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This is an edited version of the score that took place on Friday.

the occurrence of meaningful coincidences that seem to have no cause <3

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This is a wonderful and far reaching conversation exfoliating & elucidating many of the qualities inherent to the practice of 'schizzing'. I highly recommend it!

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EP1 - The beautiful complexity of neurodiversity with Dr. Erin Manning

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Track I listened to while Niki's Practice 2

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Track I listened to while Niki's Practice 2

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Practice 2 - Tectonic Plates (short vid)

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Practice 2 - Tectonic Plates (short vid)

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Schizosomatics - Practice 2 - Tectonic Plates

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In Hands Made, the visitors' own hands take center-stage. Separated from the rest of the body, yet in intimate proximity to each other, they will be the focal point of a speculation on the past and future of hands, of handwork, and of the sense of touch. What have these hands been busy with and what will they do in the future? Who or what will they touch?

Concept and direction: Begüm Erciyas

Sound design: Lieven Dousselaere

Scenography: Élodie Dauguet

Artistic collaboration: Jean-Baptiste Veyret-Logerias, Matthias Meppelink

Dramaturgy: Jonas Rutgeerts

Production management: Maru Mushtrieva

Set realisation: Studio Zuidervaart

Special thanks to: Gaëtan Bulourde, Robert Ochshorn

Production: Outline, www.outlineonline.org

Distribution: Something Great, www.somethinggreat.de

Co-production: DeSingel (Antwerp), Tangente St.Pölten Festival für Gegenwartskunst (St.Pölten), PACT Zollverein (Essen), Kunstenfestivaldesarts (Brussels), SPRING Performing Arts Festival (Utrecht)

Residencies: Kunstenwerkplaats (Brussels), Tokyo Arts and Space (Tokyo), La Ménagerie de Verre (Paris), Kunstencentrum BUDA (Kortrijk)

Supported by Flanders State of the Art and the Tanzpraxis stipend of the Senate Department for Culture

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In Hands Made, the visitors' own hands take center-stage. Separated from the rest of the body, yet in intimate proximity to each other, they will be the focal point of a speculation on the past and future of hands, of handwork, and of the sense of touch.

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This is the practice from Monday. Hopefully a file that everyone can access.

By Niki.

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the schizzing process of the scores... (qiqi)

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the schizzing process of the scores... (qiqi)

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1. problem

Now I am researching the contorting body, using Feminist Translation and Feminist Auto-ethnography writing in the process. I encountered many theories in the literature reading and thus had interesting theoretical associations (conceptual contortion). For example, the contortion pose as a bodily glitch; the overlapping identity of a feminist translator who is born bilingual, learning patriarchal tongue with her own tongue mute and the feminist auto-ethnographer who is reviving her own identity and tongue by writing the experience of the marginal bodies; the asian bodies that are both praised by their exquisite physical ability and enduring a certain western gaze……

My problem is, how to embody these lovely findings and proceed into performance making (with contortion as the main physical practice form)?

This is a very clear target. My first thought would be to use the group to show you ways of doing this. From the perspective of D & G, this would attempt to focus on it schizosomatically (moving away from the personal, one’s body, subject, subjectivity, individual and so on).

What does it mean/bring to embody them besides not letting the freeing theories be just lip service?

first thought: focus on ‘intensity’, affect, non-representation, proliferation, machinic desire (what you/the work want(s) more of, not what you/it lack(s)).

2. proposal

My instinct and temporal solution, to experiment with embodiment would be: list the interesting theoretical finding, write a score to experiment with according to it, perform, and then reflect (through writing the bodily experience), modify the score, perform… until there is a concrete finding.

Yes. How would it read were you to take the suggestions above?

Plan for the 45 min session:

1-10 warm-up joints, ready for contortion

10-18 introduce my contortion practice, guiding towards a contortion experience

18-20 introduce my problem

20-25 give out theories I find really inspiring to everyone, everyone writes a score of how to perform it with contortion

5 minutes might be too short. Hoe many theories are you thinking of?

25-30 exchange with each other, perform individually simultaneously

exchange verbally? or straight into being/performing together?

30-35 reflect, auto write, modify the score, and exchange again

I would invite participants to access their unconscious knowing, away from too much deliberation.

35-40 perform individually

what do others do when one performs individually? do they watch? are they in the same space as the one performing?

40-45 reflect, auto write, modify score, end

idem.

Revise: How do I usually do it unconsciously? - When getting ready to sleep, I always do it without consciously thinking when ideas come to me.

Session 1 - score:

Relax, playlist: relaxed massage

guided stretching 10min

Falling into almost sleep, dreamy state while I read some lovely theories 20min

(Let the sound schizz with ads, hoping the music box would die from low battery but didn’t happen)

Write a score of experience 5min

Share 5

Revise and based on feedback: looking into folding, understanding horizontally, body-mind. Inspired when looking into the theory, mind - fiction - body - contortion

Session 2 - score:

Music on, playlist: floating in space

Self stretch 10 min feel your bones and joints feel free to alternate the space as well

Massage each other, totally relax. How is that different from your inner feeling. How is the weight of another body (parts) 5 +5

(The sound schizzed with ads, hoping the music box would die from low battery but didn’t happen)

freaktion...

Find a comfortable spot and position. Close your eyes, the whole world outside is dimming. Gravity is changing you can float or sink

If you want only one ear, wipe one out. Rearrange your face if you want. If you want no face, it’s also possible.

Take a breath. Sense all the discomfort or pain, gently flow them to the edge the your body, watching them disappearing horizontally.

Center your pelvis, feel that it is softening down. There is no stiffness, soft like a jelly.

Now your bones and muscles and skin are also becoming elastic. Try with one arm or one leg first. It is extending to the farthest point you can be aware of.

Now, twist it back. Try to round it on your neck like a necklace. How does that feel?

Now that your body is elastic you will be a contortion guru. Try with other body parts. Try bending your spin too. In contortion you normally find spin binding either forward or backwards. Now you can do any direction. Try that.

Now you are free to explore. You got all the potentials.

Contort your body to a knot, until you cannot move any more.

Think of the question you had. Be with it for a second.

Hear this story.

https://www.douban.com/note/232613672/?_i=7954515eySgwzE,8340761eySgwzE

…

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it was a challenge to have a very groovy song in a linear/greed formula! love it 😍 

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the song for niki's score. on repeat. (eleni)

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the song for niki's score. on repeat. (eleni)

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the playlist from Friday's score (eleni)

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the playlist from Friday's score (eleni)

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lunch break. hands. after Clio's practice (eleni)

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lunch break. hands. after Clio's practice (eleni)

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2:08 / 2:20

lunch break. hands. after Clio's practice

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lunch break. hands. after Clio's practice

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Registre of my first shared practice (Thaís)

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Registre of my first shared practice (Thaís)

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Registre from my proposed practice today. (Thaís)

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Registre from my proposed practice today. (Thaís)

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A cloud?, getting ready for Eleni's practice 2

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A cloud?, getting ready for Eleni's practice 2

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Reference for Eleni (based on score for practice 2)

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Reference for Eleni (based on score for practice 2)

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Katja Silverman might be of interest. Have a look.

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Kaja Silverman held the Keith L. and Katherine Sachs Professor of Contemporary Art at the University of Pennsylvania from 2010-2020. Shortly after arriving at Penn, Silverman was given a Distinguished Achievement Award by the Mellon Foundation, which provided the motivation and the funding for a wide range of events: academic lectures, public conversations with artists and curators, artist residencies, three conferences, and three exhibitions, one of which included the creation of a public artwork (see Event Archive).

Silverman is the author of nine books: The Miracle of Analogy, or The History of Photography, Part 1 (2015); Flesh of My Flesh (2009); James Coleman (2002); World Spectators (2000); Speaking About Godard (with Harun Farocki, 1998); The Threshold of the Visible World (1996); Male Subjectivity at the Margins (1992); The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (1988); and The Subject of Semiotics (1983).

Her most recent book, The Miracle of Analogy, which was published by Stanford University Press in 2015, is the first installment in a three-volume reconceptualization of photography. Since this book is primarily concerned with photography as the agency through which the world reveals itself to us, it focuses on images in whose formation the photographer played only a nominal role: on the pre-optical camera obscura's image-stream, and photographs made during the first three decades of chemical photography. And although Silverman discusses works by a number of contemporary photographers, they are all close in spirit to the photographs of the nineteenth century photographers who figure most prominently in Miracle: William Henry Fox Talbot, Anna Atkins, and Julia Margaret Cameron.

The second volume, The Three-Personed Picture, is about the gradual emergence of a very different kind of image: one that is two-sided, three personed and authored from inside. It is shaped both by the subjective intelligence of the sitter and the beholder as well as the author, and by the objective intelligence of the world. Through it, the saving power of photography finally became not just ontological, but socio-ontological. The final volume in this trilogy, The Promise of Social Happiness, is focused on the re-emergence of pictorial photography in the second half of the twentieth century and the first decades of the twenty-first, through two closely-related forms: photo-painting, and large-format photography (see Publications).

Before joining the History of Art Department at Penn, Silverman taught for many years at the University of California, Berkeley. During this period she wrote Speaking About Godard -itself a book about couples-with Harun Farocki, her life partner from 1992-1999. They also collaborated in many other ways during their years together, including co-teaching four seminars at Berkeley.

Earlier in her career, she taught at the University of Rochester, Brown University, Simon Fraser University, Trinity College, and Yale University.
Curriculum Vitae

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Kaja Silverman held the Keith L. and Katherine Sachs Professor of Contemporary Art at the University of Pennsylvania from 2010-2020. Shortly after arriving at Penn, Silverman was given a Distinguished Achievement Award by the Mellon Foundation, which provided the motivation and the funding for a wide range of events: academic lectures, public conversations with artists and curators, artist residencies, three conferences, and three exhibitions, one of which included the creation of a public artwork (see Event Archive).

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Thaís, have a look. Perhaps revealing for what you have proposed today (practice 2).

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Systems theory is the transdisciplinary study of systems, i.e. cohesive groups of interrelated, interdependent components that can be natural or human-made. Every system has causal boundaries, is influenced by its context, defined by its structure, function and role, and expressed through its relations with other systems. A system is "more than the sum of its parts" by expressing synergy or emergent behavior.

Changing one component of a system may affect other components or the whole system. It may be possible to predict these changes in patterns of behavior. For systems that learn and adapt, the growth and the degree of adaptation depend upon how well the system is engaged with its environment and other contexts influencing its organization. Some systems support other systems, maintaining the other system to prevent failure. The goals of systems theory are to model a system's dynamics, constraints, conditions, and relations; and to elucidate principles (such as purpose, measure, methods, tools) that can be discerned and applied to other systems at every level of nesting, and in a wide range of fields for achieving optimized equifinality.

General systems theory is about developing broadly applicable concepts and principles, as opposed to concepts and principles specific to one domain of knowledge. It distinguishes dynamic or active systems from static or passive systems. Active systems are activity structures or components that interact in behaviours and processes or interrelate through formal contextual boundary conditions (attractors). Passive systems are structures and components that are being processed. For example, a computer program is passive when it is a file stored on the harddrive and active when it runs in memory. The field is related to systems thinking, machine logic, and systems engineering.

Systems theory is manifest in the work of practitioners in many disciplines, for example the works of physician Alexander Bogdanov, biologist Ludwig von Bertalanffy, linguist Béla H. Bánáthy, and sociologist Talcott Parsons; in the study of ecological systems by Howard T. Odum, Eugene Odum; in Fritjof Capra's study of organizational theory; in the study of management by Peter Senge; in interdisciplinary areas such as human resource development in the works of Richard A. Swanson; and in the works of educators Debora Hammond and Alfonso Montuori.

As a transdisciplinary, interdisciplinary, and multiperspectival endeavor, systems theory brings together principles and concepts from ontology, the philosophy of science, physics, computer science, biology, and engineering, as well as geography, sociology, political science, psychotherapy (especially family systems therapy), and economics.

Systems theory promotes dialogue between autonomous areas of study as well as within systems science itself. In this respect, with the possibility of misinterpretations, von Bertalanffy believed a general theory of systems "should be an important regulative device in science," to guard against superficial analogies that "are useless in science and harmful in their practical consequences."

Others remain closer to the direct systems concepts developed by the original systems theorists. For example, Ilya Prigogine, of the Center for Complex Quantum Systems at the University of Texas, has studied emergent properties, suggesting that they offer analogues for living systems. The distinction of autopoiesis as made by Humberto Maturana and Francisco Varela represent further developments in this field. Important names in contemporary systems science include Russell Ackoff, Ruzena Bajcsy, Béla H. Bánáthy, Gregory Bateson, Anthony Stafford Beer, Peter Checkland, Barbara Grosz, Brian Wilson, Robert L. Flood, Allenna Leonard, Radhika Nagpal, Fritjof Capra, Warren McCulloch, Kathleen Carley, Michael C. Jackson, Katia Sycara, and Edgar Morin among others.

With the modern foundations for a general theory of systems following World War I, Ervin László, in the preface for Bertalanffy's book, Perspectives on General System Theory, points out that the translation of "general system theory" from German into English has "wrought a certain amount of havoc":

It (General System Theory) was criticized as pseudoscience and said to be nothing more than an admonishment to attend to things in a holistic way. Such criticisms would have lost their point had it been recognized that von Bertalanffy's general system theory is a perspective or paradigm, and that such basic conceptual frameworks play a key role in the development of exact scientific theory. .. Allgemeine Systemtheorie is not directly consistent with an interpretation often put on 'general system theory,' to wit, that it is a (scientific) "theory of general systems." To criticize it as such is to shoot at straw men. Von Bertalanffy opened up something much broader and of much greater significance than a single theory (which, as we now know, can always be falsified and has usually an ephemeral existence): he created a new paradigm for the development of theories.

Theorie (or Lehre) "has a much broader meaning in German than the closest English words 'theory' and 'science'," just as Wissenschaft (or 'Science'). These ideas refer to an organized body of knowledge and "any systematically presented set of concepts, whether empirically, axiomatically, or philosophically" represented, while many associate Lehre with theory and science in the etymology of general systems, though it also does not translate from the German very well; its "closest equivalent" translates to 'teaching', but "sounds dogmatic and off the mark." An adequate overlap in meaning is found within the word " nomothetic", which can mean "having the capability to posit long-lasting sense." While the idea of a "general systems theory" might have lost many of its root meanings in the translation, by defining a new way of thinking about science and scientific paradigms, systems theory became a widespread term used for instance to describe the interdependence of relationships created in organizations.

A system in this frame of reference can contain regularly interacting or interrelating groups of activities. For example, in noting the influence in the evolution of "an individually oriented industrial psychology [into] a systems and developmentally oriented organizational psychology," some theorists recognize that organizations have complex social systems; separating the parts from the whole reduces the overall effectiveness of organizations. This difference, from conventional models that center on individuals, structures, departments and units, separates in part from the whole, instead of recognizing the interdependence between groups of individuals, structures and processes that enable an organization to function.

László explains that the new systems view of organized complexity went "one step beyond the Newtonian view of organized simplicity" which reduced the parts from the whole, or understood the whole without relation to the parts. The relationship between organisations and their environments can be seen as the foremost source of complexity and interdependence. In most cases, the whole has properties that cannot be known from analysis of the constituent elements in isolation.[full citation needed ]

Béla H. Bánáthy, who argued-along with the founders of the systems society-that "the benefit of humankind" is the purpose of science, has made significant and far-reaching contributions to the area of systems theory. For the Primer Group at the International Society for the System Sciences, Bánáthy defines a perspective that iterates this view:[full citation needed ]

The systems view is a world-view that is based on the discipline of SYSTEM INQUIRY. Central to systems inquiry is the concept of SYSTEM. In the most general sense, system means a configuration of parts connected and joined together by a web of relationships. The Primer Group defines system as a family of relationships among the members acting as a whole. Von Bertalanffy defined system as "elements in standing relationship."

Systems biology is a movement that draws on several trends in bioscience research. Proponents describe systems biology as a biology-based interdisciplinary study field that focuses on complex interactions in biological systems, claiming that it uses a new perspective ( holism instead of reduction).

Particularly from the year 2000 onwards, the biosciences use the term widely and in a variety of contexts. An often stated ambition of systems biology is the modelling and discovery of emergent properties which represents properties of a system whose theoretical description requires the only possible useful techniques to fall under the remit of systems biology. It is thought that Ludwig von Bertalanffy may have created the term systems biology in 1928.

Subdisciplines of systems biology include:

Systems ecology is an interdisciplinary field of ecology that takes a holistic approach to the study of ecological systems, especially ecosystems; it can be seen as an application of general systems theory to ecology.

Central to the systems ecology approach is the idea that an ecosystem is a complex system exhibiting emergent properties. Systems ecology focuses on interactions and transactions within and between biological and ecological systems, and is especially concerned with the way the functioning of ecosystems can be influenced by human interventions. It uses and extends concepts from thermodynamics and develops other macroscopic descriptions of complex systems.

Systems chemistry is the science of studying networks of interacting molecules, to create new functions from a set (or library) of molecules with different hierarchical levels and emergent properties. Systems chemistry is also related to the origin of life ( abiogenesis).

Systems engineering is an interdisciplinary approach and means for enabling the realisation and deployment of successful systems. It can be viewed as the application of engineering techniques to the engineering of systems, as well as the application of a systems approach to engineering efforts. Systems engineering integrates other disciplines and specialty groups into a team effort, forming a structured development process that proceeds from concept to production to operation and disposal. Systems engineering considers both the business and the technical needs of all customers, with the goal of providing a quality product that meets the user's needs.

Systems thinking is a crucial part of user-centered design processes and is necessary to understand the whole impact of a new human computer interaction (HCI) information system. Overlooking this and developing software without insights input from the future users (mediated by user experience designers) is a serious design flaw that can lead to complete failure of information systems, increased stress and mental illness for users of information systems leading to increased costs and a huge waste of resources. It is currently surprisingly uncommon for organizations and governments to investigate the project management decisions leading to serious design flaws and lack of usability.[citation needed ]

The Institute of Electrical and Electronics Engineers estimates that roughly 15% of the estimated $1 trillion used to develop information systems every year is completely wasted and the produced systems are discarded before implementation by entirely preventable mistakes. According to the CHAOS report published in 2018 by the Standish Group, a vast majority of information systems fail or partly fail according to their survey:

Pure success is the combination of high customer satisfaction with high return on value to the organization. Related figures for the year 2017 are: successful: 14%, challenged: 67%, failed 19%.

System dynamics is an approach to understanding the nonlinear behaviour of complex systems over time using stocks, flows, internal feedback loops, and time delays.

Systems psychology is a branch of psychology that studies human behaviour and experience in complex systems.

It received inspiration from systems theory and systems thinking, as well as the basics of theoretical work from Roger Barker, Gregory Bateson, Humberto Maturana and others. It makes an approach in psychology in which groups and individuals receive consideration as systems in homeostasis. Systems psychology "includes the domain of engineering psychology, but in addition seems more concerned with societal systems and with the study of motivational, affective, cognitive and group behavior that holds the name engineering psychology."

In systems psychology, characteristics of organizational behaviour (such as individual needs, rewards, expectations, and attributes of the people interacting with the systems) "considers this process in order to create an effective system."

System theory has been applied in the field of neuroinformatics and connectionist cognitive science. Attempts are being made in neurocognition to merge connectionist cognitive neuroarchitectures with the approach of system theory and dynamical systems theory.

Predecessors

Saint-Simon (1760-1825), Karl Marx (1817-83), Friedrich Engels (1820-95), Herbert Spencer (1820-1903), Rudolf Clausius (1822-88), Vilfredo Pareto (1848-1923), Émile Durkheim (1858-1917), Alexander Bogdanov (1873-1928), Nicolai Hartmann (1882-1950), Robert Maynard Hutchins (1929-51), among others

Other contributors

1970-80s Second-order cybernetics (Heinz von Foerster, Gregory Bateson, Humberto Maturana, and others)

1971-73 Cybersyn, rudimentary internet and cybernetic system for democratic economic planning developed by Stafford Beer in Chile under the Allende government

1970s: Catastrophe theory (René Thom, E.C. Zeeman) Dynamical systems in mathematics.

1977: Ilya Prigogine received the Nobel Prize for his works on self-organization, conciliating important systems theory concepts with system thermodynamics.

1980s: Chaos theory (David Ruelle, Edward Lorenz, Mitchell Feigenbaum, Steve Smale, James A. Yorke)

1986: Context theory (Anthony Wilden)

1988: International Society for Systems Science is established.

1990: Complex adaptive systems (John H. Holland, Murray Gell-Mann, W. Brian Arthur)

Systems thinking can date back to antiquity, whether considering the first systems of written communication with Sumerian cuneiform to Mayan numerals, or the feats of engineering with the Egyptian pyramids. Differentiated from Western rationalist traditions of philosophy, C. West Churchman often identified with the I Ching as a systems approach sharing a frame of reference similar to pre-Socratic philosophy and Heraclitus. Ludwig von Bertalanffy traced systems concepts to the philosophy of G.W. Leibniz and Nicholas of Cusa's coincidentia oppositorum. While modern systems can seem considerably more complicated, they may embed themselves in history.

Figures like James Joule and Sadi Carnot represent an important step to introduce the systems approach into the (rationalist) hard sciences of the 19th century, also known as the energy transformation. Then, the thermodynamics of this century, by Rudolf Clausius, Josiah Gibbs and others, established the system reference model as a formal scientific object.

Similar ideas are found in learning theories that developed from the same fundamental concepts, emphasising how understanding results from knowing concepts both in part and as a whole. In fact, Bertalanffy's organismic psychology paralleled the learning theory of Jean Piaget. Some consider interdisciplinary perspectives critical in breaking away from industrial age models and thinking, wherein history represents history and math represents math, while the arts and sciences specialization remain separate and many treat teaching as behaviorist conditioning.

The contemporary work of Peter Senge provides detailed discussion of the commonplace critique of educational systems grounded in conventional assumptions about learning, including the problems with fragmented knowledge and lack of holistic learning from the "machine-age thinking" that became a "model of school separated from daily life." In this way, some systems theorists attempt to provide alternatives to, and evolved ideation from orthodox theories which have grounds in classical assumptions, including individuals such as Max Weber and Émile Durkheim in sociology and Frederick Winslow Taylor in scientific management. The theorists sought holistic methods by developing systems concepts that could integrate with different areas.

Some may view the contradiction of reductionism in conventional theory (which has as its subject a single part) as simply an example of changing assumptions. The emphasis with systems theory shifts from parts to the organization of parts, recognizing interactions of the parts as not static and constant but dynamic processes. Some questioned the conventional closed systems with the development of open systems perspectives. The shift originated from absolute and universal authoritative principles and knowledge to relative and general conceptual and perceptual knowledge and still remains in the tradition of theorists that sought to provide means to organize human life. In other words, theorists rethought the preceding history of ideas; they did not lose them. Mechanistic thinking was particularly critiqued, especially the industrial-age mechanistic metaphor for the mind from interpretations of Newtonian mechanics by Enlightenment philosophers and later psychologists that laid the foundations of modern organizational theory and management by the late 19th century.

Where assumptions in Western science from Plato and Aristotle to Isaac Newton's (1687) have historically influenced all areas from the hard to social sciences (see, David Easton's seminal development of the " political system" as an analytical construct), the original systems theorists explored the implications of 20th-century advances in terms of systems.

Between 1929 and 1951, Robert Maynard Hutchins at the University of Chicago had undertaken efforts to encourage innovation and interdisciplinary research in the social sciences, aided by the Ford Foundation with the university's interdisciplinary Division of the Social Sciences established in 1931.

Many early systems theorists aimed at finding a general systems theory that could explain all systems in all fields of science.

" General systems theory" (GST; German: allgemeine Systemlehre) was coined in the 1940s by Ludwig von Bertalanffy, who sought a new approach to the study of living systems. Bertalanffy developed the theory via lectures beginning in 1937 and then via publications beginning in 1946. According to Mike C. Jackson (2000), Bertalanffy promoted an embryonic form of GST as early as the 1920s and 1930s, but it was not until the early 1950s that it became more widely known in scientific circles.

Jackson also claimed that Bertalanffy's work was informed by Alexander Bogdanov's three-volume (1912-1917), providing the conceptual base for GST. A similar position is held by Richard Mattessich (1978) and Fritjof Capra (1996). Despite this, Bertalanffy never even mentioned Bogdanov in his works.

The systems view was based on several fundamental ideas. First, all phenomena can be viewed as a web of relationships among elements, or a system. Second, all systems, whether electrical, biological, or social, have common patterns, behaviors, and properties that the observer can analyze and use to develop greater insight into the behavior of complex phenomena and to move closer toward a unity of the sciences. System philosophy, methodology and application are complementary to this science.

Cognizant of advances in science that questioned classical assumptions in the organizational sciences, Bertalanffy's idea to develop a theory of systems began as early as the interwar period, publishing "An Outline for General Systems Theory" in the British Journal for the Philosophy of Science by 1950.

In 1954, von Bertalanffy, along with Anatol Rapoport, Ralph W. Gerard, and Kenneth Boulding, came together at the Center for Advanced Study in the Behavioral Sciences in Palo Alto to discuss the creation of a "society for the advancement of General Systems Theory." In December that year, a meeting of around 70 people was held in Berkeley to form a society for the exploration and development of GST. The Society for General Systems Research (renamed the International Society for Systems Science in 1988) was established in 1956 thereafter as an affiliate of the American Association for the Advancement of Science (AAAS), specifically catalyzing systems theory as an area of study. The field developed from the work of Bertalanffy, Rapoport, Gerard, and Boulding, as well as other theorists in the 1950s like William Ross Ashby, Margaret Mead, Gregory Bateson, and C. West Churchman, among others.

Bertalanffy's ideas were adopted by others, working in mathematics, psychology, biology, game theory, and social network analysis. Subjects that were studied included those of complexity, self-organization, connectionism and adaptive systems. In fields like cybernetics, researchers such as Ashby, Norbert Wiener, John von Neumann, and Heinz von Foerster examined complex systems mathematically; Von Neumann discovered cellular automata and self-reproducing systems, again with only pencil and paper. Aleksandr Lyapunov and Jules Henri Poincaré worked on the foundations of chaos theory without any computer at all. At the same time, Howard T. Odum, known as a radiation ecologist, recognized that the study of general systems required a language that could depict energetics, thermodynamics and kinetics at any system scale. To fulfill this role, Odum developed a general system, or universal language, based on the circuit language of electronics, known as the Energy Systems Language.

The Cold War affected the research project for systems theory in ways that sorely disappointed many of the seminal theorists. Some began to recognize that theories defined in association with systems theory had deviated from the initial general systems theory view. Economist Kenneth Boulding, an early researcher in systems theory, had concerns over the manipulation of systems concepts. Boulding concluded from the effects of the Cold War that abuses of power always prove consequential and that systems theory might address such issues. Since the end of the Cold War, a renewed interest in systems theory emerged, combined with efforts to strengthen an ethical view on the subject.

In sociology, systems thinking also began in the 20th century, including Talcott Parsons' action theory and Niklas Luhmann's social systems theory. According to Rudolf Stichweh (2011):

Since its beginnings the social sciences were an important part of the establishment of systems theory... [T]he two most influential suggestions were the comprehensive sociological versions of systems theory which were proposed by Talcott Parsons since the 1950s and by Niklas Luhmann since the 1970s.

Elements of systems thinking can also be seen in the work of James Clerk Maxwell, particularly control theory.

Many early systems theorists aimed at finding a general systems theory that could explain all systems in all fields of science. Ludwig von Bertalanffy began developing his 'general systems theory' via lectures in 1937 and then via publications from 1946. The concept received extensive focus in his 1968 book, General System Theory: Foundations, Development, Applications.

There are many definitions of a general system, some properties that definitions include are: an overall goal of the system, parts of the system and relationships between these parts, and emergent properties of the interaction between the parts of the system that are not performed by any part on its own. Derek Hitchins defines a system in terms of entropy as a collection of parts and relationships between the parts where the parts of their interrelationships decrease entropy.

Bertalanffy aimed to bring together under one heading the organismic science that he had observed in his work as a biologist. He wanted to use the word system for those principles that are common to systems in general. In General System Theory (1968), he wrote:

[T]here exist models, principles, and laws that apply to generalized systems or their subclasses, irrespective of their particular kind, the nature of their component elements, and the relationships or "forces" between them. It seems legitimate to ask for a theory, not of systems of a more or less special kind, but of universal principles applying to systems in general.

In the preface to von Bertalanffy's Perspectives on General System Theory, Ervin László stated:

Thus when von Bertalanffy spoke of Allgemeine Systemtheorie it was consistent with his view that he was proposing a new perspective, a new way of doing science. It was not directly consistent with an interpretation often put on "general system theory", to wit, that it is a (scientific) "theory of general systems." To criticize it as such is to shoot at straw men. Von Bertalanffy opened up something much broader and of much greater significance than a single theory (which, as we now know, can always be falsified and has usually an ephemeral existence): he created a new paradigm for the development of theories.

Bertalanffy outlines systems inquiry into three major domains: philosophy, science, and technology. In his work with the Primer Group, Béla H. Bánáthy generalized the domains into four integratable domains of systemic inquiry:

1. philosophy: the ontology, epistemology, and axiology of systems

2. theory: a set of interrelated concepts and principles applying to all systems

3. methodology: the set of models, strategies, methods and tools that instrumentalize systems theory and philosophy

4. application: the application and interaction of the domains

These operate in a recursive relationship, he explained; integrating 'philosophy' and 'theory' as knowledge, and 'method' and 'application' as action; systems inquiry is thus knowledgeable action.[failed verification ]

General systems may be split into a hierarchy of systems, where there is less interactions between the different systems than there is the components in the system. The alternative is heterarchy where all components within the system interact with one another. Sometimes an entire system will be represented inside another system as a part, sometimes referred to as a holon. These hierarchies of system are studied in hierarchy theory. The amount of interaction between parts of systems higher in the hierarchy and parts of the system lower in the hierarchy is reduced. If all the parts of a system are tightly coupled (interact with one another a lot) then the system cannot be decomposed into different systems. The amount of coupling between parts of a system may differ temporally, with some parts interacting more often than other, or for different processes in a system. Herbert A. Simon distinguished between decomposable, nearly decomposable and nondecomposable systems.

Russell L. Ackoff distinguished general systems by how their goals and subgoals could change over time. He distinguished between goal-maintaining, goal-seeking, multi-goal and reflective (or goal-changing) systems.

Cybernetics is the study of the communication and control of regulatory feedback both in living and lifeless systems (organisms, organizations, machines), and in combinations of those. Its focus is how anything (digital, mechanical or biological) controls its behavior, processes information, reacts to information, and changes or can be changed to better accomplish those three primary tasks.

The terms systems theory and cybernetics have been widely used as synonyms. Some authors use the term cybernetic systems to denote a proper subset of the class of general systems, namely those systems that include feedback loops. However, Gordon Pask's differences of eternal interacting actor loops (that produce finite products) makes general systems a proper subset of cybernetics. In cybernetics, complex systems have been examined mathematically by such researchers as W. Ross Ashby, Norbert Wiener, John von Neumann, and Heinz von Foerster.

Threads of cybernetics began in the late 1800s that led toward the publishing of seminal works (such as Wiener's Cybernetics in 1948 and Bertalanffy's General System Theory in 1968). Cybernetics arose more from engineering fields and GST from biology. If anything, it appears that although the two probably mutually influenced each other, cybernetics had the greater influence. Bertalanffy specifically made the point of distinguishing between the areas in noting the influence of cybernetics:

Systems theory is frequently identified with cybernetics and control theory. This again is incorrect. Cybernetics as the theory of control mechanisms in technology and nature is founded on the concepts of information and feedback, but as part of a general theory of systems.... [T]he model is of wide application but should not be identified with 'systems theory' in general ... [and] warning is necessary against its incautious expansion to fields for which its concepts are not made.

Cybernetics, catastrophe theory, chaos theory and complexity theory have the common goal to explain complex systems that consist of a large number of mutually interacting and interrelated parts in terms of those interactions. Cellular automata, neural networks, artificial intelligence, and artificial life are related fields, but do not try to describe general (universal) complex (singular) systems. The best context to compare the different "C"-Theories about complex systems is historical, which emphasizes different tools and methodologies, from pure mathematics in the beginning to pure computer science today. Since the beginning of chaos theory, when Edward Lorenz accidentally discovered a strange attractor with his computer, computers have become an indispensable source of information. One could not imagine the study of complex systems without the use of computers today.

Complex adaptive systems (CAS), coined by John H. Holland, Murray Gell-Mann, and others at the interdisciplinary Santa Fe Institute, are special cases of complex systems: they are complex in that they are diverse and composed of multiple, interconnected elements; they are adaptive in that they have the capacity to change and learn from experience.

In contrast to control systems, in which negative feedback dampens and reverses disequilibria, CAS are often subject to positive feedback, which magnifies and perpetuates changes, converting local irregularities into global features.

1. ^ von Bertalanffy, Ludwig (1972). "The History and Status of General Systems Theory". Academy of Management Journal. Academy of Management. 15 (4): 407-426. doi:10.5465/255139.

2. ^ László, Ervin. 1974. "Preface" in Perspectives on General System Theory, by L. von Bertalanffy, edited by Edgar Taschdjian. New York: George Braziller.

3. ^ Wilkinson, David M. (2006). Fundamental Processes in Ecology: An Earth Systems Approach. Oxford University Press. ISBN 9780198568469.

4. ^ von Kiedrowski, Günter; Otto, Sijbren; Herdewijn, Piet (December 2010). "Welcome Home, Systems Chemists!". Journal of Systems Chemistry. 1 (1): 1, 1759-2208-1-1. doi:10.1186/1759-2208-1-1. ISSN 1759-2208.

5. ^ Thomé, Bernhard (1993). Systems Engineering: Principles and Practice of Computer-based Systems Engineering. Chichester: John Wiley & Sons. ISBN 0-471-93552-2.

6. ^ Vallacher, R. R., & Nowak, A. (2007). Dynamical social psychology: Finding order in the flow of human experience. New York: Guilford Publications.

7. ^ Hammond, Debora (2003). The Science of Synthesis. University of Colorado Press. ISBN 9780870817229.

8. ^ von Bertalanffy, Ludwig. [1968] 1976. General System Theory: Foundations, Development, Applications (rev. ed.). New York: George Braziller. ISBN 0-8076-0453-4

9. ^ Senge, Peter., Ed (2000). Schools That Learn: A Fifth Discipline Fieldbook for Educators, Parents, and Everyone Who Cares About Education. New York: Doubleday Dell Publishing Group. pp. 27-49.

10. von Bertalanffy, Karl Ludwig. [1967] 1970. Robots, Men and Minds: Psychology in the Modern World (1st ed.), translated by H-J. Flechtner. Düsseldorf: Econ Verlag GmbH. p. 115.

11. Mike C. Jackson. 2000. Systems Approaches to Management. London: Springer.

12. ^ von Bertalanffy, Ludwig. 1950. "An Outline for General Systems Theory." British Journal for the Philosophy of Science 1(2).

13. ^ Hull, D.L. (1970). "Systemic Dynamic Social Theory". Sociological Quarterly. 11 (3): 351-363. doi:10.1111/j.1533-8525.1970.tb00778.x.

14. Ludwig von Bertalanffy. 1968. ^ General System theory: Foundations, Development, Applications.

15. Rudolf Stichweh (2011) "Systems Theory", in:y.

16. Bertrand Badie et al. (eds.), ^ International Encyclopedia of Political Science. Sage New York.

17. ^ Skyttner, Lars (2005). General systems theory : problems, perspectives, practice (2nd ed.). Hackensack, NJ: World Scientific. ISBN 978-981-277-475-0. OCLC 181372125.

18. Sinnott, J. D., and J. S. Rabin. 2012. "Sex Roles." Pp. 411-17 in Encyclopedia of Human Behavior (2nd ed.). Elsevier.

19. ^ Wu, Jianguo (2013), Rozzi, Ricardo; Pickett, S.T.A.; Palmer, Clare; Armesto, Juan J. (eds.), "Hierarchy Theory: An Overview", Linking Ecology and Ethics for a Changing World, Dordrecht: Springer Netherlands, pp. 281-301, doi:10.1007/978-94-007-7470-4_24, ISBN 978-94-007-7469-8

Ashby, W. Ross. 1956. An Introduction to Cybernetics. Chapman & Hall.

-- 1960. Design for a Brain: The Origin of Adaptive Behavior (2nd ed.). Chapman & Hall.

Bateson, Gregory. 1972. Steps to an Ecology of Mind: Collected essays in Anthropology, Psychiatry, Evolution, and Epistemology. University of Chicago Press.

von Bertalanffy, Ludwig. 1968. General System Theory: Foundations, Development, Applications New York: George Braziller

Burks, Arthur. 1970. Essays on Cellular Automata. University of Illinois Press.

Cherry, Colin. 1957. On Human Communication: A Review, a Survey, and a Criticism. Cambridge: The MIT Press.

Churchman, C. West. 1971. The Design of Inquiring Systems: Basic Concepts of Systems and Organizations. New York: Basic Books.

Checkland, Peter. 1999. Systems Thinking, Systems Practice: Includes a 30-Year Retrospective. Wiley.

Gleick, James. 1997. Chaos: Making a New Science, Random House.

Haken, Hermann. 1983. Synergetics: An Introduction - 3rd Edition, Springer.

Holland, John H. 1992. Adaptation in Natural and Artificial Systems: An Introductory Analysis with Applications to Biology, Control, and Artificial Intelligence. Cambridge: The MIT Press.

Luhmann, Niklas. 2013. Introduction to Systems Theory, Polity.

Macy, Joanna. 1991. Mutual Causality in Buddhism and General Systems Theory: The Dharma of Natural Systems. SUNY Press.

Maturana, Humberto, and Francisco Varela. 1980. Autopoiesis and Cognition: The Realization of the Living. Springer Science & Business Media.

Miller, James Grier. 1978. Living Systems. Mcgraw-Hill.

von Neumann, John. 1951 "The General and Logical Theory of Automata." Pp. 1-41 in Cerebral Mechanisms in Behavior.

-- 1956. "Probabilistic Logics and the Synthesis of Reliable Organisms from Unreliable Components." Automata Studies 34:43-98.

von Neumann, John, and Arthur Burks, eds. 1966. Theory of Self-Reproducing Automata. Illinois University Press.

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Simon, Herbert A. 1962. "The Architecture of Complexity." Proceedings of the American Philosophical Society 106.

-- 1996. The Sciences of the Artificial (3rd ed.), vol. 136. The MIT Press.

Shannon, Claude, and Warren Weaver. 1949. The Mathematical Theory of Communication. ISBN 0-252-72546-8.

Thom, René. 1972. Structural Stability and Morphogenesis: An Outline of a General Theory of Models. Reading, Massachusetts.

Weaver, Warren. 1948. "Science and Complexity." The American Scientist, 536-44.

Wiener, Norbert. 1965. Cybernetics: Or the Control and Communication in the Animal and the Machine (2nd ed.). Cambridge: The MIT Press.

Wolfram, Stephen. 2002. A New Kind of Science. Wolfram Media.

Zadeh, Lofti. 1962. "From Circuit Theory to System Theory." Proceedings of the IRE 50(5):856-65.

Organizations

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Systems theory is the transdisciplinary study of systems, i.e. cohesive groups of interrelated, interdependent components that can be natural or human-made. Every system has causal boundaries, is influenced by its context, defined by its structure, function and role, and expressed through its relations with other systems. A system is "more than the sum of its parts" by expressing synergy or emergent behavior.

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Eleni's practice 2, getting ready to start

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Eleni's practice 2, getting ready to start

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Glimpse of Eleni's practice 2, towards the end

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Glimpse of Eleni's practice 2, towards the end

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Glimpse of Thaís's practice 2, towards the end

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Glimpse of Thaís's practice 2, towards the end

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Glimpse of Thaís's practice 2, somewhere in the middle

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Glimpse of Thaís's practice 2, somewhere in the middle

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I relax. I cant think of oppression, even though I have may experiences where I felt oppressed. I enjoy working in couples. The search of the right amount of pressure on the touch on another body. I enjoy not knowing how to touch another human body. I enjoy the communication that this exercise allow between mine and my partners body. It makes me think of how easliy an act of support can become an act of oppression. How nothing should be taken for granted. When their is exhange of weight one should always be alert. I close my eyes. It makes me more attentive to the listening. It ends, we find a mutual ending. It feels mutual and equal.

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This sss is not friendly to my teeth. I feel the weird gap between my front two teeth and I feel the struggle in articulating the sss.. I desire an aaaaa an open a that would allow my breath to flow in every direction but I stick to the proposal. It finishes sss. I must say in standing is easier. I choose to wear a cap and not a crown. A cap that sits on my head and gets its form. While I feel my spine growing and I feel rooted through thrusting my feet on the floor I also feel the shade that this cap creates on my face. Then we move on to the lines. Its a game, I enjoy it. I try to stick to the rule of the lines but find non-linear movements to execute these lines. Keeping the form but pushing for freedom in the form. The gazes of others make me reorient my self from time to time Take a different direction, coming near or far to their bodies.

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Writing-moving, moving writing, measuring time, stretching time, allowing time to flow, then abruptly cutting the flow. Walking. The path was irrelevant, only the steps counted, not so much their sensation, but the rhythm they have created in my body. A repetition, a loop, i needed to carry me. Similar to the writing the words did not matter, but the sounds of the interaction of the pencil with the paper and the speed the writing made my hand move. Lisa's voice comes in as a waking up call. A call to return to... To interrupt the rhythm, to infuse it with another sound.

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Response to Clios Practice 2- Eleftheria

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Response to Clios Practice 2- Eleftheria

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The hands, their lines, our fates, the linear perception of things, the linear perception of time, the linear perception of this building, of the ground, of the earth. The invitation to think about the hands that have build this building creates a dysphoria in my body. As if the ceiling would fall on my head at any moment. I escape it as I cannot deal with this right now. I go back to my own bubble, to my own hands and their use in my everyday life. Images arouse rapidly. Mostly verbs like: masturbating, tender touching, punching, grabing, banging, clapping, piano playing, cutting, writing, typing, tasting, pushing, puling, exploring, and so on. I try to put all this verbs on my whole body but they become something else. Something that I cannot specify. They become qualities and forces that move me. I am taking my mind away from trying to push preconceived ideas of my body as a hand. I suddenly remember that I have hair on my head. Eh, my big hand I mean. It creates another sensation of what a hand could mean or what a hand could do just because it provides a very different texture and it obeys to different gravity rules than the rest of the body part of the body of my hand.

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Response to Clios Practice 1: Eleftheria

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Response to Clios Practice 1: Eleftheria

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Strong presence. The wording of the fascilitation is sometimes unclear but your steady and sharp presence holds the group and this is a natural ability you have in my opinion. Sometimes bringing theory and practice together needs to happen so literally in order to unlock payfulness, humor and productive (but not reproductive) absurdity. Many times, I catch my self thinking that theory is heil, I need to be carefully in my encounter with it. The fear of mistakes is huge. But you have created a safe(r) space for me and (maybe us as a group) to overcome this fear, to schiz theory, schiz the schizing, schiz the notion of care and allow care to emerge within in the fram of a dynamic-ludic-open form.

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Such a sincere presence and straight forward approach. Confronting an issue through avoiding it or maybe through insisting to step at the same point again and again. The steps carried me, I felt like playing one of this games in a Luna Park that there are colors on the flour and you need to step on the right square at the right moment. I usually suck at this game. But yours was slightly different. It was not about being good or bad. The manipulation from the music was settle but steady and I could play with and around the rules. I found freedom in constraint. Rules gave clarity. I was enjoying been manipulated by the sound and with my eyes closed and my guardian angel watching me I felt secure to explore the movement for the sake of movement. Free from any need or desire to be creative.

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Reference for Feli, might be interesting for Qiqi, Lisa and Niki and more

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Reference for Feli, might be interesting for Qiqi, Lisa and Niki and more

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Janne-Camilla Lyster (red.)

Choreographic Toolbox #1: Metamorphoses

Choreographic Toolbox #1 is a collection of tools for imagining. It offers analogue technologies that can act as an expanded imagination. As a single user, you can work with them in between productions or processes, with the purpose of sparking new notions and material connections. The tools can also be used by two or more people, side by side, collectively, or as part of a specific process. They are an invitation to engage in exercises and procedures for creation, exploration, and reflection. This publication is a consequence of the author's continuous excitement for the prefigurative phase of creation: where things are moving from nothing to something.

Contextual Note:
Choreographic Toolbox #1 is part of the larger choreographic project Love, polyphonic (2021-2026). The project explores the theme of "love" as a principle
through three main approaches: transformation, gestures, and anatomically embedded time. Each approach is carried out as a cycle of four phases: the performance of process, a performance object, a choreographic toolbox, and a workshop series. Metamorphoses is the first cycle of Love, polyphonic, using transformation as a prism for choreographic exploration.

Concept and creation: Janne-Camilla Lyster
Guest contributors: Alexandru Balgiu, Theo Barth, Quim Bigas, Bojana Cvejić, Nikolaus Gansterer, Goran Sergej Pristaš
Graphic design: Kristoffer Busch

Contents
1 Experiential Reflection
Workbook
2 Seismographic Workbook
3 Index of Pause
4 Cross-pollination Form
5 Floorplan
6 The Back of the Embroidery
7 Polyphonic essay

Supported by the Norwegian Arts Council.

ISBN/ISSN-nummer: 978-82-693174-0-4

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Choreographic Toolbox #1: Metamorphoses - Tekstallmenningen

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Choreographic Toolbox #1 is a collection of tools for imagining. It offers analogue technologies that can act as an expanded imagination. As a single user, you can work with them in between productions or processes, with the purpose of sparking new notions and material connections.

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Over the course of ten years, Wayne McGregor worked with cognitive scientists to examine his creative process, looking at the way he collaborates with his dancers in the creation of movement material for performance works. The Choreographic Thinking Tools developed out of this research, and subsequently supported the creation of movement material for dance through tasks that use embodied mental imagery. The tools focus on working with stimuli, how to notice and select features of these stimuli, and how to translate these features into movement. The tools were used successfully for the first time in the production of FAR in October 2010.

Our Creative Learning department has since worked further with cognitive scientists to use the Choreographic Thinking Tools in a learning and participation context. This has led to the development of a resource for dance teachers and practitioners.

Mind and Movement was produced by Studio Wayne McGregor, written by Wayne McGregor, Dr Philip Barnard, Dr Scott deLahunta, Jasmine Wilson and Ellie Douglas-Allan.

This project was funded by the Paul Hamlyn Foundation.

Images by Belinda Lawley.

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Over the course of ten years, Wayne McGregor worked with cognitive scientists to examine his creative process, looking at the way he collaborates with his dancers in the creation of movement material for performance works. The Choreographic Thinking Tools developed out of this research, and subsequently supported the creation of movement material for dance through tasks that use embodied mental imagery.

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Another inspiration for my practice (& my external mentor)

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Another inspiration for my practice (& my external mentor)

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Very interesting in this context her mentioning synchronicity by Jung regarding that she calls "meaningful accidents" -> or for me the unexpected side effect.

"Synchronicity: a state of mind prodromal for creation and for being in the moment. The idea that a person is a participant in and meaningfully related to the acausal patterning of events in nature. This underlying unity gives opposites (such as inner versus outer, psychic versus physical, spiritual versus wordily) the potential to become linked in meaningful acausal synchronistic experiences." (Giordano, 2020)

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Some fonts could not be loaded: symbol. Not all elements on the page may look as intended.

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Text by Robin M. Hogarth, about educating intuition 

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Text by Robin M. Hogarth, about educating intuition 

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The present book shows the results of the work undertaken by the research group made of students of the Lazarski University in collaboration with the students of the Cracow University of Economics. The research group has been working since 2015 till 2018 under the patronage of Applied Economics Institute, and since 2019 under the patronage of the Department of Econometrics both led by doctor Krzysztof Beck. The main aim of the research group revolved around attempts of resolving problems of international economics with the use of the most modern econometrics tolls available. Nowadays, we live in the world characterized by intensifying path of globalization and close links between social, political, and economic factors. This fact, with no doubts, contributes to the complexity of economic environment, posing new questions to answer and new tasks to resolve. Among others, the policy makers need to address issues such as international trade strategic policy under the condition of military conflicts and political instability, increasing inequality on the global and national scale, the threats of political populism, the consequences of supply-side shocks, and the way migration transforms national labor markets. Form this perspective, the role of the researcher cannot be limited to one discipline or area or interest; instead, one should be able to see the cross-dependencies between political, economic, and social environment in order to derive senseful conclusions and propose proper policy. At the same time, the reader would probably agree that modern economists should recognise their responsibility towards the society, which lies mainly in producing reliable results based on solid analysis. Unfortunately, the majority of contemporary research papers do not show any attempt to combine flexibility in terms of inter-disciplinary approach with uncompromisingly solid-based quantitative analysis. The problem discussed above is not a new issue. For instance, Leontief (1982) concerns the tendency towards "formalization" of economic science, which implies deriving reasonable, yet inapplicable conclusions from the economic analysis. Page after page of professional economic journals are filled with mathematical formulas leading the reader from sets of more or less plausible but entirely arbitrary assumptions to precisely stated but irrelevant theoretical conclusions...Year after year economic theorists continue to produce scores of mathematical models and to explore in great detail their formal properties; and the econometricians fit algebraic functions of all possible shapes to essentially the same sets of data without being able to advance, in any perceptible way, a systematic understanding of the structure and the operations of a real economic system (Leontief, 1982, p. 104). Rubinstein (1995) also highlights the inconsistency between economic theories and reality. The very basic definition of economics states that it is the field of science dealing with efficient utilization of resources under the condition of their scarcity. Nevertheless, such an optimization is commonly analyzed from the purely theorical perspective and neglecting real-life aspects of economics. Albeit theoretical analysis is crucial at some stages of policy formulation, the primary aim of economics is still "achieving practical goals". The issue of interpreting economic theory is, in my opinion, the most serious problem now facing economic theorists. The feeling among many of us can be summarized as follows. Economic theory should deal with the real world. It is not a branch of abstract mathematics even though it utilizes abstract tools. Since it is about the real world, people expect the theory to prove useful in achieving practical goals. But economic theory has not delivered the goods. Predictions from economic theory are not nearly as accurate as those by the natural sciences, and the link between economic theory and practical problems, such as how to bargain, is tenuous at best. Although I have never heard an economist seriously claim that the Nash bargaining solution is a good predictor of bargaining in real markets, this solution is a standard tool in modelling interactions among negotiators. Economic theory lacks a consensus as to its purpose and interpretation. Again and again, we find ourselves asking the question 'Where does it lead?' (Rubinstein, 1995, p. 12). Lawson (2001) suggests that one of the ways to resolve this problem of modern economics is to apply the approach of instrumentationalism described by Karl Popper (1963). The latter author argues that any theory "should be interpreted as an instrument, and nothing but an instrument, for the deduction of predictions of future events (especially measurements) and for other practical applications (p. 111). The discussion presented above under no condition attempts to criticize the practice of applying sophisticated statistical/mathematical tools in the field of economic analysis. Nevertheless, it is crucial to account for the complexity of social and economic environment instead of ignoring them for the sake of obtaining more elegant solutions. What is more, although theoretical analysis is crucial for economics, one should not forget this science had been developed for the sake of resolving practical problems. The papers presented in this issue are related to different topics. Nevertheless, they have something in common: all the authors attempt to resolve the crucial international economics problem from the perspective of inter-disciplinary approach and using sophisticated statistical methods. Although these researchers can be referred as the first serious studies conducted by the university students, all of them maintain high standards of academic honesty and quality of the analysis.

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Educating Intuition: A Challenge for the 21st Century

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Academia.edu is a platform for academics to share research papers.

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Methodology of intuition from visual artist Anna Bergman, making use of automatic writing and getting into dialogues with her art works.

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+ The methodology of intuition — Anna Kristina Bergman

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Eleftherias response to Felis practice 1

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Eleftherias response to Felis practice 1

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Soft and steady voice. Gentle leading and a very gentle and caring presence. You made me feel safe(r) in the space. Exploring the spine movement and its possibilities with the hands on my back as a point of reference. Recalling a memory of a geological body was not what I expected. The geological body was a hand-soap shaped stone, grey, probably made out of concrete, probably forced to be shaped this way by a human body in an industrial place. This geological body smells like capitalism. Found in wattensee among an incredibly amount of bodies of sea shells. The sound I recall is the sound of the cold air that brushes my ears violently and makes every step of mine, executed with strong effort.

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Also sharing the song I was listening during the practice :-)

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It is a network website for walking artists. They also have a channel to  communicate with each other and exchange reflections. Tha

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I explore my vocal chords, and the sound vibrations that my voice produce. I try to sense the mini vibrations of my breath. I can not actual sense them so I just imagine the movement caused by their vibration. As we are asked to become louder in this exploration I realize that I choose lower tones as I can feel a stronger vibration through them. I get reminded that the shape of the vagina looks very much alike to the shape of my vocal chords. With my eyes closed, I raise the volume of my voice to the level 8 without knowing exactly what 8 means and then to the level 9 still in ignorance and then till 10, and this voice, that is not a cry, is not a scream, is not a mumbling, but it is just a shake removes my shame, connects me to the others in the space, connects my to my daughter, my grandmother my mum and other female identifying bodies that I know in Cyprus. I feel that our voices overflow this room, this building, even this country and its borders. The feeling of shame and discomfort returns when I am advised from you to walk in space and share my experience with the others in the room through meeting their gaze. I feel the smiling of discomfort getting shaped unwillingly on my lips and at some cases it becomes a curtain made of a wild laughter.

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Reference for Feli: A very geeky website including DIY recepies for models of tectonic plates.

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Reference for Feli: A very geeky website including DIY recepies for models of tectonic plates.

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Each tectonic plate is free-floating and can move independently. Earthquakes and volcanoes are the direct result of the movement of tectonic plates at fault lines. The term fault is used to describe the boundary between tectonic plates.

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Response to Gabs practice. Anatomy of the vocal cords that looks alike a vagina

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Response to Gabs practice. Anatomy of the vocal cords that looks alike a vagina

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Construction and destruction of the islamícese identity and hermitage through sweeping. Tha

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2017

Dana Awartaniʼs mixed media installation, I Went Away and Forgot You. A While Ago I Remembered. I Remembered Iʼd Forgotten You. I Was Dreaming, is a call to celebrate the beauty of traditional Islamic design and architecture, and offers up a ritual that involves construction and destruction.

Awartani has meticulously assembled over a number of days a large and immaculate geometric floor design made with locally sourced sand which the artist has previously dyed herself using natural pigments that derive from stones and plants, staying true to her appreciation for traditional techniques of making art. The pattern she created is also shaped on the traditional Islamic tile work, once common in most Arab and Islamic homes.

The video work was created by Awartani once she had completed the installation on the floor of an old abandoned house, located in the old part of Jeddah, where the artist's grandparent's generation used to live. It shows her destroying the art work by sweeping up the sand tiles as a symbolic commentary on the modern-day destruction of our cultural identity and heritage, which has been a result of a carless and an obsessive need for a more modernized and industrial society without the conscious awareness of what we are leaving behind. With this final gesture, the artist aims to highlight the importance of preserving and cherishing what in essence is a crucial part of the collective identity in the region, not as an attack on modernization, but rather pointing out the importance of the old and new co-existing and living together side by side.

The house that the artist has chosen to create the piece plays a crucial role in the artwork, as the building was a typical home amongst the wealthy local elite during the late 50ʼs and early 60ʼs, and it was during this time that buildings in Jeddah broke from traditional Hejazi architecture and adopted a more European aesthetic, imbued with forward looking notions of "civilization" modelled on a western ideal, and in turn completely abandoning their own cultural identity.

Awartaniʼs symbolism extends from what lies on the floor and what is projected on the wall that come together as a cautionary tale, contemplating the duality of creation and destruction, past and present. The artist seeks to raise awareness about the importance of celebrating and preserving the timeless language of geometric aesthetics as a universal language of beauty and harmony.

I Went Away and Forgot You. A While Ago I Remembered. I Remembered Iʼd Forgotten You. I Was Dreaming, 2017, Mixed media installation with sand and natural pigments, single-channel video, with no sound, 22 minutes.

Installation shot of I Went Away and Forgot You. A While Ago I Remembered. I Remembered Iʼd Forgotten You. I Was Dreaming, at Franco Noero gallery, Turin, Italy.

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2017 Dana Awartaniʼs mixed media installation, I Went Away and Forgot You. A While Ago I Remembered. I Remembered Iʼd Forgotten You. I Was Dreaming, is a call to celebrate the beauty of traditional Islamic design and architecture, and offers up a ritual that involves construction and destruction.

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Maybe you have already read (?) In case not, it is here! "Relationscapes", Erin Manning.

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This was the main song I listened during Niki's task 2. I even played again because it enabled my writing into a flow.

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Composition as Explanation - Gertrude Stein

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Composition as Explanation - Gertrude Stein

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Reference from "Performance Studies: an introduction" - Schechner, p.145.

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Because writing indeed is SO present here and in many propositions.

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Because writing indeed is SO present here and in many propositions.

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The connection that I visualise from Qiqi's inquiry to Clark's artwork is mostly based on the visual impact of her "creatures" (Bichos, 1962). These artwork is underpinned on folding mechanisms which I also experienced during the imaginary practice of contortion. The video brings more of this work in specifically that I mentioned from 5:53 onwards.

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Reference for Qiqi *and for anyone who would like to study as a reference for participatory art approaching therapy

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Reference for Qiqi *and for anyone who would like to study as a reference for participatory art approaching therapy

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Lygia Clark 萊吉亞·克拉克 (1920-1988) Neo-Concretism Conceptual Art Brazilian

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For Eleni's practice: Jolika Sudermann a Berlin based choreographer that explores techno as a form of meditation and more.Unfortunately, i could not find a video!

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For Eleni's practice: Jolika Sudermann a Berlin based choreographer that explores techno as a form of meditation and more.Unfortunately, i could not find a video!

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Pulse aplenty | Performance | Tanzfabrik

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“PULSE aplenty” is the result of a two week workshop in which a group of 60 movement enthusiasts tried to come to terms with the simplest of all…

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By treating maintenance work as art, Mierle Laderman Ukeles demonstrated how unpaid domestic work such as cleaning and childcare or sanitation work is often invisible to the public eye. By writing the Manifesto for Maintenance Art and creating works and performances that make the hidden work visible, Mierle Laderman Ukeles became an important figure of institutional critique. Her pieces discuss the connections between work, class, and gender, and how society values some essential jobs less than others. Here are 4 examples and an introduction to the maintenance art of Mierle Laderman Ukeles.

Mierle Laderman Ukeles and her Manifesto for Maintenance Art

Mierle Laderman Ukeles was born in 1939 as the daughter of a Denver rabbi. She received her degree in history and international relations from Barnard College in 1961 and went on to study sculpture and painting at the Pratt Institute. She married in 1966 and had her first child two years later. When she took on the role of mother and wife, Mierle Laderman Ukeles found it difficult to combine her work at home with her work as an artist. She found a solution for this problem in her Manifesto for Maintenance Art, through which she transformed tasks of maintenance such as cleaning into art. She wrote the manifesto in October 1969 in a state of mind that she described as a cold fury.

When she wrote the manifesto, Mierle Laderman Ukeles felt that maintenance was not valued enough in Western society. In an interview, she explained how capitalism facilitated an environment in which people were only fascinated with innovation and the creation of new things. This also meant that maintaining the things and structures that already existed, along with the people who were responsible for them, were viewed as less important and seemed almost invisible.

In her Manifesto for Maintenance Art, Laderman Ukeles distinguishes between development, which stands for change, progress, and new creation, and maintenance, which stands for preserving these new creations. She writes: The sourball of every revolution: after the revolution, who's going to pick up the garbage on Monday morning?

The manifesto served as a proposal for an exhibition called CARE. The main idea was to exhibit acts of maintenance as art. In the proposal, Mierle Laderman Ukeles divided the exhibition into three parts: personal, general, and earth maintenance. She presented the first part by stating that she was a woman, an artist, a mother, and a wife. The personal part of the exhibition consisted of Mierle Laderman Ukeles doing the tasks she would normally do in her everyday life, but at the museum while exhibiting these actions as art.

The idea for the second part of the piece consisted of an exhibition of interviews during which people were asked questions concerning maintenance. Additionally, this part included an area where the visitors would be asked the same questions. The interviews of the visitors would be taped and replayed also. The third and last part of the exhibition would focus on the maintenance of natural materials. Laderman Ukeles planned to purify and recycle containers of polluted air and water from the Hudson River.

1. Hartford Wash: Washing/Tracks/Maintenance: Outside and Inside, 1973

Her Manifesto for Maintenance Art led to the first maintenance piece by Mierle Laderman Ukeles. Since the proposal of the manifesto for an exhibition was rejected, Laderman Ukeles sent it to Jack Burnham who published parts of it in the magazine called Artforum. The art critic and curator Lucy Lippard saw the manifesto in the magazine and the maintenance art of Mierle Laderman Ukeles became part of Lippard's exhibition titled c.7,500. The exhibition traveled to the Wadsworth Atheneum Museum of Art in Hartford and the institution let Laderman Ukeles perform her first public maintenance work.

During the performance, she scrubbed the front steps of the building and the gallery floor. The photos showing Mierle Laderman Ukeles washing the museum's steps have since become iconic. The artist also performed another piece at the museum called Transfer: The Maintenance of the Art Object. During this piece, the artist cleaned a glass case with a mummy in it. In another performance titled The Keeping of the Keys, Ukeles locked and unlocked some of the museum's galleries and offices even though sometimes visitors were still inside the rooms.

The actions in these performances demonstrated that a lot of maintenance work goes on in a museum as well but usually stays unnoticed by visitors. By locking people in or out, washing the steps during visiting hours, and cleaning cases of artifacts, Ukeles made people aware of the extensive work that needs to be done in order to keep art institutions running. The work is an example of art expressing institutional critique, which Mierle Laderman Ukeles is well-known for.

2. Dressing to Go Out/Undressing to Go In, 1973

The work Dressing to Go Out/Undressing to Go In consists of black-and-white photos showing the artist helping her children dress and undress. The artist left the place in the right bottom corner, where the final image was supposed to be, blank. She also added a cleaning rag and a chain next to the images in the exhibition space. The visitors were encouraged to use the rag to clean and therefore maintain the artwork.

Domestic tasks like these are usually performed by women. In an interview, Laderman Ukeles explained how she felt torn between the two roles of mother and artist. With her maintenance art and pieces like Dressing to Go Out/Undressing to Go In she was able to combine those two roles and draw attention to the work that usually stays unnoticed and often unappreciated.

3. I Make Maintenance Art One Hour Every Day, 1976

For her work I Make Maintenance Art One Hour Every Day, Mierle Laderman Ukeles spent two months working with 300 maintenance workers. She recorded this time through photos and interviews. The 300 people were all working at 55 Water Street in a skyscraper in which a former branch of the Whitney Museum was located. Laderman Ukeles wanted to feature maintenance work in a skyscraper for years because it involved a huge amount of work.

Ukeles invited the workers to see one hour of their working day as art. She worked alongside them during their eight-hour shifts and took photos of them with a Polaroid camera. She then asked them if the photo she took depicted them doing work or making art. She documented their answers and exhibited them along with the pictures. In I Make Maintenance Art One Hour Every Day, Laderman Ukeles made the work that maintains the construction, safety, and cleanliness of a skyscraper visible. For many people working in large buildings, the maintenance work of these workers seems invisible. It almost seems as if the building maintains its structure and cleanliness by itself, but there are hundreds of people involved in keeping the skyscraper from deteriorating and Laderman Ukeles captured the extensive work that needs to be done to keep such a skyscraper intact.

Touch Sanitation is one of Mierle's best-known works. One part of her Touch Sanitation Performance was the Handshake Ritual, during which Laderman Ukeles shook hands with 8500 sanitation workers from the New York Sanitation Department. She also thanked them for keeping New York City alive. The action clearly expressed how essential the work of sanitation workers was. Without their effort, it would be nearly impossible to live in the city.

Another part of the piece called Follow in Your Footsteps consisted of Laderman Ukeles working for the New York Sanitation Department herself. She worked eight-hour days for eleven months, collecting trash with the other sanitation workers. To introduce herself and the Touch Sanitation project to the sanitation workers, Laderman Ukeles wrote a letter in which she expressed her appreciation for the workers and acknowledged the hard conditions under which they often have to operate. She introduced herself as a maintenance artist who works independently of newspapers, unions, and the city.

According to Laderman Ukeles, the invisibility that sanitation workers face is similar to how women's work at home is disregarded as work. In her letter to the sanitation workers, Laderman Ukeles also wrote that they were like husbands and nurturers to their city. Some second-wave feminists criticized Laderman Ukeles for focusing on such a male-dominated environment. At first, Mierle Laderman Ukeles also received negative reactions from the sanitation workers who did not value her contribution as an artist, but after some time they accepted her as their co-worker.

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Mierle Laderman Ukeles' Maintenance Art in 4 Works

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By scrubbing floors, documenting childcare, and shaking hands with sanitation workers, Mierle Laderman Ukeles aims to make things that usually stay hidden visible.

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video clip Niki's practice 2, somewhere towards the end

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video clip Niki's practice 2, somewhere towards the end

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Our Labyrinth, the art of sweeping at the Tate Modern,London

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the song of the score on Tuesday (Eleni)

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the song of the score on Tuesday (Eleni)

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the song of the warm-up on Tuesday (Eleni)

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the song of the warm-up on Tuesday (Eleni)

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Music Track 2:

Kelly Lee Owens - Bird

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Music track 1:

Nicolas Jaar - Cenizas

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short video clip 'body-as-hand' Clio's practice 2

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short video clip 'body-as-hand' Clio's practice 2

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In the end of the article there is the poem that I remember during Clío’s sharing.  Tha

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Worker in construction - Vinicius de Moraes 

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Worker in construction - Vinicius de Moraes 

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The year 2020 marked 40 years of farewell to the poet Vinícius de Moraes. He left the coexistence on July 9, 1980. Vinícius was known as the " poetinha"-the little poet-a nickname he earned from Antônio Carlos (Tom) Jobim, his frequent collaborator in the bossa nova movement. His most famous lyric was the one he wrote for " A garota de Ipanema"-The Girl from Ipanema. Born in 1913, the lyricist, essayist, and playwright, as well as poet, was also the " vagabundo "-the vagabond or tramp-whom the right wing does not like.

A vivid icon of the democratic optimism of the years before the military coup of 1964, Vinícius put his art at the service of beauty, of love, and also of love for humanity and the struggle for social progress. He is not among the favorite poets of Brazilian fascists!

"Fire this tramp." It was in this crude way that the military dictatorship settled its accounts, in 1968, with one of Brazil's greatest poets and writers, who was also an employee of the diplomatic service. The order was signed by General Arthur da Costa e Silva, who held the presidency of the Republic. He fired him from Itamaraty-the diplomatic corps-where he had served since 1943, becoming renowned as an enthusiastic promoter of art, music, and Brazilian literature around the world in the various posts he occupied.

Vinícius made a long trip to the Brazilian Northeast in 1942, an eye-opening excursion that turned him into a determined antifascist and over time an icon of democracy. His awareness of the country's vast regional differences, and his literary output, helped bring about a "reunion" of Brazil with itself, with its culture and with its people.

He was a creator and activist who did not fit the mediocre, complicit standards of the subsequent military dictatorship. The word vagabundo, under that angry order, was synonymous with "subversive." Considering the source, the two curses actually honor its victim. The poetinha was formally recognized years later when diplomat Vinícius de Moraes was amnestied. On June 21, 2010, thirty years after his death, Law 12,265 rehabilitated him to the diplomatic corps, and he was elevated to the post of foreign minister, the highest rank in the Foreign Ministry.

Vinícius de Moraes became known as a lyrical poet, author of the most beautiful love poems written in Portuguese since Luís de Camões (1524-1580), and of lyrics so consecrated by popular taste that they are often repeated almost as if part of folklore. Is greater proof necessary that a poet expresses the soul of a people?

Vinícius stretched himself far beyond the conventional, becoming a man of all letters, employing many themes and forms of expression. If his gift was lyrical-and it was one of the greatest-it was also one of epic size. He was the author of famous verses such as "the ugly ones that forgive me / But beauty is fundamental" (from " Receita de Mulher"-A Woman's Recipe). And "Suddenly, laughter was made to cry" (from " Soneto da Separa çã o"-Sonnet of Separation). With the unsurpassed Camões-like tone of the " Soneto da Fidelidade "-Sonnet of Fidelity: "May it not be immortal, since it is flame / But may it be infinite while it lasts."

These are just a few examples taken from the countless contributions that Vinícius de Moraes gave to Portuguese-speaking boys wishing to express their feelings for their beloved women.

But his poetry does not end there. He also spoke of another love, equally great and beautiful-love for humanity, for human beings, democratic trust in the people's ability to face the evils that capitalism brings and to conquer a higher form of life.

He worked with the Popular Culture Center of the National Union of Students (UNE); he was, in fact, together with Carlos Lira, author of the anthem of the largest entity of Brazilian students.

One of his best-known works is " Oper á rio em Construçã o"-The Worker in Construction, originally published in 1956 in the fortnightly publication Para Todos, of the Communist Party of Brazil. His famous verses reaffirm, poetically, what workers learned long before in the writings of Karl Marx, and that workers around the world are becoming conscious of every day.

"It was he who built houses / Where before there was only ground."

In other works the poet sees a victim of an unjust and unequal society: a child at his feet, "Dirty, squalid, tattered / Eating a clod of the earth."

"There are millions! the rose screams. Millions starving / And you, in your vanity / Wanting to use my name!"

Vinícius de Moraes, this adorable "tramp," sang wonders and beauties, and denounced oppression, misery, and alienation. The powerful, especially the fascists, do not like him. But the people-the people keep, in their hearts, a captive place for the "little poet!"

An almost hour-long concert recorded live in Italy features Tom Jobim, Vinícius de Moraes, Toquinho and Miucha, and can be viewed here.

Following is Los Angeles-based poet, writer, translator, and People's World contributor Peter Lownds's new translation (unverified, but possibly the first) of "The Worker in Construction."
The Worker in Construction
By Vinícius de Moraes
And the Devil, taking him to a high hill, showed him in a moment of time all the world's kingdoms. And the Devil said to him: "I will give you all this power and this glory, because it was given to me and I can give it to whomsoever I want; therefore, if you worship me, it will all be yours. And Jesus responded, telling him, "Get thee behind me, Satan, for it is written: "Thou shall worship the Lord thy God and only Him shall thou serve." -Luke, Chapter V, verses 5-8.
There are men who erect houses
Where before there was only soil
Though their bosses can be louses
Workers arise along with houses
That blossom from their hands.
But other things remain unclear
And may leave them in the lurch
For instance, they have no idea
That a man's house is his church
Albeit a church without religion
Nor do they understand that
The house they build at liberty
Will before long enslave them.

In fact, does a worker understand
A brick's worth more than bread?
(Can he get it through his head?)
With shovel, cement, and T-square
He stacks bricks and earns his pay
As for bread, he eats it everyday
(Imagine if he had to eat bricks)
A worker's path by duty bent
Along with sweat and cement.
Erecting a house over here
An apartment down the way
And, facing it, a church as well
As a barracks and a prison-
A prison in which he would suffer
If he were not a worker in construction.

But he is unaware of one extraordinary
Fact: that the worker makes the thing
And the thing makes the worker.
So, one day at the table, about to cut
His bread, the worker was overwhelmed
By a sudden emotion
He was bowled over, aware
That everything on that table-
Bottle, plate, big knife-
It was he who made them
He, a humble worker,
A worker in construction.
He looked around: wooden trough,
Bench, pallet, cauldron
Glass, wall, window
House, city, nation
All, all that existed
It was he who made it
He, a humble worker
A worker who knew how
To perform professionally.

People who are paid to think
Will never know how much
The humble worker intuited
At that very moment
In that empty house
Which he had raised himself
A new world was born
That he never even suspected.
Full of emotion, the worker
Stared at his own hand
The rough hand of a worker
Of a worker in construction
And looking at it steadily
He had a second impression
That there was not in the world
Anything more beautiful.

It was within the clarity
Of this solitary instant
That the worker grew
As well as his construction
He grew higher and deeper
Wider and more heartfelt
And like everything that grows
He did not grow in vain
He knew how to perform
Professionally already
Now the worker acquired
A new dimension:
The dimension of poetry.

A new fact came into focus
One so novel it glistened
When the worker spoke up
Other workers listened.

And that was how the worker
Of the building in construction
Who had always said "yes"
Began to say "no."
And learned to notice things
He had not seen before:

That he ate from a lunch box
While the boss ate from a plate
He slurped dark beer from a mug
While the boss sipped a whiskey
Nor could worn denim overalls
Compare to the boss's bespoke suit
The boss owned a sprawling mansion
While the worker rented a tiny shack
His worn clogs had splintered heels
The boss's limo soft Amazon wheels
That the severity of his workday plight
Was lost on the boss in his velvet night.
And the product of his immense fatigue
Put the boss's kids in the ivy league.

Then the worker said, "No!"
And his resolution made him strong.

As expected, denunciation came from
Mouths muttering in the boss's ears.
But he did not wish to be bothered
"Convince him that he is wrong" was all
He said about the worker, with a smile.

Next day, as he left the construction site
He found himself suddenly surrounded
By denouncers and suffered his first
Fateful aggression: they spat in his face
They ordered that his arm be broken
But when he was asked,
The worker said, "No!"

In vain, the worker suffered
His first aggression
Many more would follow
Many more are still to come.
However, as he was indispensable
To the building under construction
He went back to work
And all his suffering
Got mixed with cement
For the ongoing construction.

Sensing that such violence
Would not make the worker bend
One day the boss attempted
To influence him another way
Took him to the building's top
And in one moment of time
Told him, "All this could be thine
Because it was given me to do with
What I will," pointing to a distant hill
Then at the man who stood before him,
Asked the worker to adore him and
Abandon his habit of saying "no!"
"I will grant you loads of leisure time
With a bevy of beauteous broads."

Thus saying, the boss transfixed
The pensive worker in his beady gaze
But what the worker saw
The boss would never see:
He saw houses with things inside
Objects, manufactured products
Everything he made produced profit
Filled the boss's pocket and each
Object bore the mark of workers' hands
Then the worker said "No!"

The boss blew his top: "This is madness!
How can you reject all I have offered?"
"You lie," said the worker,
You cannot give me what is mine."

Then a great silence made
Itself at home in his heart
A tormented silence
A silence like prison
A silence peopled by
Petitions for pardon
A silence aghast with
The fear of seclusion.
A silence of solitary
Screams and curses
A silence of fractures
That drag on the ground.

And the worker heard the voices
Of all his brothers who have died
From others who will live.
A feeling of expectancy
Arose within his heart
In the midst of the mild afternoon
And loomed large in the mentality
Of this poor and forgotten man
A mentality that would make of
This reconstituted worker
The worker in construction.
Translated from Portuguese by Peter Lownds, December 9, 2020.

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Brazilian poet diplomat Vinícius de Moraes and 'The Worker in Construction'

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The year 2020 marked 40 years of farewell to the poet Vinícius de Moraes. He left the coexistence on July 9, 1980. Vinícius was known as the "poetinha"-the little poet-a nickname he earned from Antônio Carlos (Tom) Jobim, his frequent collaborator in the bossa nova movement.

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More or less beginning of Clio's practice 2

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More or less beginning of Clio's practice 2

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More or less beginning of Clio's practice 2

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More or less beginning of Clio's practice 2

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A thought is a tremendous mode of excitement. Like a stone thrown into a pond it disturbs the whole surface of our being. But this image is inadequate. For we should conceive the ripples as effective in the creation of the plunge of the stone into the water. The ripples release the thought, and the thought augments and distorts the ripples. In order to understand the essence of thought we must study its relations to the ripples amid which it emerges.

Alfred North Whitehead

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Qiqi's practice (2nd iteration) - beginning

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Qiqi's practice (2nd iteration) - beginning

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I made a video but it is too heavy for padlet, so here I share a frame of it :)

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tectonic plates in movement (Felipe's practice 2)

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tectonic plates in movement (Felipe's practice 2)

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in response to João's tune-in practice Day 3

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in response to João's tune-in practice Day 3

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I couldn't really find out whether the Mediatheek library has this book, since I don't have access anymore. However, if they don't have it, you as a student can ask them to provide it in the library!

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Unraveling Assumptions: A Primer for Understanding Oppression and Privilege offers fundamental understandings of concepts and frameworks related to diversity and social justice. Aimed at university and community audiences, it offers an introductory exploration of power, privilege, and oppression as foundations of systems of inequality and examines complexities within meanings and lived experiences of race, ethnicity, gender, sexuality, disability, and social class.

After considering why it is so difficult to engage these issues, the authors explore meanings and impacts of power, privilege, and oppression as a primary lens of analysis. Subsequent chapters offer definitions of race, ethnicity, gender, sexuality, disability and social class, identifying erroneous assumptions and challenging the tendency to oversimplify and decontextualize. Meanings, identities, and effects of oppression and privilege are central foci within each chapter. The book ends with a chapter examining ways that individuals may take action as allies and advocates to resist oppression. Throughout the book, Unraveling Assumptions makes connections among individual, interpersonal, and systemic levels of inequality, while focusing on relational and psychological implications for lived experience-including the reader's lived experience.

By integrating social science research with concrete examples and personal reflection, this concise, introductory level textinvites the reader to consider the costs of systemic hierarchies for all people and envision possible alternatives to participating in oppressive hierarchy.

Unraveling Assumptions is a book for students and community to learn about privilege and oppression. The authors' companion book Teaching Diversity Relationally offers process-oriented guidance for educators teaching this material to successfully negotiate the inherent psychological and relational challenges.

Introduction: What This Book Is About

1: Preparing for Learning

SECTION ONE: Foundations: Social Construction, Power, Privilege, And Oppression

2: Understanding Social Construction and Culture as Foundations of Meaning Making

3: Understanding Power, Privilege, And Oppression

SECTION TWO: Understanding Hierarchies of Oppression and Privilege: Race, Ethnicity, Sex and Gender, Sexuality, Disability, and Social Class

4: Understanding Race and Racism

5: Understanding Ethnicity and Ethnocentrism

6: Understanding Sex, Gender, and Sexism

7: Understanding Sexuality and Heterosexism

8: Understanding Disability and Ableism

9: Understanding Social Class

SECTION THREE: Resisting Oppression

10: Understanding and Enacting Resistance to Oppression: Developing as an Ally and Advocate

Biography

Karen L. Suyemoto is Professor of Psychology with affiliations in Asian American Studies and Critical Ethnic and Community Studies at the University of Massachusetts Boston.

Roxanne A. Donovan is a licensed psychologist and Professor of Psychological Sciences jointly appointed in Interdisciplinary Studies at Kennesaw State University.

Grace S. Kim is Clinical Associate Professor in the department of Counseling Psychology & Applied Human Development at Boston University.

Unraveling Assumptions opens the door to seeing your place in the world in a new way. Suyemoto, Donovan, and Kim lead their readers to a nuanced understanding of oppression and privilege, supported by concrete tools to deepen engagement with one's own learning process. The clear examples and personal reflection prompts encourage self-reflection and meaningful conversations.

Sofya Aptekar, Associate Professor, School of Labor and Urban Studies, City University of New York

Conversations about privilege, oppression, racism, social class, disability, sexuality, gender, and culture, can be like walking amid land mines. How, therefore, do we resist together while we hold ourselves accountable and stay in relationship? Suyemoto, Donovan, and Kim offer much more than a clear conceptual map for having these conversations, offering resources and stories that can help us transverse these land mines without losing our souls or the other. This is a must book in courses related to social justice, multicultural education, human services, psychology, and almost any professional field that hopes to incorporate dialogue across difference and the pervasive injustice that has been part of each of us.

Gonzalo Bacigalupe, Professor, Department of Counseling and School Psychology, University of Massachusetts

Suyemoto, Donovan, and Kim's Unraveling Assumptions: A Primer for Understanding Oppression and Privilege is the book I have been looking for since I started teaching multicultural psychology over 10 years ago. It provides excellent descriptions of important constructs while also engaging the reader to reflect on their assumptions, experiences, and emotional reactions with reflection prompts. The authors both challenge and encourage the reader throughout the book and also provide ideas on how to continue the work of resisting oppression.

Nadine Nakamura, Professor, California School of Professional Psychology, Alliant International University

In Unraveling Assumptions: A Primer for Understanding Oppression and Privilege, Suyemoto, Donovan, and Kim pedagogically address and explain important key concepts in understanding issues surrounding diversity such as race, ethnicity, and intersectional identities such as gender, class and sexuality. The book guides the readers with examples and reflection questions that are easily transferable to the European context. This is an important piece of work which should be read by all students who are studying Ethnic and Migration Studies. The book is also a great resource for researchers and academic staffs within the field of Ethnic and Migration Studies in Europe to start reflecting upon ourselves and what it means to work with diversity and social justice.

Sayaka Osanami Törngren, Associate Professor, Global Political Studies, Malmö University

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Unraveling Assumptions: A Primer for Understanding Oppression and Privilege

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Unraveling Assumptions: A Primer for Understanding Oppression and Privilege offers fundamental understandings of concepts and frameworks related to diversity and social justice. Aimed at university and community audiences, it offers an introductory exploration of power, privilege, and oppression as foundations of systems of inequality and examines complexities within meanings and lived experiences of race, ethnicity, gender, sexuality, disability, and social class.

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short video clip Eleftheria's practice 2

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short video clip Eleftheria's practice 2

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a love letter in Utrecht. On the ground. (Eleni)

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a love letter in Utrecht. On the ground. (Eleni)

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Glimpse from mid of Eleftheria's practice 2

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Glimpse from mid of Eleftheria's practice 2

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Glimpse from end of Eleftheria's practice 2

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Glimpse from end of Eleftheria's practice 2

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Glimpse from beginning of Felipe's practice 2

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Glimpse from beginning of Felipe's practice 2

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More info:

https://www.youtube.com/watch?v=-_arXhDdm2k

https://www.impulstanz.com/en/workshops/pid3267/

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With recent appearances at PICA's Time Based Art Festival in Portland and Velocity Dance Center in Seattle, Turbulence continues to shift, with three local artists added to the core group at each location. The "collaborative failure" orchestrated by Keith Hennessy opens at the Yerba Buena Center for the Arts in San Francisco this week, followed by performances at New York Live Arts Oct. 4-6. Back at his Mission District apartment on Aug. 28, Hennessy talked about his recipe for instability and chaos, which compose Turbulence. Below is an abbreviated version of the interview.
Some of your students have mentioned that your way of pushing is to destabilize yourself and the performance container. Can you talk about this way of working?
Two big cliches are to work from failure or to work in relation to failure or unstable structures or destabilization. If people are slightly snobbier they'll use Deleuze's term deterritorialization. I think that these theories are ways of trying to look at oppressive structures or closed loop power dynamics. For people to have any sense of personal or communal power we then need to disturb or destabilize structures in order to have any free space. The ideas of failure out there are super trendy.

In the business management world, there are books like Fail Better. Then in the academic world two texts came out recently. One looks at experimental theater and performance and the idea of staging failure, with narratives that fail or characters who are failures rather than heroes, called Performance Theater and the Poetics of Failure by Sara Jean Bailes. It looks at Forced Entertainment, Goat Island and Elevator Repair Service. Then Judith Halberstam's The Queer Art of Failure came out.

The first book was an affirmation of a certain kind of working and way of looking at experimental theater since Brecht and what kinds of ideas peeps are pushing...even this genre of film called mumblecore, where nothing really happens is an example. It's young people and their lives aren't shown as being meaningful. These are failures in a way because these people are not becoming something.
How does failure function in relation to the work Turbulence?
With Turbulence the event itself is a failure and fails to meet the expectation of the audience about what the show should be...I have been trying to think really in terms of political structures and hegemony in a both psychological and institutional weave of structure that is fragile, always changing, and takes a lot to maintain. Every time it needs something to maintain the structure, those are weak points that could be exploited.
So it's called Turbulence: A Dance About the Economy. How do you address economy?
The piece started as a dance about the economy so I'm coming back to economic structures: how they're set up, how economically unsustainable they are, how they morph and enjoy crisis. We used to think crisis was really bad. Now we have Naomi Klein who has actually gone through the last fifty years and has shown how so much has been either a fake crisis started by the financial system or a crisis that was not predictable like a tsunami or an earthquake, or war in a small place that the larger places could not have predicted, and those crises are then exploited by the financial structures... so all of these things I think about in terms of what it means to work in instability and exploit failure...

Another strategy thats very active for me is this idea of queer. To look at what new trends are happening and to imagine they won't fulfill your dreams. To be queering them or working outside of them. I think with Turbulence I recognize the mainstream nature in contemporary art of proposing an unstable project that exploits failure. Then I ask "what does it mean to queer that?" Do you deliver part of the spectacle or not? I sometimes just think about being nice to audiences, giving them what they want.

I think what works for me in art is somewhere between classical, modern and postmodern approaches. Somewhere in that mashup and not necessarily any one of them. If it's just a classical or modernist work, it's really easy to critique. The kinds of theater I like, which is what I want to make, is one where there's a lot of inquiry, a lot of self reflection and exposing the process. It's post-Brechtian, its postmodern, unstable in terms of what we expect from theater and also somehow has a sense of magic and ritual that you couldn't have anticipated.
So what is the unstable structure for Turbulence?
There's no score. I have a list I share with the dancers including things like fake healing when people come in, creating the pyramid... I decide how many things I insist on that have to happen in each show. At a certain time I might stop and say "Hey audience, I was hoping that by this time the pyramid would have happened, but it didn't." If I just talk about it and ruin the flow it's a kind of failure and improv strategy...

With the Turbulence process, some of us now have been working on the piece for two years. I'm getting to know people better but I'm not making any material for people or creating situations where they're making material. I'm really trying to create context in which to improvise and see what happens.

Every now and then I ask to try and keep something like what was created in rehearsal. Gabriel Todd wrote a song and I think he didn't even share it with the group for like six months because he was like "Oh you're going to insult it." and then we did insult it. We've sung it in every performance since.
How did you select the artists you're working with for this project?
I invited people who I thought were makers, even if they didn't have a long history of being a maker. I invited people who make their own work and then I brought them into an unstable situation where the group is always changing ...we're in this weird laboratory together that's heavily reliant on people feeling confident enough to just make images spontaneously or take action.

I'm sure in my psychic process what I'm doing is something related to the most far reaching research aspects of Sara Shelton Mann's work. There are many moments when I think about Contraband with this group, especially now that we've toured a few times together...theres something really different being with each other 24 hours, seven days a week, or traveling to a foreign country together, or flying in airports together and sharing hotel rooms. Now we're building on that set of experiences and also looking at those as economic relationships that influence the work.
How do you hope people interface with the work?
Every piece of theater speaks to the last piece of theater people saw, but it also speaks to the life they led before they walked into the theater. That's one version. With the current piece, Turbulence, we're working with this idea of soft boundaries. It's not clear when it starts and when it ends, so I tell the audience that the piece is over when a certain amount of time has gone by, but we don't leave the stage. It's clear that so many things are broken down by then that you could just leave, or come onstage and start talking to artists that you know, or you could go over and look at the trapeze, things just keep going.

I'm hoping to bring a different perspective and a different urgency for people to look at how the economy shapes their everyday life. So the follow up to me is quite personal. I don't think that's about everyone deciding to participate in Occupy, but it is about considering how deeply embedded the economy is in their life or that economic relations impact their social relations, which impact the way they imagine their potential in the world, and the ways they give and receive, and how they shop and how they pay rent or mortgages. In some ways that's just already going to fail since the piece is not a lecture. People have to enter it poetically or that won't happen. If they're just waiting for the content to arrive it won't happen.

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On Failure and Fake Healing: An Interview With Keith Hennessy

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"Turbulence," developed in Portland and Seattle, opens today in SF and makes its way to NYC next week

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Reference from João's tune-in practice Day 3-Steve Paxton

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Reference from João's tune-in practice Day 3-Steve Paxton

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"Start small. start small for a long time or go beyond small to the place where no message is being given. Start there.

Let small be the first of the pleasures to come. Accept the first perturbation of that emptiness as the focus of the next moments. It is not a dance about you, or your partner, human or otherwise. It is a dance about its movement".

Source: Source:

Contact Quarterly - dance & improvisation journal

special edition

CI 50th Anniversary 2022

More about Steve: https://contredanse.org/en/Authors/steve-paxton/?lang=en&fbclid=IwAR1XgXrbco49Hqg-6ZedwBlym7mmYyhPOVfFJ_iw4lk7k8Fcnu7voAEuMb8

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Contact Quarterly is the longest living, independent, artist-made, reader-supported magazine devoted to the dancer's voice in the field of contemporary dance and improvisation.

All content © 2023 Contact Collaborations, Inc.

images on banner from CQ covers
circle drawing courtesy George Manupelli

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The initiation of contact improvisation for me:

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Douglas Dunn and I had an encounter during a Grand Union performance at La Mama, NYC. Not sure of the read more...

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Reference from João's tune-in session in Day 2-Peter Pleyer

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Reference from João's tune-in session in Day 2-Peter Pleyer

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Day 2: Adaptation from Peter Pleyer's score:

"Put on one of the music tracks and start anywhere

or

It could be nice to start low, lying on the floor, breathing.

Begin with continuous slow motion, when you started you do not stop. Moving in and out of the floor.

Use weight shifts which allow for travel through space – slowly. Use the spiral, the twist, in your spine, in your whole body, often – slowly. Look at each other – see each other –

seeing is being seen. Once in a while repeat for yourself the question: How slow is slow?"

more on Peter Pleyer: https://crankybodies.com/en/

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The first Slow Motion Rave I have facilitated was during the Body IQ Festival in Berlin in November 2019. It came from the strong wish to slow down on the dance studio floor, combining experiences I had in the past with instructions and scores from teachers and colleagues, from my solo work twisted trident, from dancing in clubs and watching dance on stage:
Nancy Stark Smith's score "low-slow-flow" from years ago merged with an experience with Kirstie Simson on an outdoor dance studio on the Croatian seaside where we were moving slowly and constantly for more than an hour, making it possible for sensing more detailed gravity and motion. In slowness I could give attention to places in my body that I would otherwise skip, when moving faster;
Keith Hennessy and Maria Scaroni's single action scores that often end with a section of slow motion "with weight sifts!";
My own obsession with the possibility of twisting from the spine, and the opportunity to see the whole room and everything and everybody in it and beyond through the possibility of that twist and spiral;
Giselle Viennes group choreography Crowd, that I saw at the big stage of Volksbühne Berlin was literary a slow motion rave,
All of it I put into this score of the first Slow Motion Rave in November 2019.
A month later I was invited by Marcio K. Canabarro to the first CARE meeting in Budapest, it was here that I proposed the Slow Motion Rave with the live music by Bela Associação, a 90 minute experience with 60 bpm music (60 beats per minute - resembling the heart rate) in the dance studio of SIN-Arts.
For easter 2020 the Slow Motion Rave was planned to take place during Stretch Festival in "the Village" Berlin, a queer mens community space for mind/body/spirit, but due to the pandemic it got canceled.

So it is all still quiet fresh, and for this January issue of the Grand re Union online magazine I have invited the musicians Jonny Kadaver (from Bela Associação) and Marc Lohr (from Cranky Bodies a/company) to provide a 60 minute Slow Motion Rave music for you to dance your own version or to dance the score with your chosen family or in safe distance from each other in other spaces.

Before Covid 19-times and coming myself from a practice of Contact Improvisation I would say touch and physical meetings are allowed and encouraged, nonverbal consent is easier negotiated in slow motion.

In the more sex positive space of the queer Stretch Festival where the sensibility towards the importance of consent negotiation is heightened, I would have included, after some time, when the score has established a certain energy and ground, the possibility of slow motion undressing yourself and one another, as in the Cranky Bodies a/company costume rule "naked is always a costume option."

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The first Slow Motion Rave I have facilitated was during the Body IQ Festival in Berlin in November 2019.

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another way of shifting the space. (Eleni)

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another way of shifting the space. (Eleni)

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"stepping" the "notes"

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MICHELE RIZZO: HIGHER XTN. (Live @StedelijkMuseumAmsterdam 2022)

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bits and pieces of thought. Day 1. (Eleni)

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bits and pieces of thought. Day 1. (Eleni)

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For Eleftheria: Trying to undress the idea of walking I end up with 2 "rules". Suspension and support. The weight, the thought, the atmosphere, the expectations, time.

Going nowhere freed my need to move productively. Explore the static perception of walking. I was juxtaposing the fundamental element of walking, the transfer.

For Niki: The way that language shapes and forms my movement. And the commitment that it takes to stick with it. How do I schiz the established way of moving? Is it just a matter of choice? Following the rules creates safety and comfort. But it stays somehow the same. What are the layers that can be added in order to "elevate" the comfort of the familiar?

For Feli: My imagination is my partner. It is impossible though to tame it. It is an untamed partner. How do I work with that? Again, the juxtaposition of the stability and rigidness of a geological body with an untamed imagination can create that schiz that engines a new viewing of the human-non-human body relationship.

For Qiqi: Stretching the body and mind. Ideas that fold and distract the concept of normality. How do I attack the idea of normativity? Disruptions are the glue that brings everything together (the ad, the contortion, the speech in a meditational experience).

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Troubleshooting.

Where I find the biggest trouble in my process so far is getting deeper. From what I experienced; I create multiple cores but not actual cores, more like distractions. My patience runs out quite fast and I struggle to create an entry point to go deeper. I use the accumulation of things to include as many possibilities as I can think and then try to subtract what maybe is not necessary. An attempt to create a playground of materials to play with. Creating chaos without wanting to create one.  In the subtraction process, I cannot decide what is -maybe- irrelevant. That is because I lack in identifying the core of my playground love- work. Is self-awareness the main issue here? Still, I cannot identify. There is a tendency or perhaps desire to outsmart every situation. Humor, as a method of distraction.  Avoiding unravelling a deeper layer of my work and myself. What happens to shallow or even hollow art? What happens to shallow or hollow artists? What is my hole? Are my holes an entrance or a revelation of my empty spaces?  How do I feel my holes? How do I fill my holes? And how do my holes feel/fill/film me?

The way of dealing with it: I do not.

I try to create mechanisms that can resolve the problem for me. I try to find the answers by only creating the parameters that may solve the problem for me.

THE PRACTICE. What moves me?

The gam(z)e- GAZE

What I see. What sees me.

In pairs or not.

Introduction 5 minutes

Part 1. 15 minutes

A guardian angel with kinetic rules (the music game).

The kinetic rules:

1.     Try to step each note.

2.     Music starts. Every time there is a shift in the music there is a shift in the body/space.

Move ‘freely’ with your eyes closed. An observer/ partner takes care of the person with their eyes closed.  After the experiment, the person with their eyes closed must create a space map/ diagram depicting their experience. Then the guardian angel has to recreate the ‘experience’ based on the space map and their own view. Then both partners create a new personalised diagram of the second embodiment of the music.

Part 2. 10 minutes

Play with the gaze. Explore the space.

Avoid the gaze. Engage with the gaze. Be moved by the gaze.  Follow the gaze. Dismiss the gaze. Stare. Delve into the gaze. Maintain.

I want to see the world with your eyes.

Part 3. 15 minutes

The camera was rolling.

(How) do you feel me?

(How) do you fill me?

(How) do you film me?

We review the footage.