ONES in Japan

A small impression of the showing of ONES in Japan.

An audience member responded:
“This is a reflection of reality on today’s society in which people live in their own bubble. I can feel the loneliness from the film.”

It was a real adventure, because most of the 300 audience members came from outside the city and was not familiar with Contemporary Art. However, as one of the audience members pointed out, they were able to make their own story of what was shown.

ONES_Japan©ANNE•2016ONES_JapanStage©ANNE•2016ONES_Restless©ANNE•2015

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ONES @ Swallowsfeet

 

Miku and I want to give a big thank you to Swallowsfeet for having us!

The program was rich with a variety of extraordinary talents, humor, dance, video installations and music. Brighton was welcoming us with jubilant sun and surf.

It was truly an experience to remember!

ONES_Swallowsfeet2016©ANNE•2016ONES_SwallowsfeetOldMarketTheatre©ANNE•2016ONES_SwallowsfeetSaturday©ANNE•2016ONES_SwallowsfeetSunday©ANNE•2016ONES_SwallowsfeetProgramme©ANNE•2016ONES_BrightonSea©ANNE•2016

 

ONES – Swallowsfeet Festival 2016

Miku and I are delighted to announce that

ONES will be shown at Swallowsfeet Festival 2016

A TWO DAY PROGRAMME BRINGING EXCEPTIONAL DANCE ARTISTS
TOGETHER FROM ALL OVER THE WORLD.

5 March 7 – 10 pm
6 March 3 – 7 pm

tickets @THE OLD MARKET THEATRE, Brighton

ONES_Restless©ANNE•2015

Photo by © ANNE• 2015

ONES on to 2016

Miku and I want to say many thanks to all the wonderful people that came to see ONES in October and a big thank you to Deptford X, Deli X, Abeerance and Jobcentre for having us! It was wonderful to meet you all and hear your responses. You made it a super experience!

We are very excited to tell you that we are working on our second part of the proposed triptych ONES, which will make it’s appearance around March 2016.
Not only will we keep crossing the 9 hour time difference in this project, but we also have added a new country to the mix: China!

Keep in touch by following the process on our blogs and by following us on Facebook & Twitter.

Here are some snap shots from ONES 2015 by © ANNE• 2015.

ONES_Restless©ANNE•2015 ONES_Pulse©ANNE•2015

ONES – week 6

From the start of this project Miku and I have said that it would be an experiment, where we would discover what happens if you give two collaborators from two different disciplines the same material, which has been created together, to edit an individual film of the exact same length, using the exact same soundtrack.

Since we are each editing at the moment from individual perspectives without communicating about the process, we are bound to have two very different films that will come together through location, sound, style and performance.

Miku is a choreographer who explores the space with her whole body, merging it in to the environment. As a visual artist, I explore the space through a camera lens and frame, putting my body outside of the environment to let my eyes make a composition of the different elements within it. Therefore, our methods of exploring the various locations will have been different and thus it will affect our editing processes.

This by far is the most fascinating and thrilling part of the project so far, because we can’t predict the exact outcome. I’m very excited to see the differences and similarities between how Miku and I see, think and explore when we are not creating together in person.

ONES
2 women
2 countries
2 disciplines
————–
1 installation

Miku_falling©ANNE•_2014

Photo by © ANNE• 2015

ONES – week 4 – FINAL sounds

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

 Miku_falling©ANNE•_2014

 

 

[09-03-2015 UK] Anne Point:
During our final sound choosing session Miku and I began to venture out into the thought of combining the different locations through sound. Individually we choose very different sounds for location 1 and 2, where location 3 gave us a moment to come together. It was very useful and inspiring to hear where our decisions came from, leading us further and more focussed into building strong pillars for our film process.

Location 1 seems to deal with an invisible force, being in or under something and having a fractured frame where one can wonder what is up or down, left or right and wonder about what the bigger picture might look like. Also the momentum of movement and stillness within one take reminded me of a sea cycle, hence I choose quite the few water sounds.

Location 2 for me personally has to break with the actual elements in the frame in order to become interesting; taking it beyond the point of first recognition. For Miku the movement has a lot to do with a constant motion; like a heart monitor showing a constant beep. That led me to the thought of a motion monitor in which the constant swelling and going of the movement is confronted with brutal opposite sounds such as the noise on a construction site. Stretching the pressure on this visual heartstring. Making it into an abstract rather then a story of coming and going.

Location 3 led us to discuss a certain vacuum created by the visual: a momentum between two situations where time as we know it seems to come to a standstill creating its own reality and momentum. Most of the collected sounds emphasise the vertical or horizontal, the height or distance, the line or plane, the hard or soft surface and the duration of our footage, amplifying a sense of being in-between two happenings.

Design
Here my interest for creating a triptych in the design stage of the installation gets its first ground structures. Playing with the sensations of the spectator rather then with a logic or storyline is key. As my former tutor Tom Paine used to say, “What something does, rather than what something means.” Thoughts on how to bring these multiple locations together in one installation, also led us to think of how we could choose one sound to connect all locations while they each still hold their own frame.

———

[09-03-2015 Japan] Miku:
This week, we tried to finalize our selection of sounds for each location.
Going back to all the sounds we collected over the last 3 weeks was very fascinating. More thoughts, more ideas, more excitement!
However, at the same time, it was a very challenging process. Because we have so much to choose from, (we love almost all of them!!) it was hard for us to choose just a few sounds for each location.

We made our own lists of sound for each location first and compared them later. Interesting to see was that our lists of sounds were almost completely different for the first two locations, which made our process even harder!
We realized that our individual life experiences are acting very differently when it comes to perception. Some of the sound to me for example, felt very spacious, where Anne found the pressured. Very interesting!

The great part was that we had a chance to really talk about WHY we chose that specific sound for each location, and HOW it could fit.
From the hours of discussion, we had more new discoveries and thoughts, which made our selection narrower, deeper, denser and meaningful.

Again, we realized how powerful the sound is when it comes to putting it together with the visual and of how it could manipulate an audience to see and perceive in different ways.

Thoughts
Two voices bring hundreds and thousands of possibilities. Which could be overwhelming sometimes, BUT exciting at the same time. Like a chemical reaction, two artistic voices can create a new thing, a new world, a new vision, a new reality.

ONES – week 2 – sound

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation
Miku_falling©ANNE•_2014

 

 

 

[16-02-15 UK] Anne Point:

Thoughts on location 2:
Japan sounds – precise and rhythmic ‘submerging with the body of dancers into the world created on the digital canvas.’
UK sounds – echoing rhythms ‘following the lines in a hard vs soft distance’

This week Miku and I both had a longer list of sounds. It almost seemed that location 2, being at the sea sight, directed us automatically towards water sounds. It is funny however, that the both of us collected mechanic water sounds or water that seems to have been contained rather than natural water sounds.

The question if we want to emphasize either the body or the space with the sounds, led our conversation onto interesting paths of how we watch and remember our footage. Example: ‘If we have a hard surface within the location on the canvas, would we rather use echoing sharp sounds to emphasize this or would we want to use muffled sounds as to give a juxtaposition to the expectation of sound to what you hear?’

A lot of the sounds were open to interpretation, thus helicopters and frying pans made their appearance in our minds eye were there were non. This made me very aware of the potential to manipulate the expectations and the perception of our footage for future spectators. Here my fascination for playing with what we know and what we think we know in order to come to a new experience is getting another major impulse.

——

[16-02-15 Japan] Miku:

Anne’s sounds = many of them have material / object / man made kind of edgy, sharp and hard sounds. Nature vs man made objects. Characteristics of the city. However, some of the sounds have both qualities of hard and soft, which reminds me of my body (soft) vs buildings / objects (hard) during the shooting.
Miku’s sound = softer, blur, abstract, round sounds. Many of them are water related sounds. Although, the second location was by the seaside, I was interested in using the sound of different forms of water to create a friction between visual and audible.

Questions
– Using the sound that is related to the object in the frame… Is this too literal? Does it pull away the audience, or does it emphasize the idea / theme?
– Do we always need to use the sound that is not literal? How much friction do we need between visual and audible?
– Am I choosing sounds according to my visual memories or kinaesthetic memories of the location?  What would be the difference if I chose visually or kinaesthetically?

More Thoughts
– Mix of natural sounds and man made sounds can be an interesting mix of quality. It causes friction. It creates the elastic world (non-fixed, ever-changing imaginational world)
– Choosing sounds according to the location’s quality, such as the quality of the objects/materials, spaces, lightings, density, colours, and more…
– Unexpected non-related sound has a possibility to re-shape the location differently. Visual effect could emphasize OR it could ruin the whole picture.