diff --git a/README.html b/README.html index 5d3c81ddd3f51afc8b8efbf2466cf3b0ff243532..065b6c855f6228a802f4d3f1e0b835ee5e2881a0 100644 --- a/README.html +++ b/README.html @@ -1,222 +1,222 @@ - - Up Pen Down + +Up Pen Down -

UP PEN DOWN

-

- Théâtre la Balsamine (9-10-2017 → 13-10-2017) -

- -
-
-
-

- This webpage is an interpretation and continuation of the printparty Up Pen Down, performed at Balsamine Theater as a part - of Saison des Cultures Numériques 2017. The performance was the first public moment of a research focused - on that which is between digital type design and bodies. Letters and movements, dance notation and programming, - digital codes and coded physical gestures, plotters and body parts interacted with each other and blured - the distinction between choreographic and digital practices. -

-
-
-

Cette page web est une interprètation et un prolongement de la printparty Up Pen Down performée au théâtre de - la Balsamine dans le cadre de la Saison des Cultures Numériques 2017. Cette performance était le premier - moment public d'une recherche située à la rencontre entre typographie digitale et corps. Lettres et mouvements, - notation de danse et programmation, codes digitaux et gestes physiques codés, plotters et corps ont dialogués - jusqu’à rendre cen fait onfuse la distinction entre pratiques chorégraphiques et digitales. -

-
-
-

Deze website is een interpretatie en vervolg van de printparty Up Pen Down, opgevoerd in het Balsamine Theater - als onderdeel van Saison des Cultures Numériques 2017. Deze performance was het eerste publieke moment van - een onderzoek in dat wat zich bevindt tussen digitaal letterontwerp en lichamen. Letters en beweging, dansnotatie - en programmeren, digitale codes en fysieke bewegingen, plotters en lichaamsdelen gingen het gesprek aan en - vervaagden de grens tussen choreografie en digitale praktijken. -

-
-
-
-

Dialogue

-

- Pierre Maybe imagine a human having a perception of a vector for the first time: a pregnant woman walks - on the flat surface of a beach, to the background of the sunset. She hunts birds with a bow and an arrow. As - she bends the bow, she feels how its straight rope interacts with the sturdiness of the bones of her arm and - how the curved wood of the bow is in sync with the fibers of her muscles. All those straight and curved lines, - along with the soft arc of her thick belly, are also drawn by the sun as her shadow stretches on the sand. She - launches the arrow. The arrow itself could be seen as a vector-wave-movement. She also feels how rays of sun - project her transformed shape of her shadow on the sand, following another straight line. She looks more closely - at the border of the shadow, and sees the very moment where some grains of sand get lightened by the sun, like - many corpuscules-pixels-bitmap, envisioning in simultaneously the two main components of digital images, and - t two ways of describing tangible matter. -

-

- Pierre There are two matters within the digital, the molecular, which we recognise as bitmap and know - very well, and the ondulatory – the vectors. I want to not only utilise vectors, but also to go anthropological - about them. From that perspective I can tackle what is important in the aesthetics vectors create, beyond what - things look like and into the way they operate and influence our own operations. -

-

- Ludi I have the need to include the body in the investigation of digital typography, because through intimate - relations with vectors, we can trace back histories of writing that depended on the body and its movement. -

-

- Ludi The body has its own intelligence. When I put, for example, the tension of the curve into this awkward body, - some aspects of the digital practice become apparent in a way that I can't put the finger on, but I feel - that only the body can detect. -

-

- Ludi OSPies like dancing. But we do end up sitting on a chair when ever we deal with type design. Its - maybe a fantasy to think that such different modes of being could come together in an interesting way, but here - we are, using one practice to reflect on and activate the other. -

-

- Gijs With Metapost, the human becomes the choreographer and the machine is the dancer, interpreting and - improvising with the score. -

-

- Gijs Actually, a vector is a meta picture. Only when rendered it becomes a shape. -

-

- Adva So, could we say that vectors are like movements? -

-

- Gijs Yes, in this case the movement is a rendering device.

-

- Adva Maybe both movement and vectors are potential, actualised through rendering processes, by the body, - by the machine, by anything they activate? -

-

- Pierre I find both dance and graphic design poetic practices, but sometimes I felt we killed their poetry - by forcing them to interact with each other. -

-

- Ludi We slowed the rendering process down so much in order to look into the process it facilitates. Maybe - that's what killed the poetry? -

-

- Adva I find poetry in the fact that we sometimes look at those technical processes through the perspective - of movement. -

-

- Gijs If you think of programming from the perspective of movement, for exemple loops, the time it takes - to execute the code, the electrons jumping, freezing, flowing, interacting through the processor - all become - interesting in a different way. -

-

- Adva I understood at a certain point that Up Pen Down is not a linear research, but rather an environment - we created for ourselves where methods, actions and questions we come up with can interact with pieces of art, - of knowledge, of completed or unfinished explorations of others within the field. Up Pen Down is for me more - of a place to be, than a well studied research question. -

-

- Adva By allowing different body practices to infiltrate one another, contemporary dance went through various - exciting waves of new discoveries about movement. At a certain point the body withdrew and the conceptualisation - of movement entered the field. I ask myself if there is something new to find about movement through looking - for it within digital processes and if yes, can it maybe generate a new way of thinking body and of making dance? -

en fait -

- Adva I read once a Kabalah text about the letter . Sometimes this letter is used to indicate the name - of god. In that case, it should be written, but not pronounced. Its not because it represents god, but because - they believe that the letter itself, when written, contains divine power that is lost in the transformation through - the body from the written to the spoken. I like the idea of a letter carrying its own agency. This story is taken - from a mystical culture, but also on the more up-pen-downish level, we create texts, choreographies and technologies - that at a certain point become existing in themselves and start a relationship with us. -

-
- -

- Five days preparation workshop : October 9 → 14 Commented performance : Saturday October 14, 8pm. - Balsamine theater, Félix Marchallaan 1, 1030 Schaarbeek -

-
-

Grid

-
- -

Drawing of the grid is the first element of the presentation. Developed as a group the scene start as the audience - is still coming in. Equiped with different coloured technical tapes, each one coordinates in solo or binomial - to place the different markers. The installation of the tape uses walking techniques inspired by the performance - of Esther Ferrer - - [1] - or measured movements, rolled developed for the occasion. In the background we listen to Laurie Anderson - - O Superman. -

-
    -
  1. Esther Ferrer, - Le chemin se fait en marchant -
  2. -
- -

The grid has a proportion of 8 x 4 and allows us to overflow on the wall.

-

After placement of the grid by the bodies, light focus on the plotter who starts 'marking the territory'. One's - filming next to it so that the audience can see the pen trajectory, plotter's dance projected on the side - wall. On page 8, the grid is drawn. -

-
-
- -
-
-
-
-

.

-

Page 1 is the title page. This is where the plotter plot a simple dot. At the same time one person enters the - grid, marking a dot in the grid while announcing the coordinates and starting the introduction. This moment - marks the direct echo between the bodies and the machine. Space and language are transposed to the scale - of the body.

-
-
-
-
-

Line

-

Page 2 draws a same line following the 3 languages in action : hpgl, Logo and Metapost. Alternately the body - is the pen, the instructor and the interpreter.

- +

UP PEN DOWN

+

+Théâtre la Balsamine (9-10-2017 → 13-10-2017) +

+ +
+
+
+

+This webpage is an interpretation and continuation of the printparty Up Pen Down, performed at Balsamine Theater as a part +of Saison des Cultures Numériques 2017. The performance was the first public moment of a research focused +on that which is between digital type design and bodies. Letters and movements, dance notation and programming, +digital codes and coded physical gestures, plotters and body parts interacted with each other and blured +the distinction between choreographic and digital practices. +

+
+
+

Cette page web est une interprètation et un prolongement de la printparty Up Pen Down performée au théâtre de +la Balsamine dans le cadre de la Saison des Cultures Numériques 2017. Cette performance était le premier +moment public d'une recherche située à la rencontre entre typographie digitale et corps. Lettres et mouvements, +notation de danse et programmation, codes digitaux et gestes physiques codés, plotters et corps ont dialogués +jusqu’à rendre cen fait onfuse la distinction entre pratiques chorégraphiques et digitales. +

+
+
+

Deze website is een interpretatie en vervolg van de printparty Up Pen Down, opgevoerd in het Balsamine Theater +als onderdeel van Saison des Cultures Numériques 2017. Deze performance was het eerste publieke moment van +een onderzoek in dat wat zich bevindt tussen digitaal letterontwerp en lichamen. Letters en beweging, dansnotatie +en programmeren, digitale codes en fysieke bewegingen, plotters en lichaamsdelen gingen het gesprek aan en +vervaagden de grens tussen choreografie en digitale praktijken. +

+
+
+
+

Dialogue

+

+Pierre Maybe imagine a human having a perception of a vector for the first time: a pregnant woman walks +on the flat surface of a beach, to the background of the sunset. She hunts birds with a bow and an arrow. As +she bends the bow, she feels how its straight rope interacts with the sturdiness of the bones of her arm and +how the curved wood of the bow is in sync with the fibers of her muscles. All those straight and curved lines, +along with the soft arc of her thick belly, are also drawn by the sun as her shadow stretches on the sand. She +launches the arrow. The arrow itself could be seen as a vector-wave-movement. She also feels how rays of sun +project her transformed shape of her shadow on the sand, following another straight line. She looks more closely +at the border of the shadow, and sees the very moment where some grains of sand get lightened by the sun, like +many corpuscules-pixels-bitmap, envisioning in simultaneously the two main components of digital images, and +t two ways of describing tangible matter. +

+

+Pierre There are two matters within the digital, the molecular, which we recognise as bitmap and know +very well, and the ondulatory – the vectors. I want to not only utilise vectors, but also to go anthropological +about them. From that perspective I can tackle what is important in the aesthetics vectors create, beyond what +things look like and into the way they operate and influence our own operations. +

+

+Ludi I have the need to include the body in the investigation of digital typography, because through intimate +relations with vectors, we can trace back histories of writing that depended on the body and its movement. +

+

+Ludi The body has its own intelligence. When I put, for example, the tension of the curve into this awkward body, +some aspects of the digital practice become apparent in a way that I can't put the finger on, but I feel +that only the body can detect. +

+

+Ludi OSPies like dancing. But we do end up sitting on a chair when ever we deal with type design. Its +maybe a fantasy to think that such different modes of being could come together in an interesting way, but here +we are, using one practice to reflect on and activate the other. +

+

+Gijs With Metapost, the human becomes the choreographer and the machine is the dancer, interpreting and +improvising with the score. +

+

+Gijs Actually, a vector is a meta picture. Only when rendered it becomes a shape. +

+

+Adva So, could we say that vectors are like movements? +

+

+Gijs Yes, in this case the movement is a rendering device.

+

+Adva Maybe both movement and vectors are potential, actualised through rendering processes, by the body, +by the machine, by anything they activate? +

+

+Pierre I find both dance and graphic design poetic practices, but sometimes I felt we killed their poetry +by forcing them to interact with each other. +

+

+Ludi We slowed the rendering process down so much in order to look into the process it facilitates. Maybe +that's what killed the poetry? +

+

+Adva I find poetry in the fact that we sometimes look at those technical processes through the perspective +of movement. +

+

+Gijs If you think of programming from the perspective of movement, for exemple loops, the time it takes +to execute the code, the electrons jumping, freezing, flowing, interacting through the processor - all become +interesting in a different way. +

+

+Adva I understood at a certain point that Up Pen Down is not a linear research, but rather an environment +we created for ourselves where methods, actions and questions we come up with can interact with pieces of art, +of knowledge, of completed or unfinished explorations of others within the field. Up Pen Down is for me more +of a place to be, than a well studied research question. +

+

+Adva By allowing different body practices to infiltrate one another, contemporary dance went through various +exciting waves of new discoveries about movement. At a certain point the body withdrew and the conceptualisation +of movement entered the field. I ask myself if there is something new to find about movement through looking +for it within digital processes and if yes, can it maybe generate a new way of thinking body and of making dance? +

en fait +

+Adva I read once a Kabalah text about the letter . Sometimes this letter is used to indicate the name +of god. In that case, it should be written, but not pronounced. Its not because it represents god, but because +they believe that the letter itself, when written, contains divine power that is lost in the transformation through +the body from the written to the spoken. I like the idea of a letter carrying its own agency. This story is taken +from a mystical culture, but also on the more up-pen-downish level, we create texts, choreographies and technologies +that at a certain point become existing in themselves and start a relationship with us. +

+
+ +

+Five days preparation workshop : October 9 → 14 Commented performance : Saturday October 14, 8pm. +Balsamine theater, Félix Marchallaan 1, 1030 Schaarbeek +

+
+

Grid

+
+ +

Drawing of the grid is the first element of the presentation. Developed as a group the scene start as the audience +is still coming in. Equiped with different coloured technical tapes, each one coordinates in solo or binomial +to place the different markers. The installation of the tape uses walking techniques inspired by the performance +of Esther Ferrer + + [1] + or measured movements, rolled developed for the occasion. In the background we listen to Laurie Anderson +- O Superman. +

+
    +
  1. Esther Ferrer, + Le chemin se fait en marchant +
  2. +
+ +

The grid has a proportion of 8 x 4 and allows us to overflow on the wall.

+

After placement of the grid by the bodies, light focus on the plotter who starts 'marking the territory'. One's +filming next to it so that the audience can see the pen trajectory, plotter's dance projected on the side +wall. On page 8, the grid is drawn. +

+
+
+ +
+
+
+
+

.

+

Page 1 is the title page. This is where the plotter plot a simple dot. At the same time one person enters the +grid, marking a dot in the grid while announcing the coordinates and starting the introduction. This moment +marks the direct echo between the bodies and the machine. Space and language are transposed to the scale +of the body.

+
+
+
+
+

Line

+

Page 2 draws a same line following the 3 languages in action : hpgl, Logo and Metapost. Alternately the body +is the pen, the instructor and the interpreter.

+ IN; SP1; PA1,1; PD3,5; PU; - + RT26.57;FD4.47; - + beginfig(1); z1=(1,1); z2=(3,5); @@ -224,347 +224,347 @@ draw z1--z2; endfig; end -
-
- -
-
-
-
-

Corner

-

Page 3. The team gathers to fill boxes of the grid with chalk. Now the full body is a pen carried by a body that - plays the arm of the plotter. The hpgl plot of an angle appears in negative in the white space of the chalk.

- -

- Logo a été écrit pour les enfants. Né en 1966, c'es2t une méthode pédagogique et un langage de programmation qui la met en - pratique. Inspirée des recherches de Jean Piaget, Logo a été développé par Seymour Papert comme une initiation - à la la programmation et aux logiques numériques. Il passe par le dessin pour expliquer les concept d’unité, - d'échelle et de récursivité. Ce qui nous intéresse en particulier avec Logo c’est sa “Tortue”; sorte de robot - traçant piloté par de simples commandes: Pen Up, Pen Down, Forward & Rotate. Avec cette spécificité que la - tortue se déplace dans un environnement relatif. -

-
-
-
-
-

Circle

-

Page 4 deals with curves and the simplest application of them : circles. Three circles are performed simultaneously - starting as a canon and continuing in a loop. Each body performs the circle in a different posture and rhythm. - The 3 languages come into confrontation, bodies have here to take into account collisions. Riding on the - wall the Metapost circle meets the three-dimensional space of the stage. The path bumps into the folds of - the page.

- -

- HPGL or Hewlett-Packard Graphics Language, is a drawing and programming language to command pen plotters. It developed into - the industry standard and is still supported by contemporary devices. There are commands to send the pen - to a coordinate, or position on the paper and commands to put the pen down on the paper: Pen Down, or to - lift it again: Pen Up. If the pen is moving while it is down or on the paper the machine draws. There are - commands to modify the pen and commands to modify the machine, as in return to default settings, to change - the size of the paper or to pick a new one. -

-
-
-
-

Ductus

-
-

Page 5 is the link with a more theoretical passage on the origin of our Latin ductus. The plotter superimposes - the evolution of the lines of the ampersand sign - from the capitales ET to the & - by following Jean Mallon's - documentary - Ductus.

-

We then retrace the historical relationships between E and ה. -

-
-
-
-

Curve

-
- -

Page 6 tells the specificities of the letter and bring us back to curves. Starting from a minimal straight plotted - version of the ה and the 3 points defining its upper right part, we play with curve tensions variations, - making legible the self initiative behaviour of Metapost dealing with curves. A dialogue between the indications - of Adva - only practitioner drawing this sign - the instructions and the projected drawing of Metapost is - played out. -

- -

- Linguists say that the E, fifth letter of the latin alphabet, is derived from the Greek Epsilon E, represented in egyptian - hieroglyph by the rotated , and rotated again from the Phoenician that is rooted in two cuneiform letters - from the semitic script aged from more than three millenaries, the fifth letter haw meaning the window and - the eight letter heth meaning fence . In syriac and arabic, it gave a near rounded shape, and in hebrew the - mix between the latinesque cornered letter and a rounded one, even more rounded in cursive .

-
-
- - -
-
-
-
-

Improvisations

-

Page 7 introduces the Metafont "most pleasing curve" concept. That's when the programmer becomes a choreographer - and program itself is the 'dancer'. The plotter plot the ה with the rounded angle without direction, and - on top of it, with direction (intention). -

-

- Metapost is a drawing language based on Metafont, the language developed by Donald Knuth to design fonts. In Metapost the - drawing is deduced from a collection of mathematical equations. It is not obligatory but often the drawing - is split in two parts in the first half the points of the drawing are defined. In the second part the connections - between those lines are described, straight lines or curves and in which direction do they leave or enter - the point. -

-

- «Let's consider the following mathematical problem: Given n points z1, z2,..., zn in the plane, what is the most pleasing - closed curve that goes through them in the specified order [...] To avoid degenerate situations we may assume - that n is at least 4. This problem is essentially like the dot-to-dot puzzles that we give to young children. - Of course it is not a well-posed mathematical problem, since I didn't say what it means for a curve to be - "most pleasing". Let's first postulate soractice of the drawing of this sign,me axioms that the most pleasing - curve should satisfy. [... skipping mathematical properties 1 to 4 ...] Property 5 (smoothness) : There are - nothe hpgl plot of an angle appears in negative in the white space of the chalk. sharp corners in the most - pleasing curve. [...] In other words, there is a unique tangent at every point of the curve. Property 6 : - if z1, z2, z3, z4 are consecutive points of a circle, the most pleasing curve through them is that circle.» - Donald Knuth, "Mathematical typography", p. 355, in the Bulletin of the American Mathematical Society, Volume - 1, Number 2, March 1979 -

-
-
- - - - +
+
+ +
+
+
+
+

Corner

+

Page 3. The team gathers to fill boxes of the grid with chalk. Now the full body is a pen carried by a body that +plays the arm of the plotter. The hpgl plot of an angle appears in negative in the white space of the chalk.

+ +

+Logo a été écrit pour les enfants. Né en 1966, c'es2t une méthode pédagogique et un langage de programmation qui la met en +pratique. Inspirée des recherches de Jean Piaget, Logo a été développé par Seymour Papert comme une initiation +à la la programmation et aux logiques numériques. Il passe par le dessin pour expliquer les concept d’unité, +d'échelle et de récursivité. Ce qui nous intéresse en particulier avec Logo c’est sa “Tortue”; sorte de robot +traçant piloté par de simples commandes: Pen Up, Pen Down, Forward & Rotate. Avec cette spécificité que la +tortue se déplace dans un environnement relatif. +

+
+
+
+
+

Circle

+

Page 4 deals with curves and the simplest application of them : circles. Three circles are performed simultaneously +starting as a canon and continuing in a loop. Each body performs the circle in a different posture and rhythm. +The 3 languages come into confrontation, bodies have here to take into account collisions. Riding on the +wall the Metapost circle meets the three-dimensional space of the stage. The path bumps into the folds of +the page.

+ +

+HPGL or Hewlett-Packard Graphics Language, is a drawing and programming language to command pen plotters. It developed into +the industry standard and is still supported by contemporary devices. There are commands to send the pen +to a coordinate, or position on the paper and commands to put the pen down on the paper: Pen Down, or to +lift it again: Pen Up. If the pen is moving while it is down or on the paper the machine draws. There are +commands to modify the pen and commands to modify the machine, as in return to default settings, to change +the size of the paper or to pick a new one. +

+
+
+
+

Ductus

+
+

Page 5 is the link with a more theoretical passage on the origin of our Latin ductus. The plotter superimposes +the evolution of the lines of the ampersand sign - from the capitales ET to the & - by following Jean Mallon's +documentary +Ductus.

+

We then retrace the historical relationships between E and ה. +

+
+
+
+

Curve

+
+ +

Page 6 tells the specificities of the letter and bring us back to curves. Starting from a minimal straight plotted +version of the ה and the 3 points defining its upper right part, we play with curve tensions variations, +making legible the self initiative behaviour of Metapost dealing with curves. A dialogue between the indications +of Adva - only practitioner drawing this sign - the instructions and the projected drawing of Metapost is +played out. +

+ +

+Linguists say that the E, fifth letter of the latin alphabet, is derived from the Greek Epsilon E, represented in egyptian +hieroglyph by the rotated , and rotated again from the Phoenician that is rooted in two cuneiform letters +from the semitic script aged from more than three millenaries, the fifth letter haw meaning the window and +the eight letter heth meaning fence . In syriac and arabic, it gave a near rounded shape, and in hebrew the +mix between the latinesque cornered letter and a rounded one, even more rounded in cursive .

+
+
+ + +
+
+
+
+

Improvisations

+

Page 7 introduces the Metafont "most pleasing curve" concept. That's when the programmer becomes a choreographer +and program itself is the 'dancer'. The plotter plot the ה with the rounded angle without direction, and +on top of it, with direction (intention). +

+

+Metapost is a drawing language based on Metafont, the language developed by Donald Knuth to design fonts. In Metapost the +drawing is deduced from a collection of mathematical equations. It is not obligatory but often the drawing +is split in two parts in the first half the points of the drawing are defined. In the second part the connections +between those lines are described, straight lines or curves and in which direction do they leave or enter +the point. +

+

+«Let's consider the following mathematical problem: Given n points z1, z2,..., zn in the plane, what is the most pleasing +closed curve that goes through them in the specified order [...] To avoid degenerate situations we may assume +that n is at least 4. This problem is essentially like the dot-to-dot puzzles that we give to young children. +Of course it is not a well-posed mathematical problem, since I didn't say what it means for a curve to be +"most pleasing". Let's first postulate soractice of the drawing of this sign,me axioms that the most pleasing +curve should satisfy. [... skipping mathematical properties 1 to 4 ...] Property 5 (smoothness) : There are +nothe hpgl plot of an angle appears in negative in the white space of the chalk. sharp corners in the most +pleasing curve. [...] In other words, there is a unique tangent at every point of the curve. Property 6 : +if z1, z2, z3, z4 are consecutive points of a circle, the most pleasing curve through them is that circle.» +Donald Knuth, "Mathematical typography", p. 355, in the Bulletin of the American Mathematical Society, Volume +1, Number 2, March 1979 +

+
+
+ + + +