Tension, Tension, Outline, Meshing - WIRED

The image projected onto the body is internalized in the physicality of the dancer on the stage. The wireframe object is the three-dimensional avatar model as a virtual representative in the projection space and it is emitted from three projection angles on the body of the dancer. Wireframe objects are the foundation for all 3D modeling developments, and this wireframe model consists of individual components of polygons that merge together in a three-dimensional arrangement to form a virtual image of our reality. The dancer in the WIRED performance is her own 3D model mapped onto her body and this model is generated in real time from the dancer's movements.
The projection image is outshined and additionally influenced by the sound space. Thus, the dancer receives an aura of differently refracted particle beams, which are made visible in a mist environment. The dancer herself is bound by her costume to this networking, subdivision of the projection image. Involved in a string tension between her joint positions she is formal, creatively braced into this wireframe model and has only certain limited movement options that she has to feel, must experience and develop. A constant search for possibilities and feasibilities develops on the evolutionary path of an embryonic primal state to the T-pose, the Vitruvian man, the final phase of the stretched body in an attempt to touch the world environment (homo ad quadratum, homo ad circulum).

"Further, naturally, the center of the body is the navel. If a person is lying on his back with his arms and legs spread apart and the point of the compass is inserted at the point of the navel and it makes a circle, the fingertips of both hands and the tips of the toes are touched by the circle. Just as a circle is formed on the body, the figure of a square will also be found on it. If one measures from the soles of the feet to the crown, and applies this measure to the outstretched hands, the same breadth and height will result as in the case of surfaces which are square in form. "

This quotation from Vitruvius, the Roman architect of the 1st century BC, describes the tectonic dimensions of man's perception from a center point into their extended extremities. This was revived by Leonardo da Vinci in 1490 in the Renaissance as an idealized pro-portion figure and shows us to our present our borders, which has also entered as a transposed limit construct in the Western culture. Our navel is the center of our thinking and if we open a square around this navel with the size of our body height, then this is also our farthest expansion parameters in the stretched state and then a circle around it, we can measure our cultural extent.
This is a provocation for the time being, and we know that if we want to escape from it, we have to look beyond this circular arc, deal with other cultures. THEN we can perhaps try to get to know our real dimensions, which are not limited by this seemingly absolute boundary of the proportional arc.
Our limits are exploring - always a cultural intention of the people. And we do not want to do anything else when we tour with our performance. To get to know other reflections, to engage in other discussions, to be confronted with other positions and points of view, and then to get another, new perspective on the things that move us. And here is the Asian culture, with its completely different body relatedness and world dimension particularly interesting. Shift the center, examine the connection sites to our energy body, and consider the seventh chakra, the sahasrara, the crown or vertex chakra, without neglecting the six others. That would be just one aspect of the arguments that are interesting to us in this performance context of "WIRED".

The dancer dances with her avatar, with her virtual substitute taking place on her own body, and this avatar emits particle messages that cause the performance body to be outshone and trapped in a fog aura that engulfs the surrounding space Body expanded. Can one feel the connection of the soul, a thousandfold in relation to the universe?
The interactive space is also a sound space. The formation and development, the variation and modulation of this sound environment is controlled by the movement of the dancer. The result is a sphere of electronic sound modules that are transmitted and received by the protagonist's physicality, which connects with the body and, in retrospect, also influences the shape of the avatar, the density of the lattice tension, the dynamics of the perticle acceleration , the color dimension in the three-dimensional tension and expansion. Of course, the sound composition and its real-time transformation also has a cultural dimension that can be questioned and just as the dance performance in the movement patterns should and must relate to other cultures.
And last but not least there is the technical, content-related examination of the aesthetics of programming in the design implementation of the stage space, which can be further developed in exchange and in communication and is an automatic component of cultural mediation.

We wrote, "WIRED" is a plea for deceleration.
Are we understood everywhere with our message, which of course has a reference to time, but is there such a thing here as a human self-image?
We would like to investigate.


Jörg Sonntag / November 2017


WIRED - the inner view of the dancer

TWO WORLDS + THREE dimensions:

- The subtle flow that moves from 'cell to cell' ... listening, breathing and happening
  to let

- Opening the sense of hearing and interacting with the sound ... listening and reacting

On the one hand the image to the outside, in which the projection on my slowly changing physicality with caution manifests and on the other hand influence of the sound, which extends spatially in the influence of my movement development.
When looking at the documentary, ask yourself what these two worlds have in common with each other ... what unites them, even though the image appears so different when viewed, feels different from the inner experience of movement.
Time shifts ... the inner feeling for SLOW seems outwardly to be FAST.
Sound + movement ... the dialog between the sound and the sound that comes from within has hardly any external presence.
Projection + Movement ... I am in a dynamic space of light, which I feel on and around my body - a space that I could expand and narrow ... that I can influence, but what makes me much stronger is the limiting strain in which I find myself.

I realize that I have nothing to 'care' about except my inner world ... the homogeneity and above all the connection of the inner and outer layers of my body.
Within the given tension due to the strings on my body, this is not yet a new experience, but initially creates a permanent 'irritation', which provokes me more to direct my perception to the outside.
On the play with my joints on which the strings are located ... connected with other joints, ONE INVERSE KINEMATIK chain AM REAL BODY. This restricts me, but this is exactly the incentive to keep asking new questions:
"What happens in the knee when my hand ...?", "What resonance has the movement of my pelvis in the elbow ... in the hand?" , "How does my foot react when my shoulder ...? Etc.

But somehow I am also surprised, helpless and annoyed at the same time.
Would not everything have to feel stronger - body movement and inner and outer geometry ??? Amazingly NOT !!!
Amazing because this stringency is obviously offset by the finely crafted costume.

There was a very strong focus on the form that led me away from inner movement and creation ...
It became clear to me that this is not the way to continue me.
How do I get away from the mind of the head in the mind of the body with this alien material and above all how do I get to the inner substance, to the touchability, to the perceiving Being ?!

I continue to work blindly, opening the space within myself and around me - groping and flowing with body fluids, tissues, and cells.
It becomes exciting, magical, animalistic, timeless ... real SLOWNESS emerges.
The strings are there and not - more and more a symbiosis between them and my body, sometimes like an inspiring sister and sometimes like a troublemaker who alienates me from my body ... they empower me ... they become twill, Part of my body, even though they are not my body. As the strings become more self-evident, I am no longer 'busy', the symbiosis grows - as well as the substance of my being moved within a changing geometrical consequence.

An advance that leads to the next question:
The developed symbiosis seems to be more closely connected with the sound than my sense of hearing ... ...
How does it work? I hear the sound, but the communication and design level between sound and body does not take place over the 'usual channel' - my ears!
They seem to be solely responsible for the orientation within the given structure.
New contradictions emerging and acting out of the 'usual dance'!

Hardly made aware - the movement is back in the head.
The rehearsal process continues WITHOUT strings - we continue to work with sound, but without projection:
Increased attention is focused on presence and interaction, the connection between the navel / center and the extremities of the limbs.
Movement material, dynamics, delicacy change ... Intentional intention gets space ... pure movement and slowness become dance ... a new dimension opens up.
The substance is reminiscent of something 'raptured', the dance and the structure of the piece becomes, for the first time, living and touching inside and out. Sound and movement do not cooperate and for that very reason form a communicative unit ... a conditional wholeness - a significant experience for the progress of the work process.

I am gradually developing another kind of hearing, such as through the cells of my skin, through the tissue of string tension.
They have become a new 'matter of course'. Free capacities are thus also created to clarify questions about the interactive structure, especially transitions between the structural elements of the piece. Priority still has the connection with the sound space.
What about granular synthesis and how do I develop variable sound material with it?

The projection is added - I have only to observe the specified parameters with respect to spatial dimensions. Amazing how the projection now works inside and seems to give me space - space that I can not explain ... ... ... Space that surrounds me like a tissue ... Space I feel without to see him, because I still work blind.
But as soon as I 'allow' my eyes to open - to 'update', if I am in the right place ... so activate control mechanisms - a flood of impressions and information collide with me, which almost overwhelm me and Out of myself and thus from the whole organically created and inspiring structure.
Is there just ONE level of the sense of sight IN us?

Each rehearsal now becomes an independent performance - a constantly new path from the embryonic, still largely undefined germ, to the erect, expanding.
A deep gratitude in me is spreading:
WIRED benefits from a different way of seeing and listening - one that involves high alertness, simplicity, devotion, intuition. A kind that works equally in and outside of myself.
Nevertheless - or for that very reason - WIRED prompts for absolute clarity and commitment, making any deviation from it almost painful.


What will be the presence of the audience with me and the room?
A new dimension will be added or not?
Because WIRED does not want to show anything _ "exists or does not exist - the mind can not explain it", as it is described in the Persian Sufi stories.
or, in other words, Valentina Cabro, co-choreographer, who in the work process of WIRED repeatedly managed to 'disclose' covered layers in me with subtlety, to lead to the CORE of dance substance - peeling like the skins of an onion to bring the essence of WIRED to life.

"... hard to understand yet, how it all goes, all these levels.
What is happening? Again and again.
A search for understanding. Allow. Classify. Do not understand.
In breathing.
In the body.
In being. "

(Valentina Cabro / blog)



Ka Dietze / Januar 2018