Dance and the moving image research with Harriet Latham

Yesterday Harriet Latham and I dived back into the physical part of our summer collaboration.

Over the past couple of months we have been filming, watching and talking about our collaboration and now we are back to filming.
One of the key points in this research is the trust that we have in each other and each others work approach. The space this creates for our individual and dual growth is fascinating and encouraging. It takes our work process to the next level where we have the freedom to try new things.

We are on the move!

All photo’s by © ANNE• 2016

Summer2016HarrietLatham6©ANNE•2016 Summer2016HarrietLatham2©ANNE•2016Summer2016HarrietLatham5©ANNE•2016 Summer2016HarrietLatham1©ANNE•2016 Summer2016HarrietLatham3©ANNE•2016

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ONES @ Deptford X festival

This October the first part of ONES will be shown @Deptford X festival!

Come and join us across borders from Japan to United Kingdom
from 1-4 October 2015
between 6-9 pm @ Deli X, London

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

ONES is a collaboration between Dutch visual artist Anne Verheij and Japanese choreographer Miku Tsuchiya, in which film and dance are explored across various urban sites in London.
ONES engages the spectator through juxtaposing two films created out of the same footage, capturing the individual’s rhythm amidst the pulse of the restless city.

Concept | film | montage: Anne Verheij
Performance | montage: Miku Tsuchiya
Sound design: Jack Goodwin

ONESdeptfordX©ANNE•2015

Photo by © ANNE• 2015

ONES – news: composers

Most exciting news!

We have started to collaborate with two amazing composers to take our recorded sounds to the next level: a soundtrack.

Composer Cassie Kinoshi (On An Empty Stomach) has agreed to make a soundtrack for our third location.

Sound designer Jack Goodwin (Teokorus) has agreed to create the soundtrack for our first location.

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

Miku_falling©ANNE•_2014Photo by ©ANNE• 2014

 

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.

ONES – week 1 – sound

‘ONES’

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

Miku_falling©ANNE•_2014

 

 



[09-02-15 UK] Anne Point:
Thoughts on Location 1
UK – 3 sounds recorded: ‘Echoing city’
Japan – 4 sounds recorded: ‘Clear rhythms’

We both think that the sounds of the other person are clearer. This ‘clearness’ may stem from the fact that we were not there in person recording it, so we don’t have the other inputs from the space like colour, size or usage (original/traditional use of public space).
Human voices have a tendency to create stereotypical ‘drama’, where machines produce more of a rhythm. In my opinion it would be interesting to separate the body on film from too recognizable sounds, so it gets the possibility to create its own sound and rhythm.
Distortion of sounds by isolating parts of it and slowing these parts down, speeding them up, muffle them or increase their higher or lower tones.

[09-02-15 Japan] Miku:
– Sound creates different environments, feelings, emotions and imagination for each individual person. Depending on your background, one simple sound can transform into a million things.
– The human voice has such a strong presence. It connects with us right away. As soon as we recognize it, it’s challenging for us to imagine more than just a voice.
– When the pitch of the sound is really high, to me it becomes un-grounded, this way my body on the film can’t really connect to the sound itself. It doesn’t evoke my imagination much. This feels out of the body.
– Two intuitions create such an interesting mix of two different worlds.

ANNE• crosses new borders in 2015!

By the end of October 2014 I started a research project with choreographer Miku Tsuchiya. The process consisted out of four makers intensives on four different locations throughout the UK in which spatial composition, dance, painting, movement and film were explored. The flow was enticing and the footage was rich. Consistency and style began to form out of two different disciplines, dance and visual art, bringing it to a new level in which exploration and intuition became the leading roles of this collaboration. Central to this research is the use of the digital canvas as our main tool.

When in December 2014 Miku moved back to Japan, we became well aware that in this digital age boundaries are relative when it comes to distance. Since we have landed in the next step of our work process, the digital step, we have decided to collaborate from opposite ends of the world.

From this day we will log the process of our collaboration onto this blog as a support for the work being created through theory and practice.

Concept
Working title: ‘ONES’

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

Miku_falling©ANNE•_2014 Photo by ©ANNE• 2014