Landing Site Score︎︎︎
Perceiving: ‘Land’ on something—a shape, building, void or feature and perceive it through the body, notice and focus. Turn your attention towards and away, what impressions and awarenesses resonate through your body? Play with these responses, give them shape and form, engage with the tempo and duration of each response.
Imaging: What images emerge for you in this environment, how do they arise through the practice, how do they take your attention, how might they shift, shape, fold and respond to your own movement. Are they near or far or both? How do they blend, overlap and conjoin? How might you feel the contours, textures, shapes and properties of the image, how do images form and dissolve in response to and resulting from your practice?
Dimensionalizing: Situate these perceived images in relation to other located objects—including your own form and positioning. Explore the proximity, distance and depth of these various landing sites, consider your own scale and proportion in relation to the physical proportions of the site features they have revealed to you. How does a dance with/of the total site experience emerge from these starting points? Allow a dance of site to emerge in which the compartmentalized landing site explorations give way to composite perceptions, impressions and site resonances, to a ‘total’ dance with site. Allow the body to land, notice and respond to site features, play with the near and far, the real and imagined, the perceived and the conceived.
Welcome to mapping collaboration, a toolbox for workshopping and creating across disciplines...
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
The inspiration for this project came from faculty and students at Simon Fraser University’s School for the Contemporary Arts where BFA, MFA and PhD programs in Dance, Theatre Production and Design, Visual Art, Film, and Music and Sound all work together in studio settings and playfully experiment with processes of art-making.
We wanted to create a database of projects, assignments and theory that we collect inside the studio and from research happening in other places. We are curious about how we collaborate and how structures reoccur, translate and deviate from one discipline to another.
Composition is central to these processes and offers a base for our approaches and experiments. We are excited about what our students are doing and inspired by the new languages in contemporary art and performance we continue to see develop.
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
