{"id":8501,"date":"2016-02-03T11:28:29","date_gmt":"2016-02-03T11:28:29","guid":{"rendered":"http:\/\/lab.wrkshp.fi\/huopaniemi\/?p=8501"},"modified":"2018-01-10T14:24:22","modified_gmt":"2018-01-10T12:24:22","slug":"2-6-frag-18-r","status":"publish","type":"post","link":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/2-6-frag-18-r\/","title":{"rendered":"2.6 Fragment 18"},"content":{"rendered":"<h1><em>2.6<\/em> Fragment 18<\/h1>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style><div id=\"gallery-1\" class=\"gallery galleryid-8501 gallery-columns-1 gallery-size-large\"><dl class=\"gallery-item\"><dt class=\"gallery-icon landscape\">\n\t\t\t\t<img width=\"1024\" height=\"640\" src=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-18-3-1024x640.jpg\" class=\"attachment-large size-large\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-6554\" srcset=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-18-3-1024x640.jpg 1024w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-18-3-300x188.jpg 300w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-18-3-768x480.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><\/dt>\n\t\t\t\t<dd class=\"wp-caption-text gallery-caption\" id=\"gallery-1-6554\">\n\t\t\t\tFragment 18, <em><a class=\"glossaryLink\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Here I want to draw a somewhat different implication: our interactions with digital media are embodied, and they have bodily effects at the physical level. Similarly, the actions of computers are also embodied, although in a very different manner than with humans. (Hayles 2012, 2-3)&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/adapted-from-hayles-passage-14\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">adapted from Hayles passage 14<\/a><\/em>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\"><\/div>\n\n<p>After first tending to two details, I will, in this response to <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-18-3.jpg\">fragment 18<\/a>, make some observations concerning embodiment in relation to Hayles&rsquo;s arguments and <em>love.abz\/(love.abz)<sup>3<\/sup><\/em>. What is immediately clear in <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-18-3.jpg\">fragment 18<\/a> is that DAR wants to transition back from Carr to Hayles, highlighted also by the fact that a corresponding Hayles passage is again provided here, unlike in the two previous fragments (see adapted from Hayles passage 14).&nbsp;DAR aligns themself with Hayles in their &ldquo;thesis&rdquo; and quotes her directly for the first time, even mentioning her by name.<\/p>\n<p>In these two details I wish to stay for a moment. First, DAR uses the word &ldquo;thesis&rdquo; for only the second time in their adaptation (cf. <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/3\/\">1.3<\/a>), a fact that reveals an important, almost ignored aspect of this work: DAR conceives of their adaptation not as just some undefined, ever-changing text, but as a thesis. Despite the fact that their adaptation is enclosed in the translation boxes and subjected to continuous algorithmic translation, DAR is indeed making a proposition in and through their Hayles adaptation.<\/p>\n<p>Therefore, we should recognize that DAR&rsquo;s adaptation is a thesis within this thesis, structurally somewhat like a play within a play or a stage within a stage (<a class=\"glossaryLink cmtt_note-2-6en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;In his artistic research, &amp;lt;em&amp;gt;The Theater Enters! The Play within the Play as a Means of Disruption&amp;lt;\/em&amp;gt;, Davide Giovanzana suggests that the play within the play structure is a tool that challenges authoritarian discourses from within, playfully (Giovanzana 2015). Adapting this claim, DAR&rsquo;s thesis could be considered to challenge and disturb my thesis, which is in a dominant position.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/2-6en1\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">2.6EN1<\/a>). The translation boxes are, then, not only the manifestations of algorithmic translations, but also&mdash;and perhaps above all&mdash;stage openings that frame DAR&rsquo;s textual movements. The&nbsp;fact that the mostly grey elements of the Google Translate webpage are like props further emphasizes this impression.<\/p>\n<p>Second, in my interpretation, the use of direct quotation and the mention of the author by name signals DAR&rsquo;s desire to be more open about their relationship with the subject or subtext of their adaptation. By allowing Hayles to speak as if in her own words, DAR seems to concede that, in this case, it is best to allow the book to speak for itself instead of attempting to adapt its arguments immediately. This is probably due to the complexity of the issues raised by the quoted sentences.<\/p>\n<h3>Embodied Translation<\/h3>\n<div class=\"pl-video vimeo\"><iframe src=\"\/\/player.vimeo.com\/video\/233608851\" width=\"100%\" height=\"100%\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen wmode=\"transparent\"><\/iframe><\/div>\n<h6>Video 2.6.1 EN<\/h6>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style><div id=\"gallery-2\" class=\"gallery galleryid-8501 gallery-columns-1 gallery-size-large\"><dl class=\"gallery-item\"><dt class=\"gallery-icon landscape\">\n\t\t\t\t<img width=\"1024\" height=\"640\" src=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/2-6-1-1024x640.jpg\" class=\"attachment-large size-large\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-2-8672\" srcset=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/2-6-1-1024x640.jpg 1024w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/2-6-1-300x188.jpg 300w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/2-6-1-768x480.jpg 768w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/2-6-1.jpg 1100w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><\/dt>\n\t\t\t\t<dd class=\"wp-caption-text gallery-caption\" id=\"gallery-2-8672\">\n\t\t\t\tFig. 2.6.1 <em>Fragment 18 (2016).<\/em>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\"><\/div>\n\n<h3>Coding Performances<\/h3>\n<p>In order to suggest another perspective on the relationship of digital media and embodiment, I will briefly present here a key tool for the production of the artistic parts. A&nbsp;<em>tech plot<\/em>&nbsp;is an almost algorithmically precise and detailed written script that I use as a tool to plan, organize, and further develop the stage happenings of&nbsp;<em>love.abz\/(love.abz)<sup>3&nbsp;<\/sup><\/em>(<a class=\"glossaryLink cmtt_note-2-6en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;The tech plot is close to the concept of the score, which in dramaturgy refers to a script for an action or event. The score can take the form of notes or instructions that consist of, for example, text, route maps for performers, and clarifications on the use of the performance space (Uniarts.fi 6 August 2017). Tech plots as I use them contain mainly text and are clearly written from my point of view, that of the coordinator of the performances. Originally, their use is related to managing the technical requirements of the performances, which may also distinguish them from the above definition of score.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/2-6en2-2\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">2.6EN2<\/a>). Its language is code-like (though not literally code, as I do not know computer programming languages), especially with regard to the second, technically considerably more complicated artistic part (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/24\/\">3.4<\/a>).<\/p>\n<p>The tech plot can be considered&nbsp;<em>love.abz\/(love.abz)<sup>3<\/sup>&rsquo;s<\/em>&nbsp;algorithm, its set of rules that triggers the performance once it is coupled with the performance machinery (or technical ensemble, see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/6\/\">1.6<\/a> and <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/8\/\">1.8<\/a>) and the embodied performers. Initially, the tech plot serves the purpose of communicating technical requirements to the hosting venues of the performances and their technical staff. While continuing to serve this practical purpose, it increasingly becomes a planning tool in the research, which I use to guide the artistic parts according to my research interests.&nbsp;In fact, it becomes my primary form of writing in this context, for in the performances themselves I do not perform writing in the same manner as the other performers do.<\/p>\n<p>In this sense, it could be said that I am coding the performances. In addition to details concerning space, light, and sound design, the tech plot contains information on three forms of interaction that occur in the performances, all of which are embodied: 1) interplay between performers; 2) interaction between performers and the audience; and 3) interaction between performers, the audience, and digital media. In preparation for the performances, I from time to time leave the rehearsal room in order to &ldquo;update&rdquo; the tech plot with changes that have been necessitated by new findings made in rehearsals. Eventually, I come back and actualize the updates in collaboration with the performers (<a class=\"glossaryLink cmtt_note-2-6en\"  aria-describedby=\"tt\"  data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;The process is by no means as frictionless and seamless as this description may imply, especially if the implementation of the updates takes place in the late stages of the rehearsal&nbsp;process or during the performance period.&lt;\/div&gt;\"  href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/2-6en2\/\"  data-mobile-support=\"0\"  data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex='0' role='link'>2.6EN3<\/a>).<\/p>\n<p>This process is a form of programming rather than directing in the theatrical sense, which is underlined by the fact that I am personally on stage as a performer in all performances, as if programmed by my own program. The difference between theatrical programming and directing, highlighted by the tech plot, suggests&nbsp;another way of conceptualizing the relationship of bodies and digital media in performance. If we are to think of performance as a program akin to computer programs, it is clear that our&nbsp;concept of embodiment must encompass physical bodies both human and digital.<\/p>\n<div class=\"viitteet\">\n<h5>Notes<\/h5>\n<p>2.6EN1<br>\nIn his artistic research, <em>The Theater Enters! The Play within the Play as a Means of Disruption<\/em>, Davide Giovanzana suggests that the play within the play structure is a tool that challenges authoritarian discourses from within, playfully (<a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Giovanzana, Davide. 2015.&nbsp;&amp;lt;i&amp;gt;Theatre Enters! The Play within the Play as a Means of Disruption. &amp;lt;\/i&amp;gt;Acta Scenica 43. Helsinki: University of the Arts Helsinki, Theatre Academy, Performing Arts Research Center.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/giovanzana-2015\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Giovanzana 2015<\/a>). Adapting this claim, DAR&rsquo;s thesis could be considered to challenge and disturb my thesis, which is in a dominant position.<\/p>\n<p>2.6EN2<br>\nThe tech plot is close to the concept of the score, which in dramaturgy refers to a script for an action or event. The score can take the form of notes or instructions that consist of, for example, text, route maps for performers, and clarifications on the use of the performance space (<a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;University of the Arts Helsinki, Theatre Academy. 2016. &amp;quot;Dramaturgian koulutusohjelma p&auml;ivittyv&auml; sanakirja.&rdquo; (&amp;quot;The updated glossary of the Dramaturgy Degree Program.&rdquo;)&nbsp;&amp;lt;i&amp;gt;Uniarts.fi&amp;lt;\/i&amp;gt; university website. Accessed 6 August 2017. Url: &amp;lt;a href=&amp;quot;http:\/\/www.uniarts.fi\/uutishuone\/dramaturgian-koulutusohjelman-p%C3%A4ivittyv%C3%A4-sanakirja-julkaistu&amp;quot; target=&amp;quot;_blank&amp;quot; rel=&amp;quot;noopener&amp;quot;&amp;gt;www.uniarts.fi\/uutishuone\/dramaturgian-koulutusohjelman-p%C3%A4ivittyv%C3%A4-sanakirja-julkaistu&amp;lt;\/a&amp;gt;&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/uniarts-6-august-2017\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Uniarts.fi 6 August 2017<\/a>). Tech plots as I use them contain mainly text and are clearly written from my point of view, that of the coordinator of the performances. Originally, their use is related to managing the technical requirements of the performances, which may also distinguish them from the above definition of score.<\/p>\n<p>2.6EN3<br>\nThe process is by no means as frictionless and seamless as this description may imply, especially if the implementation of the updates takes place in the late stages of the rehearsal&nbsp;process or during the performance period.\n<\/p><\/div>","protected":false},"excerpt":{"rendered":"<p>2.6 Fragment 18 After first tending to two details, I will, in this response to fragment 18, make some observations concerning embodiment in relation to Hayles\u2019s arguments and love.abz\/(love.abz)3. What is immediately clear in fragment 18 is that DAR wants to transition back from Carr to Hayles, highlighted also by the fact that a corresponding [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[28],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8501"}],"collection":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/comments?post=8501"}],"version-history":[{"count":11,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8501\/revisions"}],"predecessor-version":[{"id":20337,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8501\/revisions\/20337"}],"wp:attachment":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/media?parent=8501"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/categories?post=8501"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/tags?post=8501"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}