Reflection

Hero Project: GoPro + Community

Archive Date: April 30, 2018
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“…everyone who loved sports and adventure wanted a GoPro, and from a niche brand, it moved to being a household name. With GoPro, anyone can be a star. In a context where everyone is self-obsessed and “selfie-obsessed” GoPro’s success was certain. Gopro BE A HERO. Their slogan, and their focus during their entire journey.” – Guilia Berardinetti

What does it mean to be a hero? Hero of what by definition? Why GoPros? What is a love ethic in regards to approach? What makes GoPros and community work important? What is humane about recording people in the community? In capturing care how do I ethically insert the technology and my presence? What is relevant? What is important?

I started out this semester in the deep pit of these questions. The questions were in surplus and I was unsure about how the work would unfold moving forward. I knew in the beginning that I wanted to work with a community and Champion Intergenerational Center, and the center was a great match to gain wide perspectives through the community of generations with the GoPro Technology. However, I was still missing the scholarly backing for this research for developing my approach and foundation. I felt a little lost and unsure at the beginning of this project.

and then…

Fred Rogers appeared 

While Mr. Rogers is most notoriously known for his popular TV show Mr. Rogers’ Neighborhood, he was more quietly a revolutionary in the pioneering of humane technologies. In the video above we see a humble man make a clear argument for the well-being of children who are absorbing commercialized networking, violence, and inappropriate material through TV’s growing popularity. Mr. Rogers said, “Let’s not get so fascinated by what the technology can do that we forget what it can’t do.” With his argument, he is awarded 20 million for children’s programming that revolutionized young minds forever. The example that Mr. Rogers develops is that the technology can be used for the betterment of humanity and the social platform the TV uses to enhance a young person mind – is limitless. Suddenly I had a lineage to Humane Technology and a framework of care + wellbeing to support my research.

“It’s really easy to fall into the trap of believing that what we do is more
important than what we are. Of course, it’s the opposite that’s true: What
we ultimately determine what we do!” – Fred Rogers

Creative Knot Session

Taking the new information of Mr. Rogers I began to construct my Creative Knot Session for Research Studies. This knot is specifically for the workshop and gathers information that can help forward the research.

Who gets to be a hero was one of the first things I thought when looking through the GoPro webpage. Browse here. So what defines a hero? Merriam Webster records the definition of Hero by 4 main categories:

a: a mythological or legendary figure often of divine descent endowed with great strength or ability

b: an illustrious warrior

c: a person admired for achievements and noble qualities

d: one who shows great courage

(Definitions lifted from here)

I am fascinated by the roles that Hero takes on. We go from the extremes of Superman, Ironman, and Wonder Woman to the Doctor, Firefighter, and good samaritan. However, what about the unnoticed heroes that lurk outside of our traditional thinkings? I wanted to explore this in the Creative Knot and with Champion IG Center to recognize those who go unnoticed.

So, thinking ahead that I was going to be integrating myself into the Champion Intergenerational Center, I was thinking about how the guests would wear the technology and what perspectives were central to the end video compilation. Some questions that framed my Creative Knot:

What makes these people heroes compared to everyday heroes? 

What is relevant about filming the interactions of everyday heroes that exist daily vs. the radical interactions of athleticism?

What is it like to be a hero for a day and have your experience captured?

How do peacefulness and tenderness translate on film? What does tenderness look like in actions form?

Here is the first archive of footage (Research Studies peers featured) I gathered and framed by perspectives of movement I was cataloging:

When I think about this stage of research I am experiencing Bell Hooks All about Love reading where she says, “For example, revolutionary new technologies have led us all to accept computers. Our willingness to embrace this “unknown” shows that we are all capable of confronting fears of radical change, that we can cope.” Her words came with such power, I created a vivid response called a Love + Ethic Manifesto. I am drawn to the notion of change and the constant restructuring of how we operate as human beings through interactions and causes. I am searching for radical change step by step inside my own thinking structure and outside of my internal state.

Next came…

Building on Care + Well-being + Ethics

During this course, I read three books that have forever changed my thinking structure: Matters of Care by Maria Puig De La Bellacasa, All about Love by Bell Hooks, and Art of Relevance by Nina Simon. What does care mean? How do we care? What are the staples of caring movement? How are we ethically caring? How do we perform well-being? When using a GoPro what actions of care am I capturing?

Where do I begin? Maria Puig De La Bellacasa’s Matters of Care: Speculative Ethics in More Than Human Worlds. Bellacasa says, “Care is a human trouble, but this does not make of care a human only matter” (Bellacasa 2017, 2).  Bellacasa uses Toronto’s definition, “care about” vs. “care for” as a means to situate the dimensions of care into effect for aligning with the ethical and political questions that arise per this poignant matter. I realized I was not going to be able to fulfill this project by dropping in and recording with my GoPros. There was much more of myself that I would have to offer in order to understand this approach and community. I wanted to absorb the community, be present, be still with my observations and trusted the work would develop.

Some keys developments:

Being fully present

Actively Listening

Touch (assist a child or elderly navigate space)

Eye Contact

Engaging in a complete conversation, before changing focus.

Smiles and laughing.

Important Quotes:

“I believe relevance unlocks new ways to build deep connections with people who don’t immediately self-identify with our work” (Simon 2016, 23).

“The sooner we start focusing on becoming relevant to the people we most care about “and “Relevance is relative, and people are busy”, not only approaches the word “care” we were just analyzing, but references something other than yourself or desire (Simon 41-42).

“When we see love as a combination of trust, commitment, care, respect, knowledge, and responsibility, we can work on developing these qualities or, if they are already a part of who we are, we can learn to extend them to ourselves” (Hooks 2001, 54).

Champion Intergenerational Center

This part of my journey hits will full force and I still am unable to move past how deeply I am affected by the human beings in this community. I find myself drawn to the energy and goodness that seeps into the foundation of this center. The community is full of bright lights, old and young, energized, thoughtful, and ready to share at any moment.

Here is where I needed to approach with the Love Ethic Hooks suggests, “A love ethic presupposes that everyone has the right to be free, to live fully and well.” (Hooks 2001). How was I going to approach the room and environments I entered? I started by visiting and be apart of the Sign Language Intergenerational class. I made myself available for interactions and conversations. I did not introduce technology into space for a couple visits. Then when I introduced technology I wore the GoPros and did not live film. Making sure I was available for any interactions and questions the community of elders and children might have.

“To live our lives based on the principles of a love ethic (showing care, respect, knowledge, integrity, and the will to cooperate), we have to be courageous” (Hooks 101).

Over my time there the visits, interactions, ways of filming, and containers for footage has shifted drastically. Eventually, many different ages were wearing and capturing footage, Elizabeth Speidel the director was wearing the GoPros and interacting with the community, and I am set up to teach my session with the IG community around GoPro’s, Care, and love rituals. Thinking about the love ethics and love rituals that are primary in this experience, and really reflect the care that happens in this community. We will also bring in our superhero movements to give energy to the room and spark creativity.

When I think about this work I am currently reflecting on my traces and the artist mantras that I created along the way to support the daily intake of information. These tiny mantras have provided me the support when I am too tired, or unsure of what is next.

Artist Mantra

Don’t lose hope.

Do the work.

There is much to be done.

With Love…

Radicalize the space.

Listen actively.

Love accepts.

Challenge to think collectively.

Think more equality and equity.

Who are the love ethic heroes?

We are not alone.

Being an artist keeps me sane.

There is more to be done.

I am constantly rebelling – it’s ok.

Be free to do the work.

Being an artist defies reality.

I have permission to make what I want to make.

I am constantly changing.

Next & Final Phase:

I still have a session to this Wednesday with IG to deepen the footage and love ritual perspectives, and will have a compiled video of edited material by the end of the week that culminates my time there. This last video should run at 6-8 minutes in reality but my end target is 10 minutes.

Editing will be done through my final artistic perspective on the work framed by the community at Champion Intergenerational Center to celebrate their daily heroics and environment of care they share.

I am looking forward to sharing this footage with them, and seeing their reactions when they see themselves on the TV. The celebration of their daily, caregiving, experience, and community witnessed. I am excited to keep working on projects with them and to see where the next process takes us.

Many thanks to all those involved in this project. This research is made possible by Norah Zuniga-Shaw, Humane Technologies Fellowship, Elizabeth Speidel and Champion Intergeneration Center Community, and Research Studies peers.

 

Citation Station:

Bellacasa, María Puig de la. 2017. Matters of Care: Speculative Ethics in More Than Human Worlds. Minneapolis, MN: University of Minnesota Press.

hooks, bell. 2001. All about love: new visions. New York: Harper Perennial.

Simon, Nina. 2016. The art of relevance. Santa Cruz, CA: Museum 2.0

Intermedia || Merging Reflection

Archive Date: December 14, 2017
Author:
lrodcollection0 Comments

In collaboration with my colleagues, we set out to produce a digital double investigation. Our goals included examining the Double as Reflection, suggested from Steve Dixon’s “The Digital Double” (2004) essay which I reflected previously on here. From this project, we realized that we were attracted to textures, themes, and discovered multiple ways to find a reflection at different levels of technological entanglement. Take a moment to skip through.

One challenge that we encountered was in using the video feedback loop, top-down camera, projection, and lighting to gain different perspectives of the space, it appeared that the movement we created needed to shift per examination. Incorporating The Isadora program, live sound, and lighting to bring these portraits together merged with the movement and use of the material was essential and grounding components to this project.

The digital double in the sense of reflection draws me to the consciousness that the real body maintains throughout the performance. I found it interesting that most of the time the real-life performer needs to witness the digital in reflection. Dixon notes, “This has been exacerbated by paradoxical rhetoric of disembodiment and virtual bodies, which have turned ideas of corporeal reality full circle by the claim that the digital body has equal status and (authenticity) to the biological one” (Dixon 2004, 24). During this study, the concept did cross my mind of the equality of images, and I found myself drawn to both bodies at different times. I begin to speak about this on this page with Agent Ruby and the sense of awareness of consciousness through AI that has developed.

For this project, I appreciated this viewing:

Anne Teresa De Keersmaeker’s Fase (1982) is so simple from a current technological standpoint but is still so mesmerizing to watch. Here light, shadow, film, and movement create the dance – enhance the dance. One of the parts that most interests me is at 7:18 of this film. Noting that from the first half of the film space transforms and they are now performing on their shadows in a fully saturated blue space.

Glancing into the future I was struck by this digital double. While the concept is simple seems simple what transpires is exhilarating.

This is CO: LATERAL (2016) by Joao Martinho Moura

Moura’s work with the digital double here is literally electrifying itself. I appreciate how in this work the dancer is in the dark while the emphasis is put on the double.  The bold lighting against the blackened stage gives a stark contrast platform for the double to stand out.  In a sense this double take on a dominant force on stage and provides a strong presence in the work following along with Dixon’s models.

The most important experience I had from this study is the merger of technology and body with intention. Questioning why /how we implement technology into the work was at the forefront of this study to think about as a group. The question: How we collaborate with technology? Continued forward into our next studies.

Sources:

De Keersmaeker, Anne Teresa, and Michele Anne de Mey. 1982. “Fase.” (Film) Director Thierry de Mey. Music Robert Reich.

Dixon. Steve. 2004. “The Digital Double.” New Visions in Performance: The Impact of Digital Technologies. Ed. Gavin Carver. Lisse: Swets & Zeitlinger. Print

The Internal | Connecting | Creative Process

Date: October 26, 2017

Two levels in Creative process v.210

Mapping out a creative process to connect two parts of my research resonating with Inside the room and Outside the room branches. Inside the room’s design is led by the Experiment thread, while Outside the room reflects the Research thread. I was compiling this information from a word bank created in Grad Composition class with Professor Susan Van Pelt Petry and peers. We then each took the word bank and made a visual map of our own individual creative process.

For my own challenge, I only used each word one time and practiced this assignment utilizing a present moment embodiment. Meaning, I only allowed myself one piece of paper with no option to have a do-over. Utilizing this assignment as a challenge I was aware of my devising boundaries. This project created a meditative space for me to sit with my pen to the paper, and process my process. Which usually feels meta, however, this project was calming while being informative. Most of my reflections have happened through a stream of consciousness or analytical essay, so it felt good to move towards a tangible medium to flush out information.

Further noting the attention and weight of each word resonating within my body and I continue to let these words reconfigure inside my body. A digital roadway on the frontier of inter-connectivity pulsing, sparking and transferring connections that re-wires and retracts information before surging it back out again.

The system is operating. 

I recognize these maps are abundant within my body, mind and are the containers to hold, organize, connect information used to make co-creative spaces. They are roadways of information. Living knowledge intrigues me as I delve into the internal self of producing art. Maybe the cyborg self is emerging underneath the surface below my skin and responds to the familiarity of the motherboard. While the image below relates to this emerging, I examine the depths and intricacies that are possible in overriding.

Cyborg Self Reflection | Awakening

In trying to navigate my own cyborg self-relationship I am drawn to this quote by Donna Haraway a professor, consciousness, and feminist scholar, “Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other” (Haraway 2016, 55). My journey over the past five years has sent me plunging into words, writing, and language – preparing me for my conversations, arguments, and discourse today. Sometimes my consciousness rejects my impulse to respond, and my unconsciousness delivers connectors to reconnect broken bridges of thought. Tracing the map above throughout my creative process enables me to redirect how I am thinking, feeling, and exploring the material.

Responding to a recent visit by Vida Midgelow who presented at the DSA inaugural Scholarly Conference and is a Professor in Dance and Choreographic Studies at Middlesex University London says, “Coming into language is a significant process through which experiential, material and emergent forms of knowledge can be foregrounded, processed and shared” (Midgelow 1994). Previously, I rarely spoke my stance or dared to share the perspectives that ran rampant in my mind.

The information comes to me as this digital space allows me to write about these developing curiosities that are awakening. Identifying as an “other,” I do claim the tools to unearth my potential as a choreographic researcher, scholar, and free-thinker to engage in practices that move humanity towards change. Structures, rules, and traditions can be broken and reconfigured to make manifest new ways of operating that enhance artistic ability, connect technology and humanity, and revolutionize the central core of art making.

Free Motherboard Vector Art

The above image is how I imagine the framework for my discourse of choreographic research operating. The motherboard vector art is part – object – abstract – micro-processing –  unit –  internet integrated – modern – binary that projects future technological advances – or human.

 

Works Cited

Haraway, Donna J. and Cary Wolfe. 2016. Manifestly Haraway. Minneapolis: University of Minnesota Press. https://muse.jhu.edu/ (accessed October 25, 2017).

Midgelow, Vida. and Jane Bacon. 2014. “Creative Articulation Practice (CAP).”                                      Forthcoming in Choreographic Practices. 5[2]                                                                                  https://www.academia.edu/9956868/Creative_Articulations_Process_CAP_  (accessed October 25, 2017)