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[Music]
and uh this uh is not necessarily a talk
this is more a performance and it's
titled a web page in fre X it's by Yanna
Chico she's a graphics designer a
researcher and a performer with a
background in in
dance thank you um thank you for being
[Music]
[Applause]
here um I'll start by sharing some of
these um choreography code um yeah I
hope you you enjoy the dance um and
there will be time for questions
afterwards
okay
for
First
Act
warning theatrical actions are not
necessary to the performance piece avoid
if at all
possible warning two please switch off
your mobile
phones
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e
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remove
remove remove
new sequence or
phrasing phrase as a metaphor for a long
or total duration containing beginning
middle no
end
for
eliminate or
minimize
keep
mindful or be aware of your
breathing
elements of
chin
check the position of elements under
alator
influence chance modifies
perception destroying the idea of
sequencing
beginning middle no
end
for
choreography is the organization of
tensions the tensions and counter
tensions stop or
intensify leave the
stage
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for
accumulation super about variation
accumul simultanous accumulation
superimposition accumulation
accumulation simultaneous
variation
accumulation variation think
allation variation variation I think
all ristic ryms accumulation super
position not ristic body accumulation
variation body
repetitive
variation simultaneously I think
body
simultaneously leave the
stage
second
act
pause the circle suggests the Infinity
of Perpetual
Motion repeating itself
interminably
momentum or
inertia
there are as many spatial temporal
experiences as there are distinct
movements found move m m ritualistic
repetitive specializing time in
multi-directions multiple speeds and
orientations between geometry and
gesture organizing our vision of the
world
for
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remove
for
breathe
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breathe
breathe until it's
enough and
rotate pause
for
leave the
stage
Final
Act by moving or by opting to remain
still choreography demonstrate how its
decodings Are Not Mere conceptual
propositions but actual possibilities
for
action
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for
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for
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for
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[Applause]
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thank
you
[Music]
thanks thank you thank you for being
here until the
end and not falling asleep and all these
things
um yeah I'm open to questions I also
have some notes with me and I'm happy to
share more of these um yeah project
project and research that I'm doing so
feel free
to yeah to start with questions and
otherwise I can also um yeah share more
of my
choreographic um
ideas share your ideas I
will uh so this quote your um reading uh
it's by Steve vul um and Michael F also
to
choreographers and so for me
choreography really is
something uh that I took to the design
and programming world and I see them now
as um this sort of hybrid language that
really helps out um yeah investigating
what goes behind the
interface
so um maybe maybe this is just a very
basic um
definition and I'm I'm maybe you also
know that choreography stands for
writing movement so it is a writing tool
a device um and a language that has been
constructed throughout many many years
um also it has been appropriated by
different people different movements
different time in history it has
evolved um there is a lot more also if
there's Greek speaking
people in the audience um you may also
understand there's more nuances it's not
just about um writing movement but
there's actually traces of other uh
words in the um definition and the
ethology of the word itself which for me
is extremely interesting in particular
in particularly this notion of um of a
hand which goes very physically back to
the Notions of writing and how we
started with this uh technology of
writing
but also the notion of space not as
something that is appearing as already
defined but something that we um yeah
something that we Define ourselves so
and also the notion of making space so
not space as a given but space is a
construction individual Collective as we
might um take
it
so this is pretty much how I um my own
sort of
formula um that I started looking at
choreographic
languages and programming uh mainly web
programming and do the sort
of well it can can can be a
demonstration sometimes but I try to
make it more of a life performance and
um embracing a little bit more the
theater or
spectacle and yeah for me it's not just
um um an appropriation or trying
to trying to find ways
through
um through these performative uteran of
code but it's also a way of thinking
critically and thinking otherwise and
also listening to other
voices there's been other
projects um
on other sorts of Dance jamras what
you've experienced before was mainly
based on postmodern
dance which was um originate originated
in the '
50s um you might know some names uh for
instance Ivon rer M kingham Trisha Brown
Lucina the
child a lot of these voices were also
speaking for
um other fights so woman really trying
to um look at their body and their
movements and uh the space and time
constructions around them and and and
having their own uh perspectives to be
performed and and to make that
real
and yeah with with all these different
projects I I started collaborating with
other
choreographers because I have uh
background in Classical Ballet and
contemporary which um yeah in itself
these are very specific ways of seeing
movement as well so I learned a lot from
other encounters for example with uh
Esko Watchman movement
notation or Tango and most recently
buo um a lot of these is actually
documented online uh you can see videos
from these but also the source code um
is available on
GitHub
um but yeah I could uh obviously just
have the code in itself but for me is
also important these moments in which I
can perform the code
um this is um a quote that I always like
sharing from Francisca
shudder and the fact that I'm here and
I'm typing and I'm writing these words
that I um that I make them mine in a way
because of merging all these references
into the choreography code that I
present um these presence on on stage
but not actually not often I'm on a
stage I can also be among the audience
and so on um it makes it visible a
certain kind of physicality which is
often hidden by the
screens so this is one of the
motivations why I also started engaging
with
performance and um these other reference
from medium van Hut sure if I'm
pronouncing correctly um so it's a an a
thought on scores um and how the
flesh uh is also
something Dynamic and always in relation
with um the language with the devices
with the environment with multiple
agents and agents
so all of these have been discoveries
that I'm happy to share in this
form um but it's also a discussion it's
an ongoing discussion and I'm I'm I like
to think of this scores choreographic
score SL programming scripts as evolving
as um not not as static um even the
language is always has a that quality of
trying to remain
still um yeah so yeah I was going to
show a few of these projects but again I
I do want you to interrupt me
um otherwise I will also
continue so this one was um yeah and and
those who want to interrupt please just
walk to a microphone and uh we can have
your
Interruption um
this was a recent um experiment at the
internet Moon
Gallery um actually it's it's a really
interesting
um 3D environment and gallery that every
um every every x amount of months I
don't I'm not sure if it's every month
or
maybe uh bigger periods hosts
artists uh artist works and in this case
I was um embedded in my codee there and
this code would um basically also be
available for anyone who would want to
open the web console and try uh
themselves and this one was uh
particularly uh created for Google
Maps and I I did a a demo with um the
moon um for the internet Moon
Gallery also it's not all the time that
I'm alone performing I started new
collaborations and um yeah I'm always
happy to to collaborate uh some people
in the room have been collaborating with
me um yeah I'm I'm also very interested
not only choreographer but in somatic
practices and uh
theater also um traditionally I don't
know if we can really speak of tra of a
huge tradition but life coding um has a
strong connection with with music and
sound um
production and I also um started now a
collaboration with renck bell
um which yeah you can see um
our platform
online uh for for more details but um
what was interesting was to um have
these
dual uh interface performance in which
our code interacts and I'm I actually do
interfere with the sound and I have
someone interfering with the
visuals it looks like we have a question
at microphone too
mhm uh hi uh thanks for thanks for this
this was really uh very
moving uh I've got a question um well
when you circled around us I felt that
this is an kind of inviting movement for
all of us like taking us into the circle
and you also put your code on GitHub and
my question is uh would you like other
hackers to Fork the code and uh maybe to
practice this uh somehow as a movement
practice and uh how you envision this as
we probably are not so competent in
movement
m
um well one thing is sure is that we are
all in movement even when we think we
are standing still we're not so I'm sure
um anyone could actually participate in
this chore actually we're embedded in
many choreographies aren't we so it's
just a matter of experimenting more
about um co-creating other
choreographies and um I was hoping that
someone would for like cod on GitHub so
far I have hasn't happened but please do
so yeah I'm looking forward to that
thanks okay next question for microphone
number one okay uh great performance
really like that uh just I was wondering
about the intent um maybe that's a too
flat a question but are you looking for
uh some sort of Beauty in in in those
Frameworks in those
visualizations are you just looking for
your own personal experience of some
sort of space that you want to share or
I mean what's your like in what
direction are you going what is driving
you
[Music]
there yeah I
um yeah I I wouldn't really know what to
say about beauty that that's I
suppose yeah that's that's something
else for me I I wouldn't uh think of
that while performing actually I do
think though about Aesthetics as
something that comes uh back to the
senses and sensorial experience I think
about um movement and and uh uh body and
flesh and physicality and sweat and
breathing
and um bring that into the space of code
and code into the space of everything I
guess we are already in this Loop
anyways um yeah I I'm not um really
thinking
about web design in terms of of beauty
or ugliness or um no
okay yeah
thanks okay um probably last question
from microphone number two and please
keep it brief question wise okay uh this
is a very tax Savvy audience which lives
a lot behind the user interface do you
feel that Tav audiences react
differently to these uh pieces than
people who live in front of the
interface um I think we I I had really
different comments um and I heard really
different feedback actually um some
people they keep on seeing the same code
and only after a while they really
realize that there's actually a head and
and a body and and they actually realize
what that means that we're actually you
know cutting the the interface in in
these two uh in this Great Divide that
we actually have been building history
um on top of so it's quite surprising
actually I often think that um yeah it's
going to be yeah no novelty and um and
there's nothing I'm just building on top
of an existing code and interface but
then eventually it is possible to read
this code otherwise and to to to think
of things differently and that's what
often happens in in more Tech uh
environments but also when it's other
environments in which there's less
people who know how to code code they
also
actually they do start recognizing some
terms that appear often when there's
errors and so on and then suddenly they
think yeah well actually um I see more
the cause and effect and or that there's
different findings and experiences I
suppose in every audience
member thank you very
much and uh well this is the end of this
talk uh we will continue at 2150 with a
talk on media disruption led by the
blind that's about user interface design
by blind people for blind people very
interesting topic uh thank you all for
your attention um if you leave please
take your belongings and your trash with
you and preferably also your neighbor's
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trash
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