Proximity began as a numinous experience of wetland life in the Barmah Lakes in Yorta Yorta Country. Surrounded by frogs clicking at one another (and at us), responding in an aural choreography to our every movement.
Our latest multimedia work, PROXIMITY, has been released by Interim: A Journal of Poetry and Poetics for their Body Issue. This issue has been carefully curated by Autumn Widdoes, who took the opportunity to integrate her background in dance, performance, and poetry, to actively include works which “require the presence of the body.” We are so pleased to be part of this expansive approach to poetics and we are eternally grateful to the artists who made this work with us: movers Danilo Andrés, Tereza Silon, Simon(e) Jaikiriuma Paetau, Bishop Black and ROC and cinematographers Jo Pollux and Raja de Luna.
Proximity, we might say, underlies everything–and nothing. A measurement of distance, an exactitude that defines a broad range of emotional perspectives and access to privilege. Birthright. Mobility. Trust. Community. Family. Language. Safety. Neighbor. Care–if one cares and how one cares.
But then again–does proximity bind? And what, if anything, is modified in the exchange of touch, skin contact? At the point of acceleration–what’s the thing that draws us together? That motivates care? And in the absence of touch, of proximity–what then? Do digital proximities fill in the emotional gaps, does VR substitute skin contact? Is Proximity, then, a hallucination? A necessary hallucination?
Building on the previous methods we developed for our work BINARIES, we utilized techniques and forms of attentiveness to create a work of A/V poetry: frames as syllables, seconds as stanzas, text merged with image, bodies merged into other bodies, subjects merged into objects.
Proximity attempts to represent not answers but questions, questions which are more often felt than articulated because their formation escapes both everyday and specialist academic vocabularies. They are questions posed by the skin, by orifices, by a gaze that mediates recognition or its opposite, care or its opposite across a room, across a skype call, across a Guardian front page.
These questions are suggested but not wholly contained by the video’s text:
do you recognize me my your sovereignty / I am not close to you / I am not there / it is not me / I make better contact with your ghost / how much of my body could I lose / does our proximity bind us / I am afraid to touch / I might get a sense of you if you were within / reach / the further away you are the easier it is to ignore you / are we close / even though we touch / I you can’t hear my your voice / proximity
These corporal questions are multiplied by the encounters that proliferate as a consequence of hypermediated thought and speech acts. Ultimately they form a territory for experience. Other bodies, present in their absence, or absent in presence, disturb my relations to my own body enmeshes my body in ever-multiplying exchange practices – of money, of fluids, of goods, of glances exchanged.
Each of these interlocutors is a singularity in and of itself. The other that is the subject/object of my gaze/desir/touch, or in whose gaze/desire/touch I am objectified/subjectivised, this other deserves its own question that is not subsumed in meta ethical questions like “how should others be treated?” Yet the work of asking this question for all the entities with which we are connected exceeds the limits of expression.
Proximity does not seek to ask the question for every body present to consciousness but to identify the necessity of seeing each relation we have — even those we have to invisible others via media, geopolitics and global systems of manufacturing and food harvesting — as worth questioning, as worth raising as a form of potential intimacy.
PROXIMITY is the first in a series of singles, associative mixed reality performances and audio visual installations that interact with the conceptual origins of the auditory process, entitled Foreign Bodies. The work has been developed through the practice of learning from individuals and communities who move in resistance to, in spite of, and as a result of the management and control of bodies by states and other authoritarian actors.
Pleased to have composed the musical score for this important film by Yony Leyser.
Dissatisfaction with “bourgeois” aspects of the gay rights movement and machismo in the 1980s punk scene triggered the emergence in Toronto of queercore, a portmanteau of queer and hardcore. Queercore: How to Punk a Revolution documents the development of this anarchistic, alternative punk/gay culture. It embraced the DIY attitude of punk – making fanzines, distributing your own records, inventing and expressing your own aesthetic – to address revolutionary gay politics in homemade magazines and experimental films. After the film, the Berlin electro duo Hyenaz, who created the soundtrack for the documentary, will give a wild live performance. https://www.facebook.com/Queercoremovie/
Techniques for Auditory Resistance
a weekend intensive electronic music workshop with HYENAZ
13 -15 October 2017 at betOnest
This was a sound art workshop and collaborative laboratory facilitated by HYENAZ. Using a variety of tools, with an emphasis on free and open source software, we explored a variety of approaches to creating sound in an electronic music context, including the manipulation of field recordings through sampling, digital synthesis and vocal recordings. We explored techniques of arrangement to create sonic landscapes from the sounds that emerged and began to think about how we can develop sound art that responds to the experiences of those who gathered as well our context at betOnest.
PROBABILITY PRAXIS 21 of 28
London. COVEN at Underdog Gallery.
16.09.2017 Waning Gibbous
Interlocutors: Lizzie Masterton, Mil Vukovic-Smart
reflections from Kate
This centering, with the help of the interlocutors, was very helpful for me personally to ground myself during the show. And our intention was based on some of the work that Mil is doing currently about how people lie to themselves, and this causes the most stress in our lives. So our intention as a small group was about bringing to light the truth, and combating that self deception.
I would love to work more with contact dance during the blindfold moment. Focusing on the the very minuscule moments of contact, helping to create the eternal NOW. this is always challenging, not only with new audience members, but even with adrienne.
i loved the moment when lizzie came up and in the center lay down on the floor. i would in the future also bring people out of their chairs and lay them down on the floor. the chairs i found to be difficult to navigate. there was a moment of hesitation in myself and i think i went the “easier” route. i could have challenged myself more.
i overheard one person say something about the sexuality of the performance; i suppose i can completely understand, that the presentation of the almost nude body invites a sexualized gaze. And yet partly the idea of the nude body is the rawness, the naturalness of the form that we emerge as from birth. it somehow feels just as unnatural, or even more awkward, to cover the body with some kind of appropriated fabric, with its own origins, separateness, vague disorientation of origin. yet i also understand how the nude body can separate more.
there are some sound issues we have to take care of, ie, the boominess during federicas dance. and the synths in dong dae mun. this for next time.
i am enjoying the stage set, with the line across the stage and the hanging blindfolds. i would also like to create a static presentation, place for the plastic.
i am thinking about how to create a dynamic generation of the binaries so that the audience has more control over which ones are called out, and how to engender participation in this time, especially if the audience is shy to move.
again, like winchester, the verbal response afterwards was so overwhelmingly positive, warm, some person said it was the best thing theyd seen in london in years. another wrote us a beautiful note about magic. another was a dancer, who said that she felt inspired about what could be done, what still can be done, in the realm of participation. i felt lifted and carried by this and renewed in the labour of performative praxis.
PROBABILITY PRAXIS 20 of 28
Winchester, UK 15.09
(notes from Kate)
Someone we spoke to in Copenhagen gave us the idea that we should begin with a more focused energy, perhaps by asking everyone to clap at the same time. He suggested that this would allow us to pull everyone in, make everyone feel a part of the ritual, without having to say anything, and to give it more solemnity. We still havent tried that yet, but we are coming around to the idea. I suppose this series is about giving every idea a chance, to see how it will function.
We are doing better at getting the circle to come around and focusing together as a duo to come together but we both need to rehearse our vocal cues. we also feel that we need to refocus our spoken parts. i for one need to slow down when I am speaking and i would like to add something about the idea of “critical”, I want to communicate that I dont believe that simply by shouting out our intentions that we can make them real. But I do believe that by being in the same place together, forming a union together, in that space, even just touching bodies, even with our hands, we can make change.
Each time we perform this spoken part, I feel like it needs to be renewed and refreshed, to fit the particular context in which we are working. This is no doubt a challenge, especially when we have just a few hours pre show to soak in where we are. The centering that we have been doing, the mapping around our area, is helping me to feel more grounded and connected to our particular location. I think this is invaluable.
The “leave” and “remain” binary that Adrienne suggested I found both particularly triggering and powerful for people here, the white blindfolds as well. I still worry that the depart the octagon can approach clowning and I worry about this.
After the show we have a long talk about how important it is to us to set a beautiful stage and how we want to make more attention to the layout and design of the stage. In our dreams we make the altar and the technics the same thing — like a kind of transformation of the technological into the magical, or rather, posing them as possibility of one and same. But in order to do this I feel strongly that we need to have hardcases and a sturdy structure to hide the technical things from getting thrown on the ground.
I was happy to feel that many people were really moved by the show and that they went deep with us. At times I worried that there was shyness from audience members about body contact and involvement, but i realized from the verbal feedback afterwards that they were really moved. Even one conversation like this, even just one, makes me feel like we are continuing in productive art that is making change.
Although this was not a full hour ritual phase of the probability praxis series, it didn’t seem to matter at all to the magic we created together. We packed so much energy and heart into that sweaty room and shook the room at Success Bar in Tbilisi! Thanks to Nia Gvatua for these shots and bringing us into her exquisite world.