance.
more information and video documentation here
more information on LAND PROJECT: http://landproject.tumblr.com
‘MEDIATED MOTION / LAND PROJECT - Moving Across Screens (Feb - Apr 2019)’ here
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This video compiles different versions of exploring ways of moving in front of a computer screen. Motion being mediated by the webcam and moving in relation to one’s framing within the screen.
The video is part of LAND PROJECT, developed in collaboration with Lisa Parra, while in residence for the presentation of another encounter Mediated Motion as part of Festival DDD (Dance Festival) in Portugal, in April 2019. More information in landproject.tumblr.com
The video contains excerpts of the full video/performance “Measurability” as seen here: vimeo.com/332523731
and is also part of TRANSCODING, a body of work composed of different objects that aim at reflecting the impact of technology on daily lives and exploring its affordances towards the development of artistic objects.
daniel-pinheiro.tumblr.com/internet
Distant Feeling(s) is a project which aims at, once a year, bringing together different interested people, joining from their different locations in the world and share ‘15 minutes’ of togetherness across the network. Resorting to the internet as a common communication channel/medium and to video-conferencing software, everyone is invited to join and remain silent and with eyes closed during the duration of the experiment.
The usual human tools used for communication - sound and vision, commonly applied in video-conferencing - are taken out from the equation while going against everyday (technological) restlessness and enabling other senses to carefully tune into the presence of others. Distant Feeling(s) becomes an intimate portrait of people actively producing a meditative state where the screen becomes a shared and common space for all. A globally dispersed community materializing a relational system, a networked topology that not only represents the network itself, but that discusses the fragile situation of us being together while apart.
Watch video [here]
Distant Feeling(s) is a project by Annie Abrahams ( @e-stranger), Lisa Parra ( @parralis) and Daniel Pinheiro. An online [open to all] yearly reconnection, a ritual of contemplation on our situation of being together while being separated. An ever-changing re-enactment of our intra-action with and through machines.
more info:
bram.org/distantF/
landproject.tumblr.com/distantfeelings
LAND PROJECT: Placelessness (October, 2015) collaboration with Annie Abrahams: aabrahams.wordpress.com/2016/01/27/placelessness//youtu.be/tc3nxu-4nno)
// Previous sessions //
Video - Distant Feeling(s) #1 (raw version) [online, private session]: https://vimeo.com/158351502
Video - Distant Feeling(s) #2 [reSense [movement, performance, technology, art] Festival, Berlin, online, July 26th - 9h45pm - 10h45pm (GMT+2)]: https://youtube.com/watch?v=Hu8HDnXh960
Video - Distant Feeling(s) #3 [VisionS in the Nunnery, London, online, November 24th 2016 - 6h30pm (GMT)]: https://vimeo.com/193158145
Video - Distant Feeling(s) #4 [first of a yearly reconnection, online, December 1st 2017]: https://vimeo.com/245530528
Video - Distant Feeling(s) #5 [second of a yearly reconnection, online, December 19th 2018]: https://vimeo.com/308709859
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Online En-semble - Entanglement Training
a live networked performance by Annie Abrahams in collaboration with Antye Greie(DE/FI),Helen Varley Jamieson(NZ/DE),Soyung Lee(KR),Huong Ngô(HK/USA),Daniel Pinheiro(VE/PT),Igor Štromajer (SI/DE), and the students from the School of Art, Design & Media, Singapore. All connecting from remote locations.
Aiming to investigate how-to’s of being together in a connected world Annie Abrahams developed a conversational environment where the performers seek to negotiate the limits of their own agency by collectively interacting and creating a space through the sum of the relationships between between objects, sounds and phrases.
Thursday 29 of March 2018, 7am-10am CDT / 8am-11am EDT / 2pm-5pm CEDT / 8pm-11pm SGT. (Performance will take place around 9.30pm SGT)
This performance was part of the Art of Networked Practice Symposium - Social Broadcasting: an Unfinished Communications Revolution - a collaboration between the School of Art, Design & Media at Nanyang Technological University, Singapore; LASALLE College of the Arts, Singapore; and The School of the Art Institute of Chicago, Department of Performance, USA.
Symposium Chair: Randall Packer (Associate Professor of Networked Art; Nanyang Technological University (NTU), School of Art, Design and Media, Singapore)
Relevant links:
Disentangling the Entanglements article on our preparations by Randall Packer.
A promise of internationalism. Randall Packer introduces Maria Chatzichristodoulou’s keynote.
Training Entanglement with whom? Blog post by Annie Abrahams where she introduces the performers
+
on “Online En-semble - Entanglement Training” by Annie Abrahams reflecting on the performance made during ‘Art of the Networked Practice Online Symposium - Third Space Network’:
co-creating between/with each others and with/through machines, building a common space of shared practice and practicing it in a distributed manner. A distributed intelligence simultaneously activated between its agents (performers and active viewers - engaging on producing textual content).
to (re)think the network through these experiments towards the production of a collectiveness as we evolve to a futurity where regulations endanger the promises of distributed agency through this space.
Are we at the moment where these networked environments, these topographies of networked experience, are not just an option but a way to reflect on the changes that are happening? - Daniel Pinheiro
distributed intelligence on the fly? Blog post by Annie Abrahams after watching the video recording of the performance.
“It felt as closely observing a test tube in an internet ecology experiment. (…) I would love to do a follow-up, to continue this entanglement training. I propose to keep this messy never ending unperfect strange conversation going …. it would be an example, a test tube for developping our empathy muscles over distance, to exercice in distributed intelligence. … Séoul, Singapore, Ljubljana, Hailuoto, München, Montréal, Cassis and Montpellier and all the cables and machines in between” - Annie Abrahams
//
For more information:
http://bram.org/en-semble/
http://daniel-pinheiro.tumblr.com/en-semble
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more info [here]
from: #NeWWWorlDisorder 7.29.2017
A 90-minute, collectively conceived, socially-broadcasted, global culture jam + net performance transmitted via Facebook Live.
Annie Abrahams, Domenico Don Barra, Michaël Systaime Borras, Curt Cloninger, Carrie Gates, Baron Lanteigne, Patrick Lichty, Randall Packer, Daniel Pinheiro, Dominik Podsiadly, Craig Saper, Paul Wong,
Hosted by Randall Packer & Michaël Systaime Borras
Day 1 and 2: After getting to know the work of all artists involved and the research projects of Motion Bank, we devised questions around ways to incorporate networked interaction for intersection between dance and webrtc technology. We looked into researching tools and different kinds of configuration for networked collaboration and performances. One idea that come up was to find ways to erase the line that splits the screen/space for a more dynamic interaction and approach. Here, we thought to provide users with features that can enhance the experience in a collaborative format while still maintaining the idea of performance as being a product of the process,that is, through the trajectory of creating, documenting and viewing.
Day 3: Daniel and I began our research by looking at possible inputs and outputs that any user would like to have available in order to establish a direct line of communication with other performing and creative technical artists whom are collaborating at a distance.
Our first exploration involved visual outputs as a representative documentation of the interaction. Olivia Jack created a webrtc slit-scan program: http://ojack.github.io/slit-scan/
The program records two users/performers moving together and outputs a visually abstract recording that fragments time in various increments (real time, slow and reverse) for the duration of the performance. The speed can be controlled by the each user.
After exploring the slit-scan outcome, we realized that this program could be useful as a type of final representation of a networked performance, or movement experience. However, we thought to explore more the idea of blurring the online spaces to create a more physical/embodied interaction.
Olivia Jack then created a webrtc program called Portals: http://ojack.github.io/portals/
The program allowed us to “move together” allowing for more creating input by each user
Here Olivia (Bogotá), Lisa and Daniel (NYC) experimented moving together using Portals:
Another exploration, this time playing with light and movement (Oliva, Lisa and Daniel):
Day 4/5: In the final days and preparation for our showing, we took our experimentations of using the webrtc slit scan and portals to understand how the networked environments can be reconfigured and adapted to include more bodies, and to include an audio score to direct performers.
We collaborated with Kate Sicchio* to include her project, which involved 10 audio scores. The scores were triggered by data received from solar wind. The data is updated every minute triggering various verbal scores. The dancer/performer moves according to which scores is being dictated from the real time solar wind data.
For the final presentation we used Kate’s audio scores for performers in Bogotá (Colombia), New York (USA) and Porto (Portugal) to make a network dance/performance.
Notes/Reflection:
Here are some thoughts and reflections that arose from the experiences held while participating with LAND PROJECT at the CCL 4. Our group included Lisa Parra Daniel Pinheiro and Olivia Jack. During this time we experimented with three webrtc programs: opentok, slit scan and portal. We then shared our process with others in the group to extend our discoveries and online practice to a community of dancers and programmers to play with and explore.
Two outcomes from CCL 4:
1. Create different visual output possibilities for a networked embodiment experiences for documentation and archiving.
2. Develop a layout for communication and interaction between remote locations for collaboration and performance.
Both of these outcomes included our originally research for this project. In the last year we began using an open-source (webrtc) based platform called opentok. Opentok became ‘meeting point’ for artists to use as online space– open atelier or rehearsal space. We then introduced different inputs and outputs to visually generate and combine material that is automatically recorded and archived as it happens giving more choices to artists for possible post comments and documentation.
Although LAND PROJECT is a relationship between two distinct artists, we are interested in exploring ways to materialize our process and methodologies as a model for others to 'interact’ and share in the process itself.
Opening the process to others and combining it with the work of Olivia Jack and Kate Sicchio was definitely an important step towards an understanding of the use of these tools as a model for artistic practices. The embodiment of the other in the case of LAND PROJECT happens when the communication is established. The screen is definitely a barrier to overcome, like many other barriers that separate people. However, here the communication layout created brought many people together to interact and dance with each other. The participants, in this case, did not need to look at one another in order to feel each other’s presence. In this performance there were four location: in New York, the “green hallway” an open space that began with two performers, but throughout the performance had various people join the two original dancers; another more intimate spaces in New York was the ‘audio room’ where two males performed the scores. Other locations included performers from Portugal and Colombia. In these locations, the performers participated from a living room in one and a bedroom in the other. Language also played an important role, as not all participants understood English very well. All four locations created a performative situation linked together by sound and the internet. Here, the understanding of time and environment is where both the participant and spectators can witness the different locations and draw a multilayered narrative where ‘users’ become spectators of themselves even though they’re interacting with a group of people distributed across different time-zones and spaces.
The participation of Daniel Pinheiro in this edition of the CCL was made possible with the support of The Luso-American Development Foundation.
Lisa ParraandDaniel Pinheiro began their collaboration in 2013, exploring possibilities for “moving” together at a distance using videoconferencing to establish a shared space for intervention. Their research has developed in different formats of execution that mainly focus on a shared sense of presence. For this version of LAND Project, they will connect remotely to construct a shared space using João Fiadeiro’s real-time composition practice. Parra will perform live in New York. Pinheiro will join via livestream, via LiveLab, from Porto, Portugal.
In_______________nosespaçosescrevemosonossocorpo, the actions transform the space where the invisible and visible presence of the other creates a togetherness stream of consciousness.
For its showing at Performance Mix Festival (New Dance Alliance, New York) [June, 10th, 2021] both artists continued their encounters practice to inform an idea of continuity across the distance, which materializes in layers of presence in the space in New York and a mediation of (an)other presence from an intimate and secluded space in Porto, Portugal. In this communicative structure they continue a methodology in which the disembodiment provoked by the digital is transformed into artifacts that behold an overall idea of participatory distance. Practicing the digital system in alternative ways has resulted in a performance-based research constituted by several examples which also deal with the specificities of audio and video in real-time in the process of mediation.
This performance had the participation and collaboration of Kathryn Butler.
Distant Feeling(s) #7 | December 7th, 6PM GMT+1
Distant Feeling(s) 7th, activated on December 7th, 2019, was the third annual activation of the Distant Feeling(s) project, inviting all interested to participate in a shared moment of togetherness across a distance.
Using the internet’s potential of connectivity as a means to reflect on the constraints and limitations of that precise quality, DF has become (since its first iteration in 2015*) a participatory event in which through silence and provoking an inwards movement by the closing of the eyes while connected, which aims to highlight the relational aspect that is (supposedly) intrinsic to the idea of network. Throughout its various activations, from a closed environment between the artists Annie Abrahams, Lisa Parra and Daniel Pinheiro – where the main focus was to attempt sensing the existence and presence of the others while being physically distant, without speaking and with eyes closed – to it becoming a practice shared with an audience, and transforming into an open event since 2017, the project has addressed, cumulatively, the characteristics of the medium/infrastructure to reflect upon them, producing an archive of documentation of the various moments where each one and all work as a visual metaphor of the condition(ing) of connectivity as it is installed in our lives.
A silent, yet sentient, relational encounter, materialized as a telematic embrace where nothing seems to happen and where the lack of apparent action has transformed into the transposition of the concept of agency and a potential way for fighting alienation.
In the more recent activations of the project, a common fact has been the awareness of how machines and the surrounding environments from the different remote locations become present* while the bodies perform a sort of absentia while electricity powers this moment of communion. Where and how are we (always) while the network is functioning?
As it continues to develop, iteration after iteration, whether it is through the annual re-activations or in specific contexts it becomes clear that it is a form of researching togetherness through the internet as a way to counter its fallacy, the promise of a interconnected world where concepts of time and physical space dissipate** (an ubiquitous spatio-temporal unity), which in fact drives today the (im)possibility of collective strength/power. It is a provocation to the role of networked conversations as a practice for activism emptied from specific purpose, again, assuming the role of symbolizing a situation of engaging in different possibilities of triggering collective agency.
Can we find novelty in an already established system, and act from within, towards (an)other purpose(s)?
Distant Feeling(s) highlights in its genesis and continuity the need to feel/sense presence and suggests a pragmatical approach for reshaping a consciousness on kinship resorting to available technological tools which have been transforming its meaning.
“Silence is hard to find…” Camille Renarhd mentions at the end of DF#7 and it is through this quest for silence where machines, responsible for allowing the connection across a distance, “speak” louder and the contemporary restlessness is confronted in this model of interaction between humans and machines. It is not a proposition for a revolution nor a resolution for an evident relational crisis, it is an experience on connectivity and its fundamentals.
The relational revolution is already far along.
At the same time, it is clearly in crisis. – Time Reborn p. xxix
Distant Feeling(s) is a project initiated by Annie Abrahams, Lisa Parra and Daniel Pinheiro
Participants of Distant Feeling(s) #7: Camille Renarhd, Daniel Pinheiro, Muriel Piqué, Annie Abrahams, Bérénice Belpaire, Nicolaas Schmidt, Christine Develotte, Sandra Sarala, Alan Sondheim, Paul Hughes, Nerina Cocchi, Frans Van Lent, Ariane Cassimiro, Frédérique Santune, Camille Bloomfield, Jonathan Chomko, Csenge Kolozsvári, Sabrina Kwong, Ienke Kastelein, Molly Hankwitz, David Cox
Performing Absence… to master the medium?!
Merci pour cela Annie, pour ce miroir que tu nous tends vers nous-même, en plus de nous ouvrir des fenêtres et des portes vers les autres. - Agathe Herry (online participant of Distant Feeling(s) #6) - more reactions here
In Distant Feeling(s) #6 once again a space was activated - a space which opens from different locations into an online communicative interface where the participants rest for 15 minutes with eyes closed aware of their individual presence aligned (in time) with others.
This iteration of Distant Feeling(s) is mounted with the recording of a remix of comments - a text containing the key elements which previous participants made note of after entering this space.
As a moment of suspension the project takes the form of a possible meditative process on our situation while being constantly overflowed with electronic acceleration; in this specific case it was performed to a live audience in Malta as part of Video Vortex #12 on September 26 (2019), the event itself being one concerned with the aesthetics and politics of online video.
A telematic embrace where nothing seems to happen and where the lack of action is precisely its potential as an agency tool towards fighting alienation and perform a possible form of absentia within the network, while the network is in function. So highlighting presence and togetherness as main aspects of social interaction only possible when refraining the imposed ubiquitous spatio-temporal unity that is imposed by technology.
Distant Feeling(s) is a project by Annie Abrahams ( @e-stranger), Lisa Parra ( @lisaparra) and Daniel Pinheiro ( @daniel-pinheiro)
[full] video documentation of “Mediated Motion / LAND PROJECT” (raw edit)
Lisa Parra and Daniel Pinheiro
Performance showing on April 26, 2019
Invited to perform at Festival DDD (Dias da Dança), dance festival in Portugal on April 26 2019, thanks to the invitation of Flávio Rodrigues (artist and curator of DDD OUT*), LAND PROJECT continued to be developed, between February and April in different encounters exploring the concept and notion of “mediated motion” as a form to investigate possibilities of common action at a distance. The encounter aimed, through its development, at exploring possibilities of uniting the remote spaces/locations – Casa da Arquitectura (Matosinhos, Portugal) and LaMaMa Rehearsal Studios (New York, US) – and connecting the outdoors/public space ( @daniel-pinheiro) with the indoors/intimate space ( @lisaparra ) {an idea to be developed further into the future}.
While exploring the concept of (re)-mediation, the setup where the performance took place in Portugal and where audience was expected to be present was structured so that the spectator could choose from which perspective to watch the live interaction and some artifacts, such as materials tested for video projection purposes and a playlist of the previous encounters/rehearsals leading to this presentation.
*DDD OUT is a section of the festival, coordinated by Balleteatro which curates dance works to be performed in the public space.
Read more about the process here.
Visual documentation here.
OnWednesday, December 19th 2018[between2 and 2.15PM UTC],Distant Feeling(s) was activated - again, for the second time - as a participatory online happening, bringing together the artists and participants, all connecting from different remote locations through the use of the videoconferencing platform zoom.us.
Initially started as part of Lisa Parra and Daniel Pinheiro’s collaboration in LAND PROJECT, the project grew into an a specific model of interaction between the three artists involved and has been presented in different formats and contexts. Even if it can be activated outside of its yearly iteration - Distant Feeling(s) is a project which aims at, (least) once a year, bringing together different interested people, joining from their different locations in the world and share ‘15 minutes’ of togetherness across the network. Resorting to the internet as a common communication channel/medium and to video-conferencing software, everyone is invited to join and remain silent and with eyes closed during the duration of the experiment.
For this specific iteration, three different perspectives on the project emerged due to different modes of archiving/documenting the experience:
The last five minutes (editing by Annie Abrahams)
Distant Feeling(s) Gallery View
Distant Feeling(s) (recording by Alix Desaubliaux)
When the usual human tools used for communication - sound and vision, commonly applied in video-conferencing - are taken out from the equation while going against everyday (technological) restlessness and enabling other senses to carefully tune into the presence of others, Distant Feeling(s) becomes an intimate portrait of people actively producing a meditative state where the screen becomes a shared and common space for all. A globally dispersed community materializing a relational system, a networked topology that not only represents the network itself, but that discusses the fragile situation of us being together while apart.
Distant Feeling(s) #5: the fifth session of Distant Feeling(s) - the second of an online ritual of contemplation, a yearly reconnection reflecting on our situation of being together while separated.
Distant Feeling(s) is a project by Annie Abrahams ( @e-stranger), Lisa Parra ( @parralis) and Daniel Pinheiro ( @daniel-pinheiro ) - a series of online webcam meetings trying to experience each other’s presence with EYES CLOSED and NO TALKING.
info also at bram.org/distantF/
dedicated page at http://landproject.tumblr.com/distantfeelings
space(s) is another encounter between Lisa Parra ( @parralis ) and Daniel Pinheiro ( @daniel-pinheiro ) exploring the possibilities of the networked environment.
Space is a practiced place. Thus the street geometrically defined by urban planning is transformed into a space by walkers. In the same way, an act of reading is a space produced by the practice of a particular place: a written text, i.e.: a place constituted by a system of signs. - Michel De Certeau
(De Certeau, ‘The Practice of Everyday Life’, 117, quoted in Kaye, 'Site-Specific Art: Performance, Place and Documentation, 4; quoted in Steve Dixon’s 'Digital Performance - A History of New Media in Theater, Dance, Performance Art, and Installation’, 411)
In the darkness,
We move forward,
in an unknown territory,
a territory devoid of references,
without meaning.
As we move ahead,
as we go through the surface,
through the edges,
as we follow the contours,
we intersect shapes and elements.
In that space,
it becomes…
impossible to perceive what we intersect.
We resort to memory,
to reproduce what we think
we are in fact intersecting.
We resort to memory,
of things we already know,
so we can name the things,
and make that space,
somehow recognizable.
In that space,
where distance is impossible to measure,
we try…
that opacity becomes lesser…
where are you when you’re not here?!
-Placelessness, 2015; LAND PROJECT
As the place - space - is built by a relationship of coexistence; remote places become a single distributed continuous area expanded through a networked system of communication - the specificity of this place [site-specific] is a consequence of what happens within it. The personal sense of position, in regard to common referentials, is disrupted by fracturing the distance between (at least) two physical locations. This perception is an altered state caused by a sensorial experience of practicing this new multi-location extended placelessness inhabited by actions that, through light, gradually unveil a unified mixed reality.
By playing with the possibility offered by darkness and with light, the doubled space is demarcated by the actions developed, its liminality allows for a careful disorientation of participants inviting them to ‘enter’ each other’s distinct location and compose a representation of what’s being simultaneously constructed.
The body finds itself in the middle of this ambiguity, no longer claiming a singular identity but possibly assuming the other as an extension of its own. These ambiguous bodies are constantly in a state of becoming, a transdividual exchange that is a writing of this space, only tangible through its embodiment – its practice, constituting an archetypal system.
Through the screen, both the sense of presence (body) and space (place), within networked environments are exerted to the extent that they undermine traditional preconceptions of their significance. This non-place is a constant transitory state between the physical and the immateriality of its augmentation; inhabited by its agents/actors it becomes a site-specific where both the perception of location and self are shared between them, a communicant place where one end is not a copy of the other, where both are real and coexist in the same time – this one limited to the length of its duration – an area of action, liberated from normative constraints.
see time lapse video of the encounter here.
Distant Feeling(s) #4 - Friday December 1st 2017, 7.30 - 7.45PM (GMT+1). Online. Eyes Closed. No talking. Open to all.
15 minutes of ‘us’ being together, (t)here, where? The time between the encounters will happen from now until then what/how will it be? same people? same set up? same software?! The time in between will measure these questions and urgencies that we bring to this moment. Maybe in the future 15 minutes won’t be enough. Maybe too much?
15 minutes against the everyday digital restlessness, building a sensorial invisible fabric that gathers who’s participating (and who’s not?!), resiliently coming back to this shared moment, with the same faces or others, other possibilities of promoting a silent and blind encounter across each other in an electronic communion. Will it be ‘us’ again?!
[online recording of zoom meeting here]
[screen recording of Daniel’s desktop here]
Distant Feeling(s) #4 is the fourth session in a series of online webcam meetings trying to experience each other’s presence eyes closed and no talking.
An online ritual of contemplation on our situation of being together while being separated.
by Lisa Parra @parralis , Annie Abrahams @e-stranger , Daniel Pinheiro @daniel-pinheiro
info also at bram.org/distantF/
dedicated page at landproject.tumblr.com/distantfeelings
Join us for the fourth session of Distant Feeling(s), a project by Lisa Parra @parralis, Annie Abrahams @e-stranger and Daniel Pinheiro @daniel-pinheiro. A series of online webcam meetings trying to experience each other’s presence - eyes closed and no talking.
This session marks the first of a commitment to a yearly reconnection where we invite others to join, online, and be part of this online ritual of contemplation on our situation of being together while being separated. An ever-changing re-enactment of our intra-action with machines.
Friday December 1st 2017, 7.30 - 7.45PM (GMT+1) - find your time here. Online. Open to all.
If you want to join us, you need to install the zoom application on your computer or cell phone and connect at 7.25PM (GMT+1) to the meeting number 3210554238. (https://zoom.us/j/3210554238)
Distant FeelingS #3 - VisionS in the Nunnery - Oct5-Dec18 2016 (Thursday, November 24th - 6h30pm (GMT) (view the full programme here)
For this 3rd online encounter between the three artists, Distant Feeling(s) - curated by Tessa Garland and Cinzia Cremona for the programme at the Nunnery Gallery (London, UK) - the main question remains:
How does it feel to share an interface with eyes closed and no talking?
A moment of digital mindfulness, a moment to experience the relational tissue that networked environments (expanded to several layers of our common daily routines) provide. By using an interface that relies on senses activated by audio and video in order to establish communication we take a moment to explore the possibilities beyond using those same senses, this time by opening the possibility for others to join.
Annie Abrahams (FR), Lisa Parra (US), Daniel Pinheiro (PT) + possible participants at the gallery + online participants
The piece presented by Annie Abrahams (Distant Feeling(s) #1) continues the research of an artist who challenges the relational utopias attributed to the internet by creating performances which reveal empty yet precious moments, and the banality of interpersonal relations. The performance links Abrahams to two other artists (Daniel Pinheiro & Lisa Parra); from three different locations the three seek to communicate sensations and emotions. Cinzia Cremona (one of the curators) in ARSHAKE Oct. 3 2016.
The link to join the zoom.us meeting dedicated to this event will be shared soon.
(Download the application - desktop or other devices - and “Join meeting” ID = 630407193: https://zoom.us/j/630407193 at the right time.)
When meeting online we face a lack of references that usually define the perception of ‘being’ somewhere at a given time. This object aims at discussing, within the possibilities of networked performance, the mediation itself and, particularly in this case, by removing the fundamental sense that allows connectedness to happen in a mainly visual rationalized culture we question the following: what are we left with?
withAnnie Abrahams (Montpellier, France), Lisa Parra (Los Angeles, USA) and Daniel Pinheiro (Lisbon, Portugal)
collaborator:Olivia Jack
Distant Feeling(s) #2 will be the second encounter between the three artists. The artists will meet according to the rules of this encounter and the event will be livestreamed directly to the reSense [movement, performance, technology, art] Festival - 25-31 July 2016.
Livestreaming:http://www.youtube.com/c/DanielPinheiro/live
Date/Time of the event: Tuesday, July 26th - 9h45pm - 10h45pm (GMT+2)
more information on this project:
http://bram.org/distantF/index.html
http://landproject.tumblr.com/distantfeelings
LAND PROJECT: Placelessness (October, 2015) collaboration with Annie Abrahams: https://aabrahams.wordpress.com/2016/01/27/placelessness//https://youtu.be/tc3nxu-4nno
[edited version]
Daniel Pinheiro :estás?!
Lisa Parra : estás?
Daniel Pinheiro : estás ai?!
Lisa Parra : sí
Daniel Pinheiro :sí.m
Lisa Parra : si.m
Daniel Pinheiro :sim
Lisa Parra : sim
Daniel Pinheiro : sim… não
Lisa Parra : sim…nao
Daniel Pinheiro :não
Lisa Parra : nao
Daniel Pinheiro :aí?
Lisa Parra : ai?
Daniel Pinheiro :aqui
Lisa Parra : aqui
Daniel Pinheiro : tu, aí
Lisa Parra : tu.ai
Daniel Pinheiro : eu, aqui
Lisa Parra : eu, aqui
Daniel Pinheiro : estamos aqui?
Lisa Parra : si
Daniel Pinheiro :onde?
Lisa Parra : onde?
Daniel Pinheiro : onde estamos?
Lisa Parra : onde estamos?
Daniel Pinheiro : os dois, tu e eu?
Lisa Parra : dos, dues, dos
Daniel Pinheiro :dois
Lisa Parra : dois
Daniel Pinheiro : um e um
Lisa Parra : um e um
Daniel Pinheiro :zero
Lisa Parra : zee
Daniel Pinheiro :não
Lisa Parra : ro
Lisa Parra : now
Daniel Pinheiro :zeeeeroooo
Daniel Pinheiro :now
Daniel Pinheiro :não
Lisa Parra : now
Daniel Pinheiro : aqui, aí
Lisa Parra : aqui, ai
Daniel Pinheiro : tu e tu
Lisa Parra : tu e tu
Daniel Pinheiro :teu
Lisa Parra : teu
Daniel Pinheiro :temos
Lisa Parra : eu
Daniel Pinheiro : eu estou aqui
Lisa Parra : si
Daniel Pinheiro : tu estas aqui
Lisa Parra : si
Daniel Pinheiro :now
Lisa Parra : no
Daniel Pinheiro :sim
Lisa Parra : sim
Daniel Pinheiro :aí!
Lisa Parra : alli
Daniel Pinheiro :ali?
Lisa Parra : ayayaaaaaaa
Daniel Pinheiro :allá
Lisa Parra : alli
Daniel Pinheiro :donde?
Lisa Parra : on
Daniel Pinheiro : meus pés
Lisa Parra : eu pes
Daniel Pinheiro : eu de pé, sentado
Lisa Parra : eu da pe, sentado
Lisa Parra : de
Daniel Pinheiro :dá
Lisa Parra : da
Daniel Pinheiro :dá-me
Lisa Parra : da’me
Daniel Pinheiro : dá-me algo
Lisa Parra : da-me aldo
Daniel Pinheiro :alme
Daniel Pinheiro :alma
Lisa Parra : alma
Daniel Pinheiro : nós os dois
Lisa Parra : nos os dois
Daniel Pinheiro :desaparecemos
Lisa Parra : ok
Daniel Pinheiro : para allá?!
Lisa Parra : si
Daniel Pinheiro :now
Lisa Parra : now
Daniel Pinheiro : com a alma
Lisa Parra : com a alma e palma
Daniel Pinheiro : na palma da mão
Lisa Parra : si
Daniel Pinheiro : nós na palma da alma da mão
Lisa Parra : nos na palma da alma da mao e ollas
Daniel Pinheiro :olha
Lisa Parra : olha
Daniel Pinheiro : para ti
Lisa Parra : olha
Daniel Pinheiro : para a frente
Lisa Parra : olha
Daniel Pinheiro : para trás
Lisa Parra : olha
Daniel Pinheiro : para os olhos
Lisa Parra : olhos
Daniel Pinheiro :espelhos
Lisa Parra : espalda
Daniel Pinheiro : de costas
Lisa Parra : de costas e moscas
Daniel Pinheiro :oscas
Daniel Pinheiro :foscas
Lisa Parra : os y nos
Lisa Parra : vos
Daniel Pinheiro :todos
Daniel Pinheiro : e nós
Lisa Parra : osco
Daniel Pinheiro :fosco
Daniel Pinheiro :opaco
Daniel Pinheiro :transparente
Lisa Parra : trans para
Daniel Pinheiro : trans luz
Lisa Parra : trans luz cente
Daniel Pinheiro :sim
Lisa Parra : sim
Daniel Pinheiro :now
Lisa Parra : now
Daniel Pinheiro :talvez
Lisa Parra : a vez
Daniel Pinheiro : um de cada vez
Lisa Parra : um de cada vez
Daniel Pinheiro : um - a - tempo
Lisa Parra : um - a - tempo - tiempo
Daniel Pinheiro : sin tiempo
Daniel Pinheiro :sim
“If the loss or distortion of information is going to be great, might this not have an effect on the desirability of the technology?” - «The linguistic future of the Internet» David Crystal (2004)
MOUTH-TO-MOUTH is another encounter from Lisa Parra ( @parralis ) and Daniel Pinheiro ( @daniel-pinheiro ) as they continue LAND PROJECT.
Invited to perform at Maus Hábitos (Porto, Portugal) the encounter will address language as the starting point for their interaction. (April 1st, 10.30pm (GMT+1))
While in Placelessness (developed in residence in October 2015 and performed across a distance in January 2016) they explore the architecture of Internet’s lack of “time” and “space”, this encounter aims at discussing the importance of language as a place of (mis)information and disembodiment, building upon Portuguese words (verbs, nouns, pronouns …) to develop a mash-up where communication is transformed while travelling between their mouths and physically translated into their own bodies present at the same “time” in different contexts (“spaces”). A communicative nomenclature that is shaped by a mediated communicative relationship.
Post link
“what does it mean being human in the future?” “how to be seen?” “the in between as a potential for connection…” the constant transformation caused by a state of permanent transition was present in Eli Steffen’s questions for his curation of Gray Spaces @ the Wild Project, as part of the Contemporary Performance Network Festival, Special Effects.
While addressing some of these questions in our work, this version of LAND PROJECT / Placelessness (first developed in residence in October, 2015) took on the following premise: negotiating movement within the in-betweeness of the digital space, as a response to one of the themes of Gray Spaces - the uncharted topographies of performance.
Where are you when you’re not here?! Where is here…?
Land Project, performed by Lisa Parra and Daniel Pinheiro, gave us some video-mirroring between Lisa in the lobby and Daniel on a live feed from an undisclosed location, presumably backstage. Physical movement was benign, but there was an eerie ISIS quality to Daniel’s placeless dark room. The physical became vocal as characters spoke in different languages, struggling to communicate and comprehend. “Are you here now? Where is here?”
LAND PROJECT: Placelessness
Lisa Parra & Daniel Pinheiro
with: Hannah Bastos & António Matos
collaboration with: Annie Abrahams & Mateo Galindo Torres
October, 2015 CAAA - Centre for Art and Architecture Affairs, in Guimarães (Portugal)
In the darkness,
We move forward,
in an unknown territory,
a territory devoid of references,
without meaning.
As we move ahead,
as we go through the surface,
through the edges,
as we follow the contours,
we intersect shapes and elements.
In that space,
it becomes…
impossible to perceive what we intersect.
We resort to memory,
to reproduce what we think
we are in fact intersecting.
We resort to memory,
of things we already know,
so we can name the things,
and make that space,
somehow recognizable.
In that space,
where distance is impossible to measure,
we try…
that opacity becomes lesser…
where are you when you’re not here?!
