Welcome to meta-academy@HZT-Bates 2015: The Pattern that Connects!

In this lab, you will be collaborating closely with other participants to explore the ways that digital online tools can connect, perform, register, aggregate, map and visualize the knowledge articulated in your choreographic research. We will be responding to your particular practices and expertise as we build the course.   Let’s get to know one another well so that together, we can create an optimal network of ideas, media,tools, and practices.  What connects us?

Activity 1: Introduce yourself in questions, keywords and media objects…

Please complete by: Thursday September 3.  23:59 GMT.
Length of time you will need to complete the activity: at least 1 hour
Format: discussion thread

There are three steps to this activity. Please approach them playfully and honestly.

1. Reply to each of the questions we have posted in this discussion forum.  Here they are together:

  • What are the questions that you are asking in your creative research?

  • What are the connections that you see between choreography and networked spaces?

  • What was the last surprising/satisfying connection you made? (a very open-ended question)

2. Reply to each of the posts you made in step 1. In your replies, please do both of the following:

a. Cook down each question into keywords/tags.  These are single words that can serves as categories or labels for your question. Create as many as you can, try for at least 15 per question. Post them as a response to the  question they came from.  

b. Find media- images, videos, audio--or other links that relate to the question.  They can be your own images or ones you find in a search that Illustrate, expand, connect, juxtapose, explode, repeat, etc the question. In any event, choose media that really connect to something about your own practice. Post them as a response to the question they relate to.
You can choose to post links, to upload attachments, or to embed videos in the discussion.

TIP: To embed a video from youtube or vimeo, find it on youtube or vimeo and at the bottom of the video you will see a SHARE button, click the SHARE button, then choose EMBED.  You will see some code.  Copy and paste the code into your post and be sure that you use the HTML editor option.

3. Reply to someone else's post in any way that makes sense to you (using prose, tags, or media).


Have fun!

-Marlon Barrios Solano and Rachel Boggia

Views: 1893

Replies to This Discussion

How do I relate to objects? and to the physical materials around me? What is in the space between us? Where do we meet? What is a resonance/energy/feeling that changes me or you? How is culture/history in the flesh? What is an image? How is an image present in my perception? How is experience being framed by the screen/window? 

object, material, agency, space, relations, contact, culture, flesh, bones, perception, image, frame


Here are some attached images and a video link that directly relate to these research questions. 




Ah! This is really nice. It seems we have much to talk about. 

Softening with foam (excerpt from my MFA Thesis paper)

During this duet, I explored the physical qualities of the upholstery foam with curiosity. I allowed it to have an effect on me. I amplified the presence of the object in my own body. I did not exert a forceful muscular control over it. I aimed to let go of ambition and willful effort to manipulate the foam. I looked for opportunities where the object could direct me and I allowed that to happen.

There was a movement impulse, likely initiated by me; the foam responded, and I listened. This kind of physical listening is both touching and being touched. “It is attending through one’s availability to experience: attention in a receptive mode,” written by the dance thinker Nita Little Ph.D. When I listened, I softened my physical and energetic borders. I opened my pores, and became porous to the object. It’s weight and texture moved into my body. I had an experience of “merging” with the object.

The moment moved quickly, was hyper focused, sensations moved through my body, and my identity as a separate thing from the foam dissolved into an experience of merging with the object. My physical boundaries became blurred, which changed how I moved, what I felt, and what I imagined. The foam no longer existed as an object separate from my movement experience, as in a subject/object relationship, but it became a morphing of sensations that I move with. For a moment we became an inter-subjectivity. 

This is like pulling a thread...lots of them...

How does knowledge look like?

what is an encounter? what is space anyway...

everything is revised.. are we be creative skeptics? speculative realists?

what new configurations is my artistic practice taking? how do I recognise it?

Is it  educational practice part of what I have starting to call  knowledge arts?

I am  very interested on the relation of knowledge production practices  that is embedded in new curatorial practices in performance,  contemporary models in art education,    processes of creation and   new digital technologies?

How  mindfulness is a way of knowledge... knowing and experience,  creativity and the temporalities of meditation? producing nothing!!

not create... as proliferation...

Can art be the creation of contexts?  can we hack relational aesthetics in the network? how does it look?

what are the ethics of my work?

How can we design knowledge production  or educational  with an aesthetic and performative perspective?

how is the relation of  notions of architecture, design,  visuality, computation... orders... form related with knowledge? 

what are webs, networks or mesh?

what  matters in this knowing?

art and post-humanism?

is the experience of being alive a Hyper-object?  ( the work of Timothy Morton has been very generative for me...)

“Massively distributed, in SpaceTime, an object that radically transforms our ideas of what an object is.”….”They are messages in bottles of the future, they don’t quite exist in a present.”


In The Ecological Thought, Morton employed the computer-science concept of hyperobjects to describe objects that are so massively distributed in time and space as to transcend spatiotemporal specificity, such as global warming, styrofoam, and radioactive plutonium.[31] He has subsequently enumerated five characteristics of hyperobjects:

  1. Viscous: Hyperobjects adhere to any other object they touch, no matter how hard an object tries to resist. In this way, hyperobjects overrule ironic distance, meaning that the more an object tries to resist a hyperobject, the more glued to the hyperobject it becomes.[32]
  2. Molten: Hyperobjects are so massive that they refute the idea that spacetime is fixed, concrete, and consistent.[33]
  3. Nonlocal: Hyperobjects are massively distributed in time and space to the extent that their totality cannot be realized in any particular local manifestation. For example, global warming is a hyperobject that impacts meteorological conditions, such as tornado formation. According to Morton, though, objects don't feel global warming, but instead experience tornadoes as they cause damage in specific places. Thus, nonlocality describes the manner in which a hyperobject becomes more substantial than the local manifestations they produce.[34]
  4. Phased: Hyperobjects occupy a higher-dimensional space than other entities can normally perceive. Thus, hyperobjects appear to come and go in three-dimensional space, but would appear differently if an observer could have a higher multidimensional view.[35]
  5. Interobjective: Hyperobjects are formed by relations between more than one object. Consequently, objects are only able to perceive to the imprint, or "footprint," of a hyperobject upon other objects, revealed as information. For example, global warming is formed by interactions between the Sun, fossil fuels, and carbon dioxide, among other objects. Yet, global warming is made apparent through emissions levels, temperature changes, and ocean levels, making it seem as if global warming is a product of scientific models, rather than an object that predated its own measurement.[36]

are we creating a hyper-object as we participate in this event?

are hyper-objects kinds of choreographies

what is  emerging as art art in the time of a holo-bionts, communicational networks and hybrid everything?

I love the 

... quantity of mind-blowing knowledge...

this series is blowing my mind?


Homeopathy for giants!!

Question 2: What are the connections that you see between choreography and networked spaces?

    • “Put simply the term networked space‘ accounts for all sites both physical and digital in which interactions occur. Its use highlights the need for social interactions to be contextualized holistically. A networked space is a site of converged narratives. “  -Jenny Kenedyhttp://www.academia.edu/487450/Conceptualizing_Social_Interactions_...

A space holds meaning and context. The bodies within that space add to that meaning or bring new meaning.  Meaning can be narrative.  All these bodies have narratives that are intermingled within the space.  If the space is a physical one, for me, there is an immediate sense of the gaze of the other; this impacts the choreographic process. 

If the space is virtual then I can fill that space with just me, my self, my narrative.  It can be reflective. 


Humans exploring collaboration, coops, hybrid art, dance, embodiment, cognition, tech-science, networks, post-humanism and culture.



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