AFJORDANCE

Introduction: Looking at humanist and ethical learning models in the technocratic future, the research aims to function with a quality of flux. The dynamic of flux is afforded by experience based praxis, in an experience based format. Suited for all ages, the research is aimed to be reproduced through workshops, classroom, and engage in both the natural and technological environments.

BASIC PROCESS Physical time in the nature to gather Geological Time Samples (Rocks)  Draw surfaces forms from Geological Time Samples Trace the line drawings to form new patterns Perform lines as body movements	DEVELOPMENT OUTLINE Record On-Site Movement(DancePerformances)  Soundtrack Production (database sourcing, programming, music, voice) Additional Artistic Mediums; Costumes or Exhibitions

 

Drawings and layered drawings of Geological Time Samples

 

Methods  developing sensitivities and tolerances in cognition and empathy contribute to balances in individual cohesion and retention of agency in personal choices relative to the motives of a larger social group. The emphasis of somatic methods is not on identity but rather focuses on the Locus of control aspect of individual psychology. In the retention of self-authorship and agency, the depth of individual development of the senses, the social environment proposed fosters empathy and compassion. By creating a healthy environment within each person, the social environment created naturally affords greater diversity through the sense of personal responsibility. Instead of a pollution of ideas and theories, the methods are based on the principles of trust in the individual to develop their capacities within a social context. These forms of intelligence are neither natural (innate) nor artificial (construct) but rather come about through nurturing which offers the healing of personal, historic, and epigenetic trauma. By addressing these core relational and ethical concerns through experience-based learning, individual learning and outcomes are designed not to address the psyche as a problem to “fix” or a behavior to modify which can trigger an egoic response. The praxis used in the production of these artistic works serve as examples of ways to look at bringing about harmony with the individual in relation to the environment.

 

Embodied Cognition (Meditation): Various forms of meditation are used to access subjective experiences of a site. Short list of meditations: Shinrin Yoku (forest bath), Walking, Guided Visualization, Yoga, Swimming. The term Meditation is taken-up by its definition of being absorbed and involved in considered thought. The notion of these thoughts is based on a philosophy of mind locating the origin of the thought from within the body of the individual engaged in Meditation. The concept of body originating thoughts is based on the Locus of Control principle in psychology. The multi-layered learning and tools built into the critical thinking exercises are grown out of questions raised in John Haugland’s book, A.I. The Very Idea. Using the media of video affords groups to reflect on the complex nature of visual literacy, meaning, and collaboration in physical and digital environments. 

 

 

 

Solfège Souche, 2018, Single-channel video, sound composition from solfeggio frequencies, relating layers of what humans are as spirit, body, and connection with nature through how we manage to survive being chopped down, disconnected, technologized, and continue to move toward light and grow. A Solfège Souche is by definition the root of a forgotten connection with nature. Filmed in Maridalen, Oslo, Norway. Exhibited Italy, South Korea, USA, France, Norway. The A.R. project developed into Afjordance. This video and those on this website are included in the Videokunstarkivet, administered by Nasjonalmuseet, Oslo, Norway. Contact for screenings and collection: mariammanart@icloud.com

 

Ut queant laxīs resonāre fībrīs; Mīra gestōrum famulī tuōrum; Solve pollūtī labiī reātum, Sancte Iōhannēs.

 

A Solfège Souche is by definition the root of a forgotten connection with nature. In times of rapidly increased use of technology, humans face increased stimulation and-variables-age-old questions of ethics and morality. In an effort to portray a dynamic relationship with nature, instead of dominance over nature, the Butoh movements recreate ways lifeforms cut down in the forest and continually find ways to reach towards light. This space framed in the video presents a body moving among an autumnal forest, merging and emerging from light and shadows. The body draws lines through movement; binaural beats compose the soundtrack. The pitches register at markers in time, reminiscent of ear trauma or tinnitus. The Solfège Souche video is situated at the intersection of dance, performance, video art, projection, embodied cognition research, and resonance study. The artistic research and pedagogical development around the project asks the questions: Are our cultural and bodily movements dangerous if we do not understand what we stand to lose? In what ways do sounds move and change forms from within the body and around? The term, Solfège, refers to the music education method developed to teach sight-singing and pitch accuracy. Originating in the 11th century, music theorist Guido of Arezzo assigned six syllables: ut, re, mi, fa, sol, la, now recognized as the major scale. Much later, the “ut” was changed to the open syllable “do”. “Sol” changed to “so”. “Si” later became “ti”, and was added to the seventh scale-note, giving rise to the modern solfège. Souche has several meanings; as a stump (of a tree), the Latin word meaning root, simultaneously referring to genealogy. Souche was also the name of an unknown virus claiming the lives of at least twenty people (une souche virale inédite a fait au minimum vingt morts).

 

 

Citations

Currere, William F. Pinar, in: Encyclopedia of Curriculum Studies, Edited by:  Craig Kridel

DOI: http://dx.doi.org/10.4135/9781412958806.n102, Subject: Cultural Studies (general), Curriculum & Content (general), Curriculum Studies

 

Artificial Intelligence: The Very Idea: J. Haugeland, (MIT Press, Cambridge, MA, 1985); 287 pp. https://www.researchgate.net/publication/256121747_Artificial_intelligence_The_very_idea_J_Haugeland_MIT_Press_Cambridge_MA_1985_287_pp 

 

Teaching the Whole Student:  Perceived Academic Control in College Art Instruction, Studies in Art Education: A Journal of Issues and Research, 2010, 51(3), 198-218. http://randalllavender.com/research-and-publications Direct PDF Download: https://static1.squarespace.com/static/55988a61e4b0af241ed4b4d2/t/55a58da4e4b0595a8a619f31/1436913060728/Studies_51%283%29_Lavender.pdf 

 

Journal Article: “To See Things Is To Perceive What They Afford”: James J. Gibson’s Concept of Affordance, Thomas Natsoulas, The Journal of Mind and Behavior, Vol. 25, No. 4 (Autumn 2004), pp. 323-347, Published by: Institute of Mind and Behavior, Inc., https://www.jstor.org/stable/43854043/ , Page Count: 25, Topics: Perceptual experiences, Visual perception, Animals, Perceptual processing, Mind, Locomotion, Gestalt psychology, Dance, Ecological psychology

 

Book: Identity: Why It Doesn’t Matter What You Think About Yourself by Robert Fritz and Dr. Wayne Scott Andersen https://www.robertfritz.com/wp/product/identity/

 

Video:”The Fundamentals of Structural Thinking”by Robert Fritz https://youtu.be/MnzKC24QvBI

Why Artificial Intelligence Can’t Replace the Moral Significance of Humility, Ruslana Remennikova

August 3, 1562 a devastating thunderstorm hit central Europe, damaging buildings, killing animals and destroying crops and vineyards. The havoc caused by this natural disaster was so great, so unprecedented, that soon an unnatural origin for the storm was proposed. More alarming was the impression that it was not the only climatic anomaly at the time. The Little Ice Age was a period of climatic deterioration, characterized in Europe and North America by advancing mountain glaciers and prolonged periods of rainy or cool weather. The term was first used by climatologist F. Matthes in 1939 to describe the most recent glacial deposits, younger than 4.000 years, in the Sierra Nevada. Later the term was adapted to a period spanning from the 16th to the 19th century (1250/1500-1850), to describe both climatic as cultural changes. These difficult times also see the emergence of a new kind of superstition, that witches could “make weather” and steal the milk from the (starving) cows. So we read in Bavarian and Swiss chronicles: “1445, in this year was a very strong hail and wind, as never seen before, and it did great damage, […] and so many women, which it’s said to have made the hail and the wind, were burned according to the law.” “Anno 1626 the 27th of May, all the vineyards were totally destroyed by frost […], the same with the precious grain which had already flourished.[…] Everything froze, [something] which had not happened as long as one could remember, causing a big rise in price.[…] As a result, pleading and begging began among the peasants, [who] questioned why the authorities continued to tolerate the witches and sorcerers destruction of the crops. Thus the prince-bishop punished these crimes, and the persecution began in this year...” Fig.1. Witches cause a hailstorm, illustration from the “De Laniss et phitonicis mulieribus” [Concerning Witches and Sorceresses], by the scholar Ulrich Molitoris, published in 1489. Curious to note that the first image showing such a scene was published in a book arguing against witchcraft, as most scholars believed that only god was able to change the order of seasons or the weather (image in public domain). Sporadic acts of sorcery and harmful magic were known since antiquity, but only in Medieval Europe the idea of a sort of demonic conspiracy, perpetuated by sorcerers and witches against society, became common lore. Frequent storms, long winters and cold summers caused famine and starvation and so the demoralized peasants, demanding for fast actions, forced the authorities to prosecute the supposed culprits. The accusation of weather magic begins to play an important role in contemporary witch trials, even if at first it doesn’t seem that it was taken too serious. Still in 1595 the peasant Christoph Gostner, accused to have caused storms in Tyrol, argued that, “he pushed the weather back to the highest mountains, where no cock crows, nether hay is mown, no ox lives and no flower blooms, so it could do no harm, and so the storm became just a weak rain.” Asked then why, if he had this power, he didn’t prevent another severe storm, he replied that he was so “drunk that night” that he couldn’t possibly have used his magic. However soon enough witch trials, also concluding with death sentences, became common in Swiss, Austria, Poland, Germany and France. A peak was reached between 1560-1660, also coinciding with two major cold climatic phases in the Alps between 1550-1560 and 1580-1600. Last witch trials occurred 1715-1722 in Bavaria, in Swiss (1737-1738) and in Germany (1746-1749). The last European witch was executed in the year 1782, soon after (1850) glaciers started to retreat and the climate became warmer. Fig.2. The European witch hunt occurred between ~1430-1780, with peaks in 1560-1580, 1600-1618 and 1626-1630, may triggered by an unstable and cool climatic phase, the Little Ice Age (~1250-1500/1850). However even if we accept a role of climatic fluctuations in the history of witch hunts, it is important to note that social factors played by far the larger role. In regions with a strong government and legislation such trials were rare or nonexistent, even during climatic unfavorable phases. In rural areas, during political and social crisis, during war (the Thirty Years War in Germany occurs 1618-1648) also authorities were more willing to misuse sorcerers and witches as scapegoats. Finally in the 17th century, with the Age of Enlightenment, also the ideological, legislative and social support for witch trials soon eroded and the persecutions stopped. 

Bibliography:

BEHRINGER, W. (1999): Climatic Change and Witch-hunting: the Impact of the Little Ice Age on Mentalities. Climatic Change, Vol.1(1): 335-351

BÜNTGEN, U. et al. (2011): 2500 Years of European Climate Variability and Human Susceptibility. Science Vol. 331: 578-582

FAGAN, B.M. (2000): The Little Ice Age: How Climate Made History, 1300-1850. Basic Books, New-York: 246

GLASER, R. (2008) : Klimageschichte Mitteleuropas – 1200 Jahre Wetter, Klima, Katastrophen. Wissenschaftliche Buchgesellschaft, Darmstadt, 2. Auflage: 264

JÄGER, G. (2008): Fernerluft und Kaaswasser – Hartes Leben auf den Tiroler Almen. Universitätsverlag Wagner, Innsbruck: 240

ZASADNI, J. (2007): The Little Ice Age in the Alps: Its record in glacial deposits and Rock Glacier formation. Studia Geomorphologica Carpatho-Balcanica, Vol.XLI: 117-137

SOTA, ICHIKAWA (2014): CORPORA IN SI(GH)TE, doubleNegatives exhibition at Gråmølna Trondheim Art Museum, Meta Morph. The group led by Ichikawa Sota, which, viewing structures as bodies reflective of their surrounding environment, experimentally tries its hand at architecture by programming. For this work, the group set up camera at ICC to take in the changing look of the sky as data and grow architectural forms automatically, in real time. Programmers Max Rheiner (Switzerland) and Akos Maroy (Hungary) participate to this project.

Corpora in Si(gh)te is a generative architecture installation based on real-time processing of environmental data.

It is questioning of how architecture can be controlled without the central architects, how architecture can interact with the surrounding environment, how architecture can be redesigned by itself, how we can develop new concepts with a unique notation system. A number of sensors are setup forming a mesh network throughout the target area in order to collect and distribute real-time environmental information such as temperature, brightness, loudness, humidity, wind direction and wind speed. This sensor network can be seen as the nervous system of the virtual structure. The data collected from these sources are processed by a software and translated into autonomous nodes which we call “Super Eyes”. These “Super Eyes” are the seeds for the virtual architecture of “Corpora” representing a cellular, distributed network of nodes that are reacting through real-time processing, growing and subsiding like an organism. Each “Super Eye” collects environmental data from the closest sensor and makes local decisions independently of a central architect. The “Super Eyes” inadvertently give rise to an architectural structure, both surrounding the exhibition building and neighborhoods. This “information architecture” of “Super Eyes” has its own spatial perception to make itself transform into various forms by relying on the “Super Eyes” spatial notation concept. The fluid character of this architecture occurs as a living form. Visitors can observe this process by Augmented Reality Technology through cameras located in the target site. While living within a given set of linguistic conventions it’s hard to think outside of that language. Such concepts may seem to not come out immediately in the resulting design. It could be as simple as a question of different tools. Different tools will affect what can be created. Computer software for design has different characteristics, and these help determine what’s easy or difficult to create. But these elements are creators’ concerns. What about the broader questions of how to understand objects, how to grasp the world. This again can be language dependent. And it is not a question limited to creators. The question of an architect’s language and creation can be stated by paraphrasing Wittgenstein: “Do the limits of the architect’s language determine the limits of architecture?

Equipment cooperation: Yamaguchi Center for Arts and Media [YCAM] Created by doubleNegatives Architecture (dNA) views metaphorical machines used to measure space as”architecture”. They engage activities including interactive installations, software tool development and architectural design. dNA’s work started from a motivation to focus attention on this spatial notation = language, developing new forms notation itself, to obtain particular design perspectives. This evolved their major project “Corpora”.

Core members of the project “Corpora”:
Max Rheiner, Ákos Maróy, Kaoru Kobata and Sota Ichikawa. 

selected exhibitions:
2014 《MU: Mercurial Unfolding Collaboration with Fujiko Nakaya》 (4th APAP), Anyang, Korea
2014 《understanding》(Arata Isozaki SOLARIS) NTT InterCommunication Center, Tokyo, Japan
2013 《House in Nagohara》(Materializing) Chinretsukan Gallery The University Art MUSEUM, Tokyo, Japan
2012 《Corpora.Condensation》(Open Space 2012) NTT InterCommunication Center, Tokyo, Japan
2012 《Super Eye to See the World》(Mediacity Seoul 2012)Seoul Museum of Art, Seoul, Korea
2011 《Corporate Eyes》(Beyond the Naked Eye) Tokyo Metropolitan Museum of Photography, Tokyo, Japan
2010 《Corpora.Prospect》(Lexus Hibrid Art)Vetoshnyy, Moscow, Russia
2010 《Corpora in Si(gh)te》(Ars Electronica in Mexico), Laboratorio Arte Alameda, Mexico Sity, Mexico
2009 《MU: Mercurial Unfolding Collaboration with Fujiko Nakaya》Institut francais du Japon、Tokyo, Japan
2009 《Corpora.Prospect》(Mission G) NTT InterCommunication Center, Tokyo, Japan
2009 《Corpora in Si(gh)te》(ARS electronica.09) OK center, Linz, Austria
2009 《Corpora in Si(gh)te》(transmediale.09) .CHB, Berlin, Germany
2008 《Corpora in Si(gh)te》(11th Venice Architectural Biennale, Hungarian Pavilion solo exhibition) Hungarian Pavilion Giardini park, Venice, Italy

https://metamorf.no/2014/index8054.html?p=55

http://www.ntticc.or.jp/Archive/2005/Opennature/Works/corporaproceed.html