A cluster of beginnings vying within the baseline of a reaction.
       
     
 Here is some writing I am working with in this project:   A cluster of beginnings vying within the baseline of a reaction.    It feels just like going, and then underneath that, organisation. Organs.    Organisational structures. Systems, I practise the practise of materiality. I practise the forgetting of names.    I imagine myself an early body, a body with radial symmetry.    World-built, it’s out of scale game of trial and error.  I rehearse its coding, moving through me.    Structures are laid down, overlaid. Reptile, mammal, and frames I am dropping. Coding and coding: language in real time.    So slowly that no generation will see, but moving inside of it all the same.    How the dancers said that a dinosaur takes a whole day to do anything, and that this should be the name of the work.    
       
     
 Collaborators: Luke Birch, Christopher Matthews, Lena Kimming, Katja Nyqvist, Elisa Vassena. Also Jamie Forth with conversations about a sound design to come and Naoto Hieda for choreographic programming tools to come (development initiated at the 8th Choreographic Coding Lab, Amsterdam). I’ve also started to try out some possibilities using Gabriel Wilding and Ebba Petrén’s playing cards for X-dimensional excursions (discovered during PSV5 at PAF).  We have spent  10 days in the studio on research and development, and currently have several of sections of the piece which were shared with a small invited audience on 28th June at Greenwich Dance. 
       
     
       
     
SOME TIMES teaser

SOME TIMES will be my first full-length work, and a move to studio theatre (or similar) context. This marks a new phase of making: integrating materials of movement, writing and singing. The project develops ideas from past works around sociality or ways of being together, but is a move from the cognitively-driven installed works I have been making to a more content-driven work. SOME TIMES explores how shifts in scales can offer different possibilities of thinking about where we are in the contemporary moment. This happens through dances of electrons; evolutionary theories of cooperation and competition as scores to develop material; embodiment of geological time as a dance of tectonic plates; social dance such as in English folk dance and various ways of being together through geometrical / rhythmical organisation.

A cluster of beginnings vying within the baseline of a reaction.
       
     
A cluster of beginnings vying within the baseline of a reaction.

 The project began in the UK in 2017 with r&d support from Arts Council England and South East Dance. It will continue in 2018 with support from South East Dance, Jerwood Foundation, Dance 4, Sadlers Wells and Siobhan Davies Dance. 

It draws together 6 performers and is developed through contact with additional artists in sound and live-coding, engineering/ media arts, game-design and lighting design.

 Here is some writing I am working with in this project:   A cluster of beginnings vying within the baseline of a reaction.    It feels just like going, and then underneath that, organisation. Organs.    Organisational structures. Systems, I practise the practise of materiality. I practise the forgetting of names.    I imagine myself an early body, a body with radial symmetry.    World-built, it’s out of scale game of trial and error.  I rehearse its coding, moving through me.    Structures are laid down, overlaid. Reptile, mammal, and frames I am dropping. Coding and coding: language in real time.    So slowly that no generation will see, but moving inside of it all the same.    How the dancers said that a dinosaur takes a whole day to do anything, and that this should be the name of the work.    
       
     

Here is some writing I am working with in this project:

A cluster of beginnings vying within the baseline of a reaction.

It feels just like going, and then underneath that, organisation. Organs.

Organisational structures. Systems, I practise the practise of materiality. I practise the forgetting of names.

I imagine myself an early body, a body with radial symmetry.

World-built, it’s out of scale game of trial and error.  I rehearse its coding, moving through me.

Structures are laid down, overlaid. Reptile, mammal, and frames I am dropping. Coding and coding: language in real time.

So slowly that no generation will see, but moving inside of it all the same.

How the dancers said that a dinosaur takes a whole day to do anything, and that this should be the name of the work.

 

 Collaborators: Luke Birch, Christopher Matthews, Lena Kimming, Katja Nyqvist, Elisa Vassena. Also Jamie Forth with conversations about a sound design to come and Naoto Hieda for choreographic programming tools to come (development initiated at the 8th Choreographic Coding Lab, Amsterdam). I’ve also started to try out some possibilities using Gabriel Wilding and Ebba Petrén’s playing cards for X-dimensional excursions (discovered during PSV5 at PAF).  We have spent  10 days in the studio on research and development, and currently have several of sections of the piece which were shared with a small invited audience on 28th June at Greenwich Dance. 
       
     

Collaborators: Luke Birch, Christopher Matthews, Lena Kimming, Katja Nyqvist, Elisa Vassena. Also Jamie Forth with conversations about a sound design to come and Naoto Hieda for choreographic programming tools to come (development initiated at the 8th Choreographic Coding Lab, Amsterdam). I’ve also started to try out some possibilities using Gabriel Wilding and Ebba Petrén’s playing cards for X-dimensional excursions (discovered during PSV5 at PAF).

We have spent  10 days in the studio on research and development, and currently have several of sections of the piece which were shared with a small invited audience on 28th June at Greenwich Dance.