Collaborators:
Performers: Alice Bariselli, Anamaría Amador, Nigel Beard, Viviana Capriello, Jalianne Li
Score Collaborators : Alice Bariselli (movement score), Luca Nasciuti (music score)
Research Collaborators: Sahirine Martíntez & Tony Thatcher
Special thanks to: Marielys Burgos, Yarí Taína & Josué Marcial
Notions of space and time have been changing how we perceive, behave and interact now-days with the world. "13x2" is an ongoing research that studies interactions and perceptions of subjects and spaces in multimedia scenarios. The process also investigates the dialogues between digital and non-digital environments from the point of views of participants and users.
"13x2" is a choreographic design that aims to be kept experimental and subjective within different technological scenarios and interaction designs, inviting the public to reflect on the ever-changing notions of presence, empathy, proximity and participation opportunities that the digital and virtual world is giving us. 

The score material is a layered process designed from the different corporeal experiences of the performers. The dancers were provided with movement tasks that involved the embodiment of certain "objects of perception". This could be spaces, sounds, people, art or other objects. These sensory data was later used to create to design the score in conjunction with the music material created for the piece by composer Luca Nasciuti. The number '13' was later used to delimit the spatial and movement structure.
Photography: Ian Douglas at Movement Research 2012
12x3: Initial Research
"13x2" begun with the pre-research process named "12x3" presented during my study at Trinity Laban, London UK, in 2011.  The presentation of "12x3 consisted of two screens projecting a video that gave the illusion of a realistic rendering of the space. The video projects two animated dancing bodies at human scale. A dancer in real time, Viviana Capriello, was visually merging with the bodies on the screens suggesting an interaction and strengthening the illusion of "presence" of these virtual bodies. 

The video editing of 12x3 was rough and presented altered bodies that appear and disappear turbulently. The dancer was asked to analyze her new digitalized-altered body and develop new movement  material from it. Viviana embodied temporal and behavioral characteristics of the virtual "behaviors" like prolonged stillness, fast paced or slow paced continuous movement, isolation from the spectators and mechanical repetitive movements. Other aspects of the designed environment were considered like: spacing, lighting, sound direction and the spectators' distances. The overall product resulted in the integration of reality with the virtual scenography, or in an integration of the virtual scene with reality, that intensified the proximity between the performance and the spectator.​​​​​​​
Above you can see the video that was used for the first presentation.

The first exhibition in 2010 encouraged the next stages of the research process, raising questions like:

How virtual are we (becoming)?
How are we relating to the virtual space and how is this space relating to us?
How is technology expanding our empathy-related abilities? 
How is technology affecting our perception of space and time?

13x2: The Process 

Throughout different experimentations with film I noticed that perceiving with a  film 'eje' is an active occupation in catching the elements to explore textures, forms, rhythms, light, time, distance.... What film does is pin point different aspects of the whole in its creation of a new whole. I studied some point of views from philosophers like Gilles Deleuze, Alison Oddey, Rudolph Arnheim, Merleau-Ponty, Lepecki, John Cage and other theorists that could expand my views on cinematic perception, music and presence. 
The amplification that film allows brought to the research the understanding of a body that always expresses a movement. The simple breathing or blinking of the eyes becomes details available to my appreciation. Bergson gives a sensitive value to the micro-movements appearing from the close-ups: "it experiences or feels something". It was necessary to design a score that could engage the dancer in the inter-sensorial situation of her own body in movement, one that could be empathetic with the spectator's perception but from within her own intimate experience. The sound source was abandoned since the beginnings of 13x2 to explore the situation of silence. Deleuze and Guattari suggest that "silence as sonorous rest also marks the absolute state of movement". 

The score of 13x2 investigates the impact of repetition in the structure, and what is repetition staying in the experience of the performer and the spectator. In this sense, repetition is explored for representational purposes, to construct a trace in the spectator's memory, not for a search on exactitude in the performance. The idea was to "accumulate" the body in the mind, to perceive the differences in the patterned score and the affirmation of "presence" by the performer. Lepecki argues that:.."difference must be coded into events in time in order to be perceivable." In this sense, we search for mechanism to avoid the mechanical and automated experience. The task was that the subject act as a differentiator who  has the power to reinvent and change.

The first work in progress of "13x2" was first exhibit in 2011at CNDC, in Angers, France during the international convention "Schools". Back in London, I continued developing the the research for my master's degree completed in 2011 that consisted on a written thesis and a project exhibition presented at Bonnie Bird Theatre at Trinity Laban, London.




13x2: The performance
A black room. Warm dim light. 24 people are seated on-stage in two lines of 12 seats. Alice is already inhabiting the space. The room gets darker making more noticeable a corridor of light. The subject under backlit stays still and calm. She decides that it's time to execute the first movement. 
Above is the documentation of the piece presented at Bonnie Bird Theatre, London 2011. 
Below are some pictures taken during dress rehearsal by photographer Christa Holka.
13x2 Between two

The reasarch was selected to be presented at Movement Research in New York in 2012. In this occasion, it was performed by two dancers: Alice Bariselli and Anamaría Amador.

I asked Anamaría to embody the score in Puerto Rico while Alice was practicing the score in Italy. I design a new space route for Anamaría's score. Once in New York they perform the piece in the same shared space unveiling differentiations and indeterminacy of the result while keeping an interesting unity.

Below is the documentation of the exhibition provided by Movement Research and pictures taken by Ian Douglas. 
13x2 Interactive Installation

During the design process I explored two options of boxes: 2 and 3 feet long. The 3' feet long box demonstrated a more confortable distance from the user's point of view. The initial idea was that the user could adjust the distance (like a camera zooming) and the box height. I manage to make the height adjustable with the use of a tripod as the base for a prototype of this work presented at Cuartel de Ballajá in San Juan PR, in 2013.
13x2 Now


At this time, I am working the next phase of13x2 were I'm planning to use augmented reality and present the work simultaneously in many countries. Hopefully the installation will be ready in 2020. Right now, I am in the phase of experimenting with the medium and designing the overall ensamble.

If you wish to be updated with this research or you wish to collaborate with the project please feel free to contact me!
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