Design And Performance Lab

(Moveable World)



WorkerWoman (AL Misme), left and SpeakerWoman, (Helenna Ren) rigt (c) DAP Lab

Further Writings: Birringer Blog


UKIYO 2 rehearsals in 2010


Yukihiko wrote: Well, let's discuss how we organize Ukiyo I and Ukiyo II toward the exhibition in June. On the other hand, we need to figure out when we work in Tokyo. We need to reserve space or theater for the exhibition in Tokyo. The form, exhibition, will suit for our project, because we have several artists and scholars insides Ukiyo lab. Do you have any plan to coordinate and direct the team from your side ? >>

To answer briefly: The current plan is to wait for european producers to give us an invitation. I have been invited to bring the DAP Lab ensemble for a performance to Eastern Europe, to premiere a (test) version of UKIYO II in June (6th- 14th), we would be in residence at an art center in Maribor, Slovenia, called KIBLA, and there we would test-case the new work. with 5 performers and 4 crew. this is what we told the producers. This is to test our evolving artistis ideas, I cannot rehearse with japanese artists , unless we are physically together. But we can communicate our ideas to them. Our lab team has being doing a lot of homework.

This means:

a). we hope to make a full premiere of UKIYO II in September or October or November 2010, in London, for touring or further professional dates in 2011. For this later premiere in autumn, I would invite and bring in several japanese artist collaborators. They would perform and create with us the performance and electronic engineering/programming. these artists i would pay from the Japan Foundation funds, these funds are for artists only who are featured on the stage in Europe,

b). I could imagine co-choreographing or creating dramaturgy for UKIYO II, and direct the composition, for five or six parts: structure:

o. Prologue: Yiorgos and Olu/Mamen introducing the "narrative" of the floating world of long duration (100 years of slow (r)evolution)

1. Part 1 (Dap performers with projected photography, animation). We develop the movement characters and the visuals and music and the design.

2. Part 2 Floating World 1 . : slow butoh section, performed by three or five japanese performance artists, to visual animation by japanese artists. ***

3. Part 3 (Dap performerrs create virtual 3d islands)

4. Entr'acte (Silent Movie about the "new smoke language")

5. Part 4 Floating World 2 (solo / duo) with japanese performers and Olu's African rhythms and animations, in Second Life

6. Part 5 Floating Island 2 (Dap performers, interacting with Virtual 3D islands)

7 . Part 6 Floating World 3 (Dap performers and japanese performers in real space and with avatars in Second Life)

(in 2011, I plan to link up with the newly created CRN [Creative Industries Collaborative Research Network] at Brunel University, where our Science Departments are developing 3D HD TV and HDTV 3D virtual world versions of a real environment with image information to determine its precise location and to update its 3D 'map' of the world)



(for example, if they accept invitation: ): Yoko Higashino, Biyo Kikuchi, Kayoko Tokumitsu, Kagaya Sanae, Yumi Sagaru, Jun Makime, Perhaps we can also invite, in addition Satoko Yahagi Ruby Rumiko Bessho Kabayan [Gekitora] Richi Owaki

Research: Yukihiko Yoshida

From Mixed Reality Lab Eng-Tat Khoo & Doros Polydorou)

From Holland: Maki Ueda

Producers will come on their own if they wish to observe: Hironobu Oikawa, T A Kiko, Fumi Hirota ...... The "producers" can see the premiere to gain impression for how to produce the work in Japan based on funding provided by Japanese producers (Tokyo, ICC, YCAM) in 2011.

I cannot produce for us in Japan. A professional theatre or venue or organization would need to invite us and do their work for presenting UKIYO II in Japan. I will suggest the same to producers in Eastern Europe, USA, Canada and Brasil. The best artists will perform in the new piece, those who want to work with us and my artistsic team. It is very simple. We (DAP) provide an opportunity for Japanese artists to perform in Europe in a new multimedia performance art work. we pay the flight, accommodation, and per diems plus honoraria for the artists. this will be about £ 14.000 or 15.000 So if you or our producers friends in japan want to showcase the work in Japan, you need to raise about £ 15.000 (our team is slightly larger when we travel, about 10 people, with Doros; also Eng Tat Khoo needs to be flown in from Singapore).

Yes, I can direct the new dramaturgy, and when we know who wants to perform with us (Japanese guest artists) , i can communicate preparation to them, so that when they arrive, we integrate them into the total choreography. You or Japan producers need to let us know who from the artists we worked with w a n t s to collaborate seriously and can commit to travel to Europe for 10 days.

29. 1. 2010

>> <<

UKIYO 2 Sound-Theatre

The commentaries Caroline sent us regarding some of narrative subtexts from the novel on the long revolution ("I shall be here in the sunshine and in the shadow") are all very interesting, and we would need to dedicate some time in our next workshops to trying out some suggestions made. The relationship of movement (choreographies & movement characters) to sound performances (live voice / recorded voice) and to the projected visual worlds would have to be carefully tested.

The passages in the novel about the "smoke langiage" were precisely the passages i had translated for Olu and Mamen for the filming of the silent movie Entra'acte. I was fascinated by this conversation about a plastic 3D language or communications system, and we can use some more references ot this, and the yellow code (lemon) as object or the claves / swords, rhythm sticks, hammer, microphones,. etc.

On the whole, i would think that the use of voice requires a much expertise ; but already in Tokyo some of you began to enjoy it more to express breath/voice and the listening (in space) and relating, here we dig deeper. If someone likes to have the translation file (for the passage on the smoke language) let me know. I did not pass it out to the whole group as in late 2008 we thought we'd work from improvised physical languages and the design elements first, i didn;t think we'd use any real language.

I saw the "smoke" as a metaphor for the virtual (a kind of floating that is three or four-dimensional). zaum I understood to be a poetic language or surreal language (non logical), here again we can apply our creativities... (silent open mouth to projected "words" and amplified sounds, also coming from other location in space or from the small speakers inside dresses, armes, spines, pelvis -- this is good. what if one performer could "move" the sound emissions (from speakers) of another? can we prepare some voice work for the January 31 lab? regards

22. 1. 2010


Going back a few steps, let us all reflect on Oded's questions:

>>> Is Yiorgos the Avatar or Olu? [ perhaps neither is] Shouldn't we first ask why do we have Avatars? Similarly when we ask what kind of sound the dancers emanate (acoustically or through speakers) I think if we understand why does each make sounds it would help us understand what should those be and how do they relate. The answers will not be a simple straightforward 'because...' but at least we should think about the reasons. These would give us, and especially the performers, some ideas or metaphors to guide us.

[yes, this is correct] The ideas that could guide us are a) the characters and how they imagine themselves in our real space, and with regard to the virtual (what is the virtual? why do we have virtual worlds, are these virtual worlds also metaphors for our floating environments, shifting environments?} do we need to ask questions about theatre & environment?

We are creating a very specific world (real space) of five "drawings" (drawn white hanamichis, lines in space, corridors, runways), parallel or adjacent "worlds" or "rooms" within the real world. We suspend the virtual as projection spaces (screens), windows into the plasticity of 3d synthetic words (Doros's constructs, and Second Life). First Life and Second Life, adjacent, perhaps crossing, or suspended in a constellation. The audience is invited to come inside to view and listen and sensorially experience.

What we performed last June (UKIYO 1) was a sound/dance/film performance that in the second half, after the Entr'acte, becomes a duet/dialog between virtual performers (avatars) and our movement performers. I saw the avatars that our japanese partners created as emanations, former-effects. just as Olu performed with his avatar in Tokyo, we performed with Gekitora's avatars and adopted their language.

We "played" at adopting a virtual language. In dance terms, this worked quite well.

If we were to create soundtheatre, then both Oded's and Caroline's questions are of course pertinent:

>> and i feel we need to consider our installation perhaps not as dance but as a soundtheatre performance: Since Caroline's main concern is with sound theatre it seems to me that we should find some time to ask her if she can explain/demonstrate her thinking about what it means. And how does one choreograph sound (or compose sound in space). >>

Yes, the live composition or performance of sound requires a very particular aesthetic plan and rehearsal.

Let us reflect on the important commentary made by Oded: >> Just a small aspect about the difference between sound and vision is that while visuals are juxtaposed sound is mixed. What I mean is that when different visuals are presented to us (as people) we can fairly easily divide our attention and separate different objects/aspects. When we walk into a gallery we clearly see different pictures and decided, as we wonder through a room, how to take in these. Similarly when we perform Ukiyo Paul's photography, Michele's garments, and the dancer's gestures are juxtaposed against each other but they are separate in the visual perception. This is not the same for sound, which is mixed. We hear Caroline's playing, the dancer's feet and vocalisation, with the electronics, the noises from the projectors and audience noises all mixed together with no defined borders. I think it's important to take this difference into account as we design the audio-visual space.>>>

yes. this is good, and the distinctions need to be addressed. first, your last question, Oded, is easily answered by a yes:

>>Oded quoting Johannes :>>we need to think of the temporality (how long is the total work, duration, sequences),. and as it is inevitably linear....>> Does it have to be linear? For example can't Katsura (Helena, Anne Larue...) build her world through interactive dance twice during the performance each time resulting in a different configuration? Leading to different consequences in the dramaturgy?

You are suggesting some form or repetition, loop, duplication, but this still happens in sequence. It will take time (linea temporality) to build a virtual world twice, and then the question is why. In my newly proposed structure, we might have six parts, or eight parts. So yes, there are ways to avoid a straight linear form, which I don;t think we ever had. we had two sides, and a link (Entr'acte). The other answer is that we ar trying too much, of course. It would be possible to make a clear dance piece here. it would be possible to make a screen piece. and it would be possible to make sound theatre or a sonic piece (with visuals). As we are creating a complex mixed reality installation, we have much to work on, and perhaps simplify. My comments: What would UKIYO be like, as an audiophonic concert? [sound and vacuum of sound (non sound][ what resonates the sound, is the audience resonator?) Can we turn the lights off (close eyes). Souce / placement of sound? Emanations (how, who, where)? Sound as mass, filling space, drifting.? Can sound float around, shift, move? Can it flutter and fly like the leaves? can we hear it without seeing? Close the eyes (performers), guide audience through sound. Open the eyes, change the audiophonic concert.


21.1. 2010


hello DAP members

thanks for all recent postings, and i am hoping we can preserve these dicsusions and thus make them available for all of us to re/read.

I am adding the postings, as we along, to the bogs and blog links (e.g.

Doros has updated his blog, and Katsura hers', and the links to TOKYO Lab and UKIYO_Conference should be active.

This coming Sunday (Jan 31) we shall have our first workshop in the new year, and I suggest that the coordinators (Mich¸le and myself) meet between 12:oo/12:30 with the sound/music.composition artists, i hear that Oded and Caroline are starting up early anyway, so let us conjoin at around 12:30 or 12:45 after we have set up in Artaud 101.

Anyone from the company interested in sound / music issues, please feel welcome to join. at 14:oo: general call for performers. if this is all right,. If you come later, then try and stay later. Otherwise we work from 14: - 16:oo, / coffee break, and 16:30 - 18:30 in groups or one on one.

The first session at 14:oo i hope Caroline will lead (sound theatre/movemnt sound). Then you have one on one meetings with Michele and with me on visual and design choreography. We can end at 18:30 (or have dinner together). Olu, if you can come, please confirm, and we make sure to dwell on characters / scene and visual rhythms I also need to re-vamp ideas with you all (Mamen, please contact us too) about how to extend or revise the Entr'acte film. Michele has studied the old dada films and the 20s and 30 experimentals, and there is much abstraction to admire...... Let me know also, on Sunday, how we shall proceed with partnering (Japan) I am much in favor of bringing Eng Tat to London , and also inviting Japanese artists (and coordinator.researcher Yukihiko) back in the spring, maybe May or around the time when Doros re-joins us, to make the new version evolve forcefully together, What did you all think of the expanded dramaturgy?

26.1. 2010


hello DAP lab members: thanks for some of the responses, and Mich¸le and I are looking at all the suggestions, while we also have to keep a little bit of our time devited to production and company management and well being.

I hope that we will begin this year in a new spirit or cooperation and respect for each others ; working methods and time and sensibility towards all sectors of this research & arts group I think a little catch up & discussion, and planning for the next 6 months was necessary last sunday, and practical homework had been suggested by me and by our exchanges, also your own suggestions, throughout the last weeks (xmas and new year break.); the blogs are practical thinking processes. new design decisions have to be discussed and set in motion, choreographic and visual image/isadora programming and film shoots are necessary, to be developed hand in hand, with the music, sound and audiophonic garments or design concepts Michele wanted to explore in this production, and the performes enthusiastically took on. Well, I hope it was enthusiasm.

I encourage you to follow your priorties list and make also individual rehearsals or sub group meetings, of course. The choreographic characters can be developed much fiurther, as we alreay did well with Anne Laure on Sunday evening. Katsura and Mich¸le can work on the "silent" and the "speaking" leaves that Mich¸le imagines, and i will work on the new films and the visual programming when i have time, as Paul is not with us at this point.

To follow and work, concretely with the priorities suggested on the technical side, we need engineering and 3d graphics specialists to be here, we cannot do one dimension without the other, unless you are pro-active and imagine your movement /sound work with sensors, with unfolding images. Eng Tat can possibly help us online - I hope, and then join us un June, and Xiaoyu will help building a e-dance virtual studio in the cloud. I have been contacted by Slovenia producers , they confirm dates in Maribor, and now possible opening of tour in the capital, Ljubljana. Maribor: June 12th (move-in date, set up and rehearsal), premiere June 18, return to London on the 19th. If we do Ljubljana, expect a tour calendar of June 9th - 19th. (Ljubljana opening on the 11th) Japanese partner artists might join us May 31 / June 1 Mr Bakalos, will need to join us somehow. Mr Polydorou and Mr Khoot also need to re-turn to UK or come here June 1 - 19th. Doros and Yirogos can travel on from Lljubljana to Athens/Cyprus, the scenic way along the Danube.

I want to proceed step by step, re-setting all priorities for DAP Lab, for the ensemble and our collective efforts,. so that we can work smoothly and cooperatively. so these would be priorities concerning garment design and choreography and audiophonic design and music, and choreography and visual./filmic and 3D virtual projection, plus the engineering side for possible use of interactional sensors (if we do that) . I shall not buy a PC and do what i cannot do, run PC and Isadora or anything or this sort at same time so i am putting this on unsolved shelf until i hear from Eng Tat, I have invited him to come to DAP in May/June if possible, along with Doros, and he seems positive and just sent us some wonderful images and idea, -- this is lovely, i appreciate it. Once i have had time to reflect (I am overtaxed with communications from Japan, and now from Slovenia), i need to sort out how our logistics can function as a production company, as i can no longer do all the admin and finance work. We need some administrative help, and thus i am also also worrying that the Lab membership needs to reorganize its productions and marketing.

5.2. 2010

<< >>

thanks Doros and Olu for your recent mails......... i am enjoying imagining (Artaud-like) the percussion of the return beat, and also i think you are right of course, Olu, in regard to the rehearsal, we are still operating often in a choreographic isolation as we don;t rehearse collectively.

The voice rehearsals were problematic for me as i think we are not reaching new ground here (and have no voice training, apart from Caroline) - thus I am tempted to explore more one to one movement and sound rehearsals next week, in the manner in which i worked with Anne Laure and her very interesting (in the evening) responsive exploration of the record (as physical industrial object) that she handled, worked with as tool, instrument, food, plate, etc.

The one moment when AL took the vinyl out of her mouth, and a silent cream and then a deep screech came from her stomach was a fine authentic moment. Each of the peformers, I recommend, find your character's actual physiological motion sound (if we think of the brain and its connecting inner ear to other senses and your balance and vocal chords and abdomen) out of your movement character and what your character wears, how it "works" (how you move with/through Michele's garment, your color, your instrument). We could see all of your opening solos as instruments of this plasticity of "new" neuroplastic language.

The "creation scenes" (Doros) are for the three of you (Yiorgos is the engineer as magician, inventor). He will "introduce" the retreat and labyrinth of hanamichi, and Yiorgos, think about introducing them all (all five). This entering-into the neuoplasticity of the multimodal and multiensory future in which we now live, is the late revolution, its engineering rests on shoulders of the old composers and inventors, the old Arsenij Awraamovs, Dziga Vertovs, E-J Mareys, Kandinskys, Khlebnikovs, and Kruchonykhs............ they imagine machines for the early 20th century. Doros and Ent Tat and japanese animation and manga artists imagine a new language now.

So i propose to start with prolog of silent movie (Olu Mamen) condensed. Olu present with rhythm sticks. Yiorgos engineering solo Katsura, Helenna, Anne Laure. soli on different axes. Now, if we follow the comments and our self analysis, we would want to

1) connect each performer clearly to a past machine assemblage in the projected images (the japanese animation scholar Thomas LaMarre calls its "animetic machine" ) -- Paul's and my photography/video, especially Paul's layered anination montage.

2) to a particular sound or sonic world 3) to each other as you emerge, in the next scenes, in inter-relationships to be mounted through the zaum (Caroline;s appearance, her transrational poetry and bandoneon), I propose to introduce poetric text or sound fragments , and reherase whether they can truly link each performer's movement We shall work on the connecting threads in choreography.

Paul, how do you see three "past" image worlds? Doros: can we evolve the creation scenes (3 islands) , and how, Olu can we transition this via Oded's music and Caroline;s bandoneon and your duet with Yiorgos and the sticks (return beat). Do we have visual projections pickung up Brazhinsky and Africa? or will this confuse the audience?

When i am refering to ANIMATION, i would like us to study it, in retrosoect to your visit to Japan and the butoh studio. I would like to connect the slow down butoh scenes with anination in an powerful, Artaudian metaphysical way, I want to blow people'e minds. And also with sonic impact.

When i think of Anne Laure's Factory, I think Factory, and industrial power. I hear a cresceno percussion precisely in the butoh scenes where Oikawa-san played mediational new age music. I want all the machines crashing over the slow emergence of your colors, and when the Factory is silent, tiny transrational voices speak poems out of wearable speekers, voices coming friom hips, spines, shoulders, and calves. Your second scenes, more and more connecting (and simultaneous in time in space) will have to be rehearsed with Doros and Eng Tat (and sound team), here the performers are creating neuroplastic virtual interactive scenes (where you perform, possibly with sensors, with the 3D worlds - this could be a simultaneous creation scene, Doros, can we do all three or shall we do one after the other?) For such morphosis, again see animation scholar below *.(Thomas LaMarre)


11. 2. 2010


<< >>

Dear all, dear Helenna thanks for participating in Michele's workshop, we were glad we could get the spherical speakers to work brilliantly, and i particularly liked the new white designs (white coat and hat) and what you did in the performance with the design and the speakers. as they are more brittle, lighter , rounder, there are many more things you can do, and one hand becomes free....... you may wish to rehearse more often with them, and the white fishing pole, I hope you saved it and took it to use as rod.

The use of voice and some of the singing, very effective. now you can develop forward this character, and then next time work on the hammer woman and the prosthtetic. In your dramaturgucal scheme (the overall choreography), i am drawing up a new plan, which will be ready in mid March, and we shall have new sequences, and also time between for changes of character (from speaker woman to hammer woman to butoh dance to avatar. we see a strong connection between the slow down and the avatar birthing, which is the creation of the virtual worlds through the "smoke language" -- and a response is due to Doros, it will come soon, Doros.

I was not sure whether you were working on "one" creation scene & whether you see this to be the creation of one space for all , or whether the soloists (part I) then enter into creation of their (different worlds) = different islands , or whether we evolve a collective (3d graphic projection on all screens) I think the inter-=action on stage is something that happens in Part 2 or 3 or 4 o 5, after we have seen the evocation of an imaginary "past".

I spoke to an auidence member from June concert again today, and am happy to say she praised all performers and thought our care for the performer and the bodily performance & design was absolutely central, and she remarked that she was glad her attentiion was not distracted by the "technology" as she called it. I think once the performers relate to the central narrative of our work and the images we project (or create their visual counterpart), the 3d virtual animations become successfully integrated.

Michele and I suggest that the performers, in their first part characters work from an imagined "early" historical version of their self, as I wrote in my last mail. Helenna literally imagined a 1930s rice field worker, and she brings her music to the audience, and her rice . Her audiophonic design lets her share "early" sound of hers with the audience. We hear her mingle this with her voice (in Chinese). In similar manner, i imagine Mutant Woman to work with her sleeves (image) and her leaves (image), each choreography, connected , can tell a story about the older katsura. in similar manner, Anne Laure will tell us a story about the Worker Woman (factory, "record", see again Liliana Porter slide on "forced labor) and the second character, we will hear factory sound and something personal perhaps you bring (interesting here, we have real small speakers in garments, and we have dysfuncytional speakers). We need to incorporate Olu's role and percussion with the Yiorgos Military Man (sticks, drums, claves, swords, boom mike).

The one on one rehearsals work well, and sub units can report back if you are making progress , thank you. we need a young engineer or design student with PC windows to join us and begin working/helping on sensor interface (with Eng Tat guiding). regards Johannes

* * *

Rehearsals: 16 & 18 February: Helenna with spherical speakers, and Anne laure with WorkerWoman theme, .Regards, Michele


<< >>

just a brief visual follow up on this week's and Jan 31 rehearsals please find photos attached.

Can we meet Sunday, February 28, from 13:oo to 19:oo. ? Artaud 101 We can form break-out groups, and work on sound / instruments and designs in the first part, and choreography on the second. Since there are overlaps movement/sound, we will need to create windows for each character in the sequence of UKIYO 2 Part 1 (Olu/Yiorgos, Katsura, Helenna, Anne Laure, Caroline), give each performer 45 min to an hour to rehearse. At this point we are finding the solo parts.

In March we start the Part II (A, B, C D) collective or interrelational parts. We do not have the sensor garments ready, nor an engineer with PCwindows laptop to work with the dancers (Eng Tat) and the 3D worlds are not here yet. So we work on the audiophonic characters. we need conscious collective agreement on oncorporation of japanese dancers, invite them, host them. Are you ready for this? Who will coordinate and produce? (from exhibition draft, January)

o. Prologue: Yiorgos and Olu/Mamen introducing the "narrative" of the floating world of long duration (100 years of slow (r)evolution) and engineer Braszhinsky (First part Entr'acte)

1. Part 1 (Dap performers soli with sparse projected photography, animation). We develop the movement characters and the visuals and music and the design.

2. Part 2 Floating World 1 . : slow butoh section, performed by three or more japanese performance artists, to visual animation by japanese artists.

3. Part 3 Creating Islands (Dap performers soli to create virtual 3d islands)

4. Entr'acte (second part Silent Movie about the "new smoke language")

5. Part 4 Floating World 2 (solo / duo) with japanese performers and Olu's African rhythms and animations, (3D Island & Second Life)

6. Part 5 Floating Island 2 (Dap performers, interacting with Virtual 3D islands)

7 . Part 6 Floating World 3 (Dap performers and japanese performers in real space and with avatars in Second Life)


We need to clarify with Doros the question how long, how consistent we imagine a performer to be connected to an "island." If we use sensors, we make ourselves dependable on a sensor reaction & 3D world behavior relation, which may not be sustainable for more than 3 minutes. what happens after that? There are technical things to work on too, building our instruments. Thus it would be great to have you all here for as long as you can stay. thanks Johannes Birringer & Michele Danjoux DAP Lab

19. 2. 2010

<< >>

Doros: thanks for your good and clear description of the imagined "creation scenes" (Polydorou Blog
and I invite discsussion. I think it sounds very clear, and logical. I assume when you say brush you are referring to an "imaginary" brush. If the performer "locates" it in the thin air, how does she know she is "painting" -- when thngs appear on the screen? (sound trigger is okay, but generally trigger is not very subtle). But this can work. I edited the test film for ProstheticWoman (Tokyo), with Helenna, and it is interesting to evaluate now, in terms of sonic dynamic and visual inter-relation. It was one of our first tests, very promising. Shed looks at screen, and is exploring what the "prosthesis" can do. it is not "choregraphic" or intensional or organic. Now we need to work further , i suggest, on the sonic dynamics or calligraphy, and the visual calligraphy / animation and the intensions of what the actor does in creating a world. How do we make the shift from the past to the future, the older "forced" labors (worker woman) to the new work of plasticity? Paul: from first world past, the photograps or still/animations, the projected material evolves ("floating worlds) from photographic to the algorithmic (Doros),

RESEARCH: how do we make this transition convincingly? Paul is very right it calling us "instrument makers" ( Michele would love that way of thinking for design too) -- but remember the performers work three dimensionally and kinetically, on the hanamichi, our movements can be contained, but they need to RADIATE energies,. to attract audience engagement (what is heard, what is acted and seen)., and be emotionally or kinetically motivated to establish the scenes (soli) and then develop the scenes (duets, trios, collective).

Doros you say you need to go back to basic user interaction methods -- i understand that, computationally perhaps. Yes. But choreographically we need to ask whether our performers in our stage setting ever face a screen, (in one angle) and if they do, they would not just face it, yes? can the performer bend down to "create" grass" and caress the leaves, as Katsura did, without having to look at canvas as a painter does? or do you all find it okay to "paint" a canvas by facing it? Can we do a shared creation scene (slow, butoh like), which allows the audience to wander around and see the creation of these new lands? we can begin with this, and then modify, what if the creation is ongoing as Doros once suggested? no movement, no island.? (but not: Pavlov, right?)

Doros, will we have three canvases? Paul, where shall we place the screens in relation to the dancer? should i make a new stage design? When will we be able to have our performer start rehearsing with creation scenes, can we do this after Easter (April)? If we have a large space (as in the Boiler House, 23 x 16 meters) five long hanamichi, i doubt it will be easy to install/hang a camera somewhere where eyes++ can read the paintergestures? Are we aware that innumerable technical problems loom with WIRED AUDIOPHONICS, WIRELESS AUDIOPHONICS, and HCI using camera sensing and blueb toot sensors?

In the March 14 and 28 rehearsals, i propose to wire up the performers (SpeakerWoman and InstrumentWoman) to sound and test the WorkerWoman choreography as also a CREATION SCENE Rehearsal.

RESEARCH: into animation, please pursie ideas of image creation based on animetic machine ideas.

RESEARCH: Olu you need to bring to us the African influence and return beat for the Sunshine parts of UKIYO - this needs to be picked up by Yiorgos.

RESEARCH: Oded and Caroline did something with TRUAX, and i am very sorry to have missed it, Michele was here to work on our designs. (Mich¸le has written her design portfolio for UKIYO 2, and worked with performers this week.) - can you report and tell us how the language /zaum parts are evolving? can you introduce your ideas regarding language, and shall we sample them from Kracht and Russian futurism?

You remember meeting Jan Linton in Tokyo? he sent us his music for insects and wishes to work/sing with us too. We have reports from Yukihiko that the rehearsals in June may bring several Japanse artists to us, if time schedules can be coordinated. We need a volunteer engineer to play Eng Tat and work with ET on line. and we need a producer/logistics manager.

Prof. Thomas Lamarre (Japan animation scholar expert) from Montreal has proposed for us to look at how anime is influenced by ukiyo-e: >>if you're interested in ukiyo-e inflected anime, there is another series by the same director as Cowboy Bebop called 'Samurai Champloo'. See This series does a lot of remix of hiphop and ukiyoe. As for avantgarde animation artist Hiromu_Arakawa and full metal alchemist, This will link you: >>>

thanks Johannes

20.2. 2010



Notes on Marey_machines and photography


here is the transcription of the Relationsscapes essay on movement machines.


(it will take a few seconds to load) enjoy. Johannes


January-February. 2010 Johannes Birringer


Further Writings:

Birringer Blog



This research project is funded by a PM12 Connect/British Council Grant and a grant by The Japan Foundation

dance tech network site of Ukiyo project


All photos (c) DAP-Lab





Project directors: Johannes Birringer & Michèle Danjoux

Brunel University, West London