3M0T1NG|«/n3tw0rk1ng», 2023
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performance Isis Andreatta, Juan Pablo Cámara, Ahmed El Gendy, Forough Fami, Lucas Lagomarsino, Alina Ruiz Folini, Raoni Muzho Saleh, Charlie Laban Trier, Simone Gisela Weber, & Jakob Wittkowsky
music Li Yilei
costume Dynno Dada
makeup Grizolda & Queen of Virginity
technical Bram Snijders
outside-eye Setareh Fatehi & Elisa Zuppini
mentorship Erin Manning
Maclean MC-773 & Maclean MC-825 straps, three Samsung Galaxy S9 smartphones, iPhone 14 Pro, iPhone 12 mini, iPhone X, four Optoma short-throw beamers, datapath, TP-Link router, XXL hanging gray projection mesh
Which space-time emerges from recoding the “I” in individual_neoliberal? A technogenetic matrix has been choreographed to rehearse this inquiry. 3M0T1NG{/n3tw0rk1ng} (“emoting/networking”) works with a modular nexus of moving collaborators in a transindividual and ceremonial equation, constantly recomputing personal networking devices and dis-re-embodied emoticons in a multi-/intra-entity, emo-techno-social soma. Intimations of eye-contact and image-selves disconnect essentialized “truths” from individualized feelings and expressions. Rendered are psychic dissociations from hegemonic_colonized emotionality, re-queering inter-relational communications and psychotherapies in “real” (hallucinatory) and “virtual” (sensational) time.
A [2-player] performance-test, performed for Y: NORMAL BODIES at Divadlo X10 in Prague (documentation images © Marek Koliha) preceded a [4-player] 3M0T1NG [process] for Studio Showings 2022 at DAS Graduate School in Amsterdam (documentation images © Thomas Lenden). A solo [satellitic] 3M0T1NG occurred at the Integration and Testing Laboratory of INPE (curated by Fabiane M. Borges), Brazil’s space research and technology center. Support for research began with DAS Choreography and continued via the Saison Foundation (Tokyo), SACi-E / National Institute for Space Research (São José dos Campos), IDlab – Academie voor Theater en Dans (Amsterdam), and Fonds Darstellende Künste (Berlin). [6-player] 3M0T1NG{/n3tw0rk1ng} pre-premiered at Uferstudios in Berlin (documentation images © Alicja Hoppel / Jelly Luise, & video © Walter Bickmann via Tanzforum Berlin) in Dec. 2022, supported by NPN-STEPPING OUT (Munich). The work and research culminated with DAS Choreography 2023 - ‘A Choice Among Others,’ supported by the Aart Janszen Fonds (Amsterdam) [documentation images © Thomas Lenden].
“What form have connections taken? What substance did they have? And in the future? 3M0T1NG{/n3tw0rk1ng} demonstrates that whether or not it is emotion that is ‘put on,’ some such signals are necessary to able to think about how to understand and respond to each other, and thus to connect. This process is put into hyperdrive through the projection of the bodies' screens. The reflections compound and float free of their objects. The more the performers try to embody this virtual condition, the appearance of expressivity and emotion increases, but its meaning is less to be found. The performers, and performance, become their own emotional blocks. Yet, aware as the audience always is of bodies moving around and responding to each other on stage, emotions continue to take nascent shape in the space between those bodies and how they represent themselves (on the body or the screen). It is through this space that we have been encountering difference (including in ourselves), feeling something, and forming new connections—🧬.”
— Michael Amico, PhD, researcher at the Center for the History of Emotions at the Max Planck Institute for Human Development
“For technogenesis to occur, what must be sought is a way to foreground the effects of unknowability that are virtually present in all movement. The incipiency of movement’s emergence must be tapped. […] Sensing bodies in movement are open systems that reach-toward one another sensingly, becoming through these relational matrices. As these bodies individuate relationally, they evolve beyond their ontological status, becoming ontogenetic. Technogenesis is the dynamic becoming of the sensing body in movement.”
— Erin Manning, Relationscapes (2009)
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