Choreo-graphic Figures: Beginnings and Emergences

Choreo-graphic Figures: Beginnings + Emergences Choreo-graphic Figures: Deviations from the Line is an interdisciplinary research collaboration involving artist Nikolaus Gansterer, choreographer Mariella Greil, and writer-artist Emma Cocker, for investigating the nature of ‘thinking-in-action’ or ‘figures of thought’ produced as the practices of drawing, choreography and writing enter into dialogue, overlap and collide. Central is an attempt to find ways of better understanding and making tangible the process of research ‘in-and-through practice’ — the unfolding decision-making, the thinking-in-action, the dynamic movements of ‘sense-making’, the durational ‘taking place’ of something happening live — and for asserting the epistemological significance of this habitually unseen or unshared aspect of the artist’s, choreographer’s or writer’s endeavour. Our research enquiry unfolds through two interconnected aims: we are interested in the nature of ‘thinking-feeling-knowing’ operative within artistic practice, and seek to develop systems of notation (and exposition) for sharing and reflecting on this often hidden or undisclosed aspect of the creative process. Through this specific exposition — Beginnings and Emergences — our intent is to share findings from the prologue phase and year one of our three-year research project Choreo-graphic Figures: Deviations from the Line, during which we have explored how various processes of ‘beginning’ performed within live artistic activity might create the conditions for processes of emergence to arise. The intent is to share some of the ‘figures’ developed within this research project for articulating ‘beginning’ within a collaborative artistic process (e.g. Figure of Circulation, Figure of Shared Vibrations, Figure of Clearing, Ordering and Emptying Out,  Figure of Touch and Reaching Towards the Other), alongside reflecting on and attending to the process of emergence within artistic labour itself – a process we have called ‘figuring’. Figuring – we use this term to describe those imperceptible or barely perceptible movements and transitions at the cusp of awareness within the process of “sense-making”: the moments of revelation, epiphany, synchronicity, of change in tack or direction or pace, the decision to stop, do something different, begin again. Figuring manifests within those threshold moments within the creative process that are often hard to discern but which ultimately shape and steer the direction of the evolving activity. Our research involves cultivating practices of attention (a perceptual heightening, hyper-sensitizing, sharpening of alertness) for noticing these emergent figurings within the process of creative activity, and devising systems of notation for identifying, marking and even tentatively naming these processes of emergence. In developing this exposition, our intent has been to remain faithful to the process of investigation itself. Rather than being conclusive, our exposition reflects the process of its own production; itself a diagramming of the multiple and at times competing forces and energies operative within the process of artistic collaborative practice. We propose an exposition that unfolds less as the linear explication of a process, but rather — like artistic process itself — more as an assemblage of overlapping and concurrent components, where attention shifts between the textual and the visual, between what is sayable and what is shown.