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//// UN ARTICOL //// ARTUS //// U… Practici

experimentale și participative

//// UN ARTICOL //// ARTUS //// U… Practici experimentale și participative
//// UN ARTICOL //// ARTUS //// U… Practici experimentale și participative

Jon Dean

Jon Dean

Jon Dean

UR

ZI

CE

NI


URZ ice Ni


U r Z Ic e nI


Opt litere

O infinitate de sunete

Poezie de sunete

Spațiu colectiv

Cor al oamenilor

A da glas

Locuri urbane

URZI + CENI = uR zI Ce NI


Rostit:


Tare, repede, încet, lent, urcând, coborând


Configurații de litere circulând


Grupuri de litere


Abstract, și totuși nu


Râs


Adezivul care deseori ne leagă pe toți laolaltă


Urziceni

//// AN ARTICLE //// ARTUS //// U…
Experimental and Participatory Practices

Jon Dean

Jon Dean

UR

ZI

CE

NI


URZ ice Ni

U r Z Ic e nI


Eight letters

Infinite sounds

Sound poetry

Collective space

Peoples’ choir

Sounding out

Urban places

URZI + CENI = uR zI Ce NI


Spoken:


Loudly, quickly, softly, slowly, rising, falling


Circulating configurations of letters


Letter clusters


Abstract and also not


Laughter


The glue that often binds us all together


Urziceni

O notă metodologică
O notă metodologică
O notă metodologică

Practicile participative ar trebui să fie despre negociere, diferențiere, colaborare și, în cele din urmă, co-producerea unor lucrări de artă. Altfel, nu sunt participative.

Pentru unii oameni, asta poate însemna sprijinirea pe familiar și pe tradițional, evitând orice este considerat prea contemporan sau prea experimental. Astfel, multe metodologii creative diverse și transdisciplinare, precum și posibile câmpuri de producție culturală, rămân pe dinafară. Nu trebuie să fie așa, iar astfel de opoziții percepute între cunoscut și necunoscut nu reflectă neapărat spectrul mai amorf și mai viu al istoriilor culturale comune.

Facilitarea potrivită a metodologiilor mai experimentale este, cel mai adesea, legată de aplicarea lor incluzivă, chiar dacă la început pot părea provocatoare. În general, când oamenii sunt sprijiniți, stimulați și celebrați, astfel de provocări estetice sunt mai ușor îmbrățișate, individual și colectiv, deschizând oportunități pentru explorarea unor viziuni creative în moduri mai puțin rigide și restrictive. Scopul acestor metodologii este, în esență, să devină neprescriptive, sprijinind grupurile să creeze ceva ce nu este cunoscut dinainte. Activitățile artistice și culturale nu trebuie să fie standardizate și repetitive. Trecutul este important, la fel de semnificative sunt prezentul și viitorul… toate sunt conectate și în dialog unele cu altele, iar, probabil, nicio perioadă de timp sau „voce la un anumit timp” nu ar trebui să le acopere pe celelalte. Un cor înseamnă mereu o gamă de tonuri, timbre, rezonanțe și așa mai departe.

Un proverb mai puțin faimos ar putea fi: Cei mai mulți oameni se bucură să mănânce cartofi, darr există mai mult de un mod de a crește, găti și mânca un cartof… fiert, copt, prăjit, la cuptor, piure, sote, ras, crud...

În timpul atelierelor noastre din Urziceni, a fost inițiat un astfel de proces diferențiat, care a inclus: conversații de grup, acțiuni pe scaun, mișcări de grup, dans, vizionarea unor scurtmetraje și ascultarea de poezii de sunete. A existat chiar timp și pentru chipsuri de cartofi! Grupul a continuat să își creeze propriile „coloane sonore” folosind obiecte găsite, instrumente de percuție, sunete de mediu, influențe acusmatice și, în final, propriile voci, devenind un cor de improvizație în acest proces.

A methodological note

Participatory practices should be about negotiation, differentiation, collaboration and ultimately the co-production of art works. Otherwise, it is not participatory.

For some people, this may mean relying upon the familiar and traditional; staying clear of anything that is considered to be too contemporary or experimental. Thus, many diverse and transdisciplinary creative methodologies and potential realms of cultural production are left out. It doesn’t have to be like this and such perceived binaries of the known and unknown don’t necessarily reflect the more amorphous and vivid spectrum of shared cultural histories.

The appropriate facilitation of more experimental methodologies is most often connected to an inclusive application of such ideas, that may somehow seem challenging in the first instance. Generally speaking, when people are supported, stimulated and celebrated such aesthetic challenges are more likely to be embraced both individually and collectively; opening up opportunities for people to explore creative visions in less rigid and restrictive ways. The aim of such methodologies is to essentially become non-prescriptive through supporting groups to create something that is unknown in advance. Artistic and cultural activities do not have to be formulaic and repetitive. The past is important, but equally significant is also the present and future… they are all connected and in dialogue with each other but arguably no single time period or ‘tense voice’ should drown out the others. A choir is always a range of varying tones, timbres, resonances and so on.

A less than famous proverb could be: Most people enjoy eating potatoes but there is more than one way to grow, cook and eat a potato… boiled, roasted, fried, baked, mashed, sauteed, shredded, raw…

During our workshops in Urziceni such a differentiated process was initiated, and included: group conversations, seated actions, group movements, dancing, watching short films and listening to sound poetry. There was even time for potato crisps! The group continued on to make their own ‘sonic soundtracks’ through using found objects, percussion instruments, environmental sounds, acousmatic influences, and finally their own voices, thus becoming an improvisational choir in the process.

Ur

Zi

Ce

Ni

Ur

Zi

Ce

Ni

Numele municipiului a fost repetat, dar în moduri diferite și diverse. Am râs cu toții și s-au creat prietenii noi.

Și acela a fost doar începutul…

Formatul 8mm, perceput ca tradițional, a fost folosit mai târziu pentru a crea un film negociat, participativ, experimental și contemporan, în pajiștile, parcurile, zonele de pădure și spațiul urban al Urziceniului. Aici, imaginația colectivă și deschiderea de a crea împreună ceva nou s-au ciocnit, oamenii schimbând roluri, regizând scene, stabilind locuri, înregistrând propriile acțiuni și împărțind cei mai grozavi biscuiți făcuți în casă și ceai cald (fructe de pădure).

//// AN ARTICLE //// ARTUS //// U…
Experimental and Participatory Practices

Jon Dean

UR

ZI

CE

NI


URZ ice Ni

U r Z Ic e nI


Eight letters

Infinite sounds

Sound poetry

Collective space

Peoples’ choir

Sounding out

Urban places

URZI + CENI = uR zI Ce NI


Spoken:


Loudly, quickly, softly, slowly, rising, falling


Circulating configurations of letters


Letter clusters


Abstract and also not


Laughter


The glue that often binds us all together


Urziceni

A methodological note

Participatory practices should be about negotiation, differentiation, collaboration and ultimately the co-production of art works. Otherwise, it is not participatory.

For some people, this may mean relying upon the familiar and traditional; staying clear of anything that is considered to be too contemporary or experimental. Thus, many diverse and transdisciplinary creative methodologies and potential realms of cultural production are left out. It doesn’t have to be like this and such perceived binaries of the known and unknown don’t necessarily reflect the more amorphous and vivid spectrum of shared cultural histories.

The appropriate facilitation of more experimental methodologies is most often connected to an inclusive application of such ideas, that may somehow seem challenging in the first instance. Generally speaking, when people are supported, stimulated and celebrated such aesthetic challenges are more likely to be embraced both individually and collectively; opening up opportunities for people to explore creative visions in less rigid and restrictive ways. The aim of such methodologies is to essentially become non-prescriptive through supporting groups to create something that is unknown in advance. Artistic and cultural activities do not have to be formulaic and repetitive. The past is important, but equally significant is also the present and future… they are all connected and in dialogue with each other but arguably no single time period or ‘tense voice’ should drown out the others. A choir is always a range of varying tones, timbres, resonances and so on.

A less than famous proverb could be: Most people enjoy eating potatoes but there is more than one way to grow, cook and eat a potato… boiled, roasted, fried, baked, mashed, sauteed, shredded, raw…

During our workshops in Urziceni such a differentiated process was initiated, and included: group conversations, seated actions, group movements, dancing, watching short films and listening to sound poetry. There was even time for potato crisps! The group continued on to make their own ‘sonic soundtracks’ through using found objects, percussion instruments, environmental sounds, acousmatic influences, and finally their own voices, thus becoming an improvisational choir in the process.

Ur

Zi

Ce

Ni

The name of the municipality was repeated, but in different and diverse ways. We all laughed and new friendships were created.

And that was only the start…

The perceived traditional 8mm format was later used to create a negotiated, participatory, experimental, and contemporary film in the grassland, parkland, woodland, and urbanland of Urziceniland. Here, the collective imagination and openness to create something new together collided wherein individuals swapped roles, directed scenes, agreed locations, recorded their own actions and shared the most amazing homemade biscuits and warm tea (fruits of the forest).

The name of the municipality was repeated, but in different and diverse ways. We all laughed and new friendships were created.

And that was only the start…

The perceived traditional 8mm format was later used to create a negotiated, participatory, experimental, and contemporary film in the grassland, parkland, woodland, and urbanland of Urziceniland. Here, the collective imagination and openness to create something new together collided wherein individuals swapped roles, directed scenes, agreed locations, recorded their own actions and shared the most amazing homemade biscuits and warm tea (fruits of the forest).