Motion in Place Platform: Project Website

The Motion in Place Platform brings together a cross-disciplinary group to develop new technologies allowing researchers to move out of the studio,to map and measure the human experience and response when moving through places.

The MiPP team uses motion capture (mocap) systems to record different forms of movement data on site. A first system developed in collaboration with Brighton-based motion-capture company Animazoo, adapted their IGS-190m, currently the most advanced inertial motion capture system on the market, for use outside a studio. Using gyroscopic sensors attached to flexible suits, this system allows the collection of high-resolution, full-body data from two people in a fixed area over limited time periods, recording, for example, the movements needed to collect water from a well.

Torture Garden

Modus Arts is a creative platform exploring the intersection between sound space and body space. We are structured as a soft edged network comprised of a core team of artists and associated artists, technicians and administrators, producing a range of installations, performances and theoretical writeups.

modusarts.org


Sound Art, Digital Media and Post-structural Critical Theory.


A lab hosted by Mariella Greil & Werner Moebius at Prisma Mexico 2009

Maybe manifesto
Maybe we move into the space between yes and no
Maybe we perform the spectacular spectator or performer
Maybe we overcome virtuosity and redefinition
Maybe we question the brute somatic nature of the body and make-believe transformations
Maybe we are all stars and invest in generosity
Maybe we share the in-between
Maybe we look for respect, hospitality and friendship
Maybe we become hybrid
Maybe we distort and recycle our style
Maybe we enjoy cunning concepts and teasing procedures and their strictures
Maybe we move beyond camp, eccentric, heroic and their opposites
Maybe we inverse the structure of the sublime
Maybe we decide for sensitive ambiguity
(response to Yvonne Rainer’s NO Manifesto and Mette Ingvartsen’s YES Manifesto)

Die Kunstpraxis als Werkform.

The lab creates space and framework for exploring emerging practices. “Who’s afraid of the in-between” contributes to a critical discourse on knowledge production in collaborative research and work modes both rehearsed and performed beyond closed categories.

writings from the in-between. emily sweeney, july 2009, mexico

the in-between is inherent. it is rich with experience, preserving a space where memory trails into possibility. it is not a state to be achieved, only recognized, and delicately. to focus on the in-between will cause it to shift. the instant we acknowledge a state as being in-between, we have arrived.

in order to find ourselves in-between, we engage with concrete structures. a vacuum is not in-between: it is nowhere.

where are the two poles that we would find ourselves between?
knowledge and ignorance
technique and pedestrianism
planning and sensation
consciousness and unconsciousness
self-consciousness and abandon
isolation and interaction
movement and sound
proprioception and desire
beginning and end

where would we find ourselves that we should feel in-between?
perhaps we will try to find sensitive ambiguity together.

once, in the laboratory, we exchanged rules. each of us wrote a rule on a small slip of paper and put it into a hat. then, we all selected rules that we were bound to follow for the duration of an open improvisation. i selected the rule to NEVER BEGIN!!! i could not predict how this would unfold. i could not conceive of never beginning.

i stationed myself against a white wall at one end of the space. there, i could feel the wind on my body from outside through an open door and i could see the shadows of trees shifting at the corners of my eyes. i had an easy view of the entire improvised event occurring in the space. NEVER BEGIN. i could not move but to breathe. my hair was moving in the wind; i could not move my head. my eyes searched round and round, roving the space; i could not move my head.

sounds, movements, sensations, interactions shifted before me. but i could not move. i stood still. i began (shit!) to feel an immeasurable pressure in my thighs and feet. my hands trembled; my legs trembled; my face contorted; i began to cry. i breathed; i focused; i stopped crying, and began crying again. i arrived in a space between proprioception and desire. i was present between every decision and every action; i filled the space with longing. the space filled with my longing. every actor’s action was infected with my desire.

is it possible to invite another person into my in-between? can i have company there?

is it possible to be alone in the in-between? do i depend upon the presence of company there?

where were we, that we should feel in-between there and someplace else?

where are we going?

does the in-between imply movement, instability, journeying? is it possible to arrive at the in-between?

are we comfortable in the in-between? is it possible to be comfortable in the in-between? do we want to be comfortable in the in-between?

“…if entire systems of representation, of meaning, had been extinguished inside him, entirely new systems had been brought into being.” Oliver Sacks, An Anthropologist on Mars

the in-between is a constant negotiation. the in-between is dependent upon binaries. the in-between denies binaries. the in-between rejects binaries.

i know only that i am in-between. i do not know why, or how. why do i strive for articulation? if i articulate this, will it disappear?

i am an artist who was raised in the united states. i find myself in mexico. all the time (walking, seeing, hearing, speaking) i have a heightened sense of myself living between my individual beliefs, hopes, and sensations, and those of the country i inevitably represent. can i shed this in-between? do i want to shed this in-between? why am i so uncomfortable in this space between myself and my perceived geopolitical identity?

i am a movement artist who was raised by a family of musicians. all the time (moving, listening, sounding) i have a heightened sense of myself living between my senses. do i want to focus on this in-between? will i damage my in-between by concentrating on it?

where is the space generated by this laboratory of in-between?

i am not afraid of the in-between. i fear its obliteration through description; articulation; location.

emily sweeney, july 2009, mexico

Year: 2009
Location: Cecil Sharpe House, London
Worktype: Sound Sculpture
Materials: 4 vintage cassette machines (dissassembled), ardiuno, ultrasonic sensor, D.C. motors, audio tapes, band mashup, fan, L.E.D, writing, speakers, 2 x cassette walkmen.

Underwater audio cinema. 4-channel site-responsive hörspiel commissioned by Newtoy Productions.

Live performance in Clissold Pool, Stoke Newington, February 2009.

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Lead Belly was born in Louisiana somewhere around 1888. Living the often violent life of an itinerate musician he found himself twice imprisoned for murder. In 1933 his reputation reached the Lomax family, who, after no small personal tragedy of their own, were traveling the Southern states, recording American work songs, ballads and blues in prisons, penitentiaries, and brothels. Moving around the country in their Ford sedan, John, and his sons John Jr. and Alan, set about recording such artists as Woody Guthrie, Muddy Waters and Jelly Roll Morton. They came across Lead Belly in the Louisiana State Penitentiary at Angola, and with their state-of-the-art acetate disc recorder they cut several sides together over the next few months. They soon parted ways; Lead Belly to a fifteen year career as a solo artist, and the Lomax’s continuing their collection of folk musics for the archives of the Library of Congress, and the Works Progress Administration. Despite the difficult relationship between the academic Lomax’s and the hard-living blues artist, it is through this short-lived collaboration that Lead Belly’s work reached a wider audience, of which I count myself a part. My father, following a period of time working in the Caribbean after leaving school in 1964, had become interested in what was still at that time called ‘negro music’. A Presto vinyl record (PRE 689, 1965) containing a selection of Lead Belly’s early Lomax recordings, is one of the earliest artifacts of any kind that I remember from my childhood. For this project, I was interested in engaging with a populist folk tradition, in the hope such a strategy would enable me to think about electroacoustic composition in a new way. The sound material selected, was by necessity, lo-fidelity (A short promotional film made by Lomax and Lead Belly, found on YouTube). The surface noise in the piece, the glitches, and crackles, are inherent to the source material, and are intended to reference the sounds of old blues records, and to address issues of the value of distribution of heavily compressed audio on the internet, thought of here, as a repository of cultural memory. The piece was entirely constructed from Lead Belly’s voice and signature 12-string guitar.