{"id":549,"date":"2021-04-17T21:39:42","date_gmt":"2021-04-17T21:39:42","guid":{"rendered":"https:\/\/provocations.online\/invisibilityincollaboration\/?page_id=549"},"modified":"2023-05-05T17:18:46","modified_gmt":"2023-05-05T17:18:46","slug":"provocations","status":"publish","type":"page","link":"https:\/\/provocations.online\/invisibilityincollaboration\/provocations\/","title":{"rendered":"see the PROVOCATIONS"},"content":{"rendered":"\n

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\n What aspects of your practice\/research are invisible to your collaborators? Browse the growing collection of provocations here! <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Avital Meshi and Treyden Chiaravalloti<\/a><\/h2>\n\n
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\n This is a collaborative work-in-progress on a mixed-reality performance titled InVISIBLE. Through experiential play with the technology and a focused research on movement we aim to materialize the hierarchical structure between the individuals who design… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n CultureMoves<\/a><\/h2>\n\n
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\n The EU-funded research project CultureMoves (https:\/\/culturemoves.eu) is a user-oriented project that explores the intersections between dance, education, tourism, cultural heritage and digital technologies. The project aims to develop a series of digital tools to enable… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Daniel Lichtman<\/a><\/h2>\n\n
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\n https:\/\/vimeo.com\/511349625 Daniel Lichtman Dear R and S, I\u2019m reaching out to see if you would be open to helping me with something (quick). I really appreciate the personal nature of the material I\u2019m asking you… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Evelyn Ficarra<\/a><\/h2>\n\n
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\n Eveyln Ficarra>>>View Evelyn’s 2021 provocation <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Evelyn Ficarra (2)<\/a><\/h2>\n\n
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\n What is invisible to your collaborator? The first time I considered this question, last year, I found it so difficult to verbalise that I simply sent an image of myself, blurred out. This was a… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Federico Visi<\/a><\/h2>\n\n
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\n When I collaborate with artificial agents to explore ways of interacting with sound through body movement, I deliberately curate the set of body motion features that are \u201cvisible\u201d to them. I hide what I believe… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Francisca Morand and Javier Jaimovich<\/a><\/h2>\n\n
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\n How do we identify moments when the interactive dialogue between movement and sound in our work is innovative for both of us, and for both of our disciplines? How does “time” unfold for each collaborator… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Giselle Liu and Mansi Patel<\/a><\/h2>\n\n
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\n Collaborative Practices between Architecture and Movement As a collaborative duo, we will be writing this article from the \u2018first stage\u2019 perspective. Our practices are design (architectural spaces) and choreography (movement of negative space and positive… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Hanah Kosstrin<\/a><\/h2>\n\n
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\n The invisible aspect of my practice\/research is my critique of the Laban systems of movement notation and analysis even as I use them as research tools. I am critical of these systems because of their… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Irene Fernandez Ramos<\/a><\/h2>\n\n
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\n Olivier Razac said that \u2018the perfection of a tool of power is not measured so much by its technical refinement as by its economic adaptation. The instruments which serve authority best are those which expend… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Jan Schacher<\/a><\/h2>\n\n
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\n Expertise and track-record vs. boundary expansion and new types of knowledge The tensions between disciplines and the need to fulfil or answer reviewer’s expectations are always part of a cross-disciplinary writing project. Presenting a synthesising… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Jeff Lubow<\/a><\/h2>\n\n
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\n Many aspects to software may be invisible in a performance.  Here are a few that came to mind: – Lost history:  Time spent can be rendered invisible (either to the audience, or for the artist… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Joanna Magierecka<\/a><\/h2>\n\n
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\n https:\/\/www.youtube.com\/watch?v=yRlcoiwkEUs&feature=youtu.be Transcript provided below. 1. Hello, welcome. I am The Hostess. Sorry to disturb you in this way, I am hosting many events, it is difficult to keep track of everything. I suppose the deadline… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Johannes Birringer<\/a><\/h2>\n\n
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\n 1. visible invisibles is it not a bad time to raise questions about the invisible people or invisible and immaterial labor? Perhaps, out of order out of sight, it\u2019s a good time after all, and… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Johannes Birringer (2)<\/a><\/h2>\n\n
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\n In my experience, digital performance environments require an acute awareness and knowledge of working methods within such infrastructural atmospheres, regardless of how controlled or how open they are. Yet developing strategies based on experience, or… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Katya Rozanova<\/a><\/h2>\n\n
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\n I’d like to propose thinking about an intervention for invisibility that gets in the way of collaboration. Perhaps there is a way to start a new tradition, a practice of sitting down together *over tea*… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Lauren Mark<\/a><\/h2>\n\n
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\n Bring Me the Nothing As a dancer turned Communication researcher, the practice and process of working from flow often goes untranslated with my Communication colleagues. They might ask how I planned a written performance piece,… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Lauren Mark<\/a><\/h2>\n\n
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\n I’m struggling to toe the line between familiar terrain and new discovery. Discovery has always beckoned, like the tide receding from the shore, calling me to catch it. Why would I want to remain on… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Manjunan Gnanaratnam<\/a><\/h2>\n\n
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\n Outside of dance, in other artistic contexts, many aspects of my practice as a musician and technologist in dance contexts, would be considered as invisible, yes, however, 21st century dance, in the early stages of… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Sarah Fdili Alaoui<\/a><\/h2>\n\n
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\n The value system, format, constraints, language, interests and focus of my other discipline that is not theirs. Sarah Fdili Alaoui <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Shelley Owen & Josh Slater<\/a><\/h2>\n\n
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\n Screen shot of Garbage In, Garbage Out duet in February 2021 via Zoom It\u2019s the before moments. The moments we experience individually whilst together in our practices before sharing artwork. The personal rituals. The preparations… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Stefania Mylona<\/a><\/h2>\n\n
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\n Given that any artwork is in fact research-based the one thing that is often invisible to my performance collaborators in choreographic works is personal inspiration. Where does inspiration come from and how does it invade… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Susan Wiesner & Rommie L. Stalnaker<\/a><\/h2>\n\n
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\n We have had some aspects of our process rendered different by the rest of our collaborators. All our team members must tap into both sides of our brains, and bodies, as we acknowledge our creative… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Teoma Naccarato & John MacCallum<\/a><\/h2>\n\n
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\n Yesterday we were lying in bed, entangled, and my belly gurgled. Or, actually, maybe it was your belly that gurgled. We really couldn\u2019t tell whose belly had gurgled, and this made us laugh. It was… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Wayne Tai Lee<\/a><\/h2>\n\n
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\n My collaborators are blind to my fears. I am afraid of the data scientists who actively abandon their humanity. An algorithm that blindly optimizes for one objective can discriminate minorities for mortgages rates, spread inflammatory… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Will Hallett<\/a><\/h2>\n\n
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\n Increasing emphasis among feminist psychoanalysts on the maternal subjectivity, a non- and in some cases prior to phallic capacity\/aspect (or, I argue, identity) of subjectivity, can be read in certain contexts as the grounding of… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n
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\n Zelia ZZ TAN<\/a><\/h2>\n\n
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\n https:\/\/youtu.be\/tybZlKusHEQ ChallengeAs a dance maker, I am striving to practice my aesthetic concept of the bodies in Virtual Reality. The performance of my avatar in different software made collaborators (technicians, other virtual dancers) could constantly… <\/div>\n<\/div>\n <\/div>\n <\/figcaption>\n <\/figure>\n <\/article>\n \n<\/div>\n <\/div>\n
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