Duration: more or less one hour

Location: outside / the street 

Preparation: Bring headphones so you can listen to the audio exercise while walking. Bring a notebook and pen.

Documentation: You are documenting during your walk. You can use the document that you can download below. 

References, sources: 

Bogart, A. & Landau, T. (2005). The viewpoints Book. A Practical Guide to Viewpoints and Composition. New York: Theatre Communication Group

Newlove, J. & Dably, J. (2004). Laban for all. New York: Routledge

Duration: more or less one hour

Location: outside / the street - find a place where there are other people!

Preparation: Bring headphones and a notebook. 

Documentation: You are documenting during your walk. 

References, sources: 

Newlove, J. & Dably, J. (2004). Laban for all. New York: Routledge

Duration: a little more than one hour in total 

Location: outside / the street - find a place where there are other people!

Preparation: Bring headphones and a notebook. 

Documentation: You are documenting during your walk. 

NOTE: This audio exercise was recorded during a lockdown and COVID19 measures, which included keeping 1,5 meter distance. I refer to keeping this distance during the exercise. You can leave this part out if you wish or include it in your practice, if you find this relevant. 

Please listen to the episode “Dispatch 6: Strange Times” of the podcast Radio Lab. The part that is of relevance for this assignment (the first part of the episode) takes about 20 minutes. 

https://www.wnycstudios.org/podcasts/radiolab/articles/dispatch-6-strange-times

Andrea Pruisers directs the Corona Virus Anti-Viral Research Program. In this podcast, she beautifully illustrates the kind of preparations, care, movements, attentiveness, mindfulness, feelings and thoughts that are at work when she is working in the lab. 

Try to illustrate your working process as an artist in a similar way. Although obviously working on your artistic research is quite different from working in the anti-viral research-lab (among others things because this kind of work is very protocol driven and your work probably not so much), for this exercise you will attend to the process with the same kind of precision. Hence, even though every step of your work is not as methodically set out for you as the work described in the podcast, as a thought experiment you pretend that it is, as a means to create body awareness in relation to your artistic (research) work.

Imagine a typical research day and attend to: 

-       What and how you prepare before starting your work 

-       The intentionality with which you do everything

-       How you move

-       Your mental state

-       Your concerns 

-       The order in which you do things 

-       The qualities of your movements and bodily tensions

-       Your mental state and headspace

-       How you are aware of things that happen around you

-       The way you relate to space 

-       The way you relate to objects around you 

-       The way you relate to other bodies around you

-       The way you relate to the objects and materials you touch, move around, manipulate or handle. 

-       Your thoughts and feelings

-       Your focus 

-       The way you are present

-       Your sense of time

-       Anything else that stood out for you when listening to the podcast

- The inside the instrument / opening up the blackbox

- The outside of the instrument / space

- Attuning (inside to outside, outside to inside)

- What comes in (gathering and processing information)

- What goes out (presenting, communicating, articulating, documenting)

- Caring for the instrument