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.
A lab hosted by Mariella Greil & Werner Moebius at Prisma Mexico 2009
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
Underwater audio cinema. 4-channel site-responsive hörspiel commissioned by Newtoy Productions.
Live performance in Clissold Pool, Stoke Newington, February 2009.
Worktype: Multimedia Performance
Location: Serpentine Gallery, London
The Sound Moneyfesto was launched by Lee Scrivner at the Manifesto Marathon 2008 at the Serpentine Gallery in London. The mp3 above is his demo of one of four compositions performed by the ensemble.
It used music, satire, and word play to comment on the 2008 banking crisis (specifically the failures of Fannie Mae and Freddie Mac) and the idea of sound money.
The Sound Moneyfesto was launched in concert with manifestos from Marina Abramovic, Brian Eno, Gilbert & George, Yoko Ono and Vivienne Westwood.
Worktype: Grimprovisation Duo
Materials: noise, distortion, loops, voice, self devised instruments, radio, electric guitars, fx
I had arrived a day early for the Art of Immersive Soundscapes Forum. 8 hours by Greyhound from Winnipeg airport across flat rolling endless prairie. The Empire Hotel. The cheapest place in town. Next door to the liquor store. The room was $25 a night. It hadn’t been changed in 25 years. Everything run down, and battered. A Friday night. Alone in the prairies. I locked myself into my room. I scanned the FM radio frequency to search for company.
Demo project developed with Richard Scrase and presented at the Royal Geographical Society
Location: Shoeneweider, Berlin, Germany
Worktype: Electronic Improvisation / Sound Installation
Info: Collaboration with kawaii, Julian Ronsfeldt and Leo Konigsberg.
KVO – Ascent to Pi
KVO – As Industrial Cold is Distant Female
KVO – House Becomes Island
KVO – Sticking Plastic to Finger