HUMANFOREST
a hybrid concert/dance/human-machine performance. 

PHASE A - TELEMATIC PROTOTYPE on www.twitch.tv/humanforest_telematic 3rd Dec 2021 7PM (CET Germany) 8PM (Estonia).

The collaboration of Chris Ziegler/movingimages and roosnaflak Külli Roosna and Kenneth Flak will take place in two phases.The first phase will be a telematic performance event online hosted in Germany and Estonia at 3rd Dec 7PM on twitch.tv.

At the heart of HUMANFOREST is the idea of the body as multitude, as an orchestral medium in its own right, in dialogue with the outside through its senses. roosnaflak are looking for ways to deal with pressure, instability and friction where there is room for intensity, vulnerability and wonder. In contrast, our symbiosis or dependence on humans and machines or media is depicted. In collaboration with Chris Ziegler, a triangular relationship is created in a physical dialogue of two living bodies to an interactive kinetic architecture. PHASE A - Roosnaflak will interact remotely with the control software of "forest3" a robotic light stage environment created by Chris Ziegler.

Synopsis:
In the Anthropocene, we question our relationship to nature and our environment. In HUMANFOREST we want to demonstrate techne, the learning of the dialogue of two humans with a "non-human" environment on stage. Senses vs Sensors. An exploration of how our senses and bodies are in contact with our environment.

In the Anthropocene, we question our relationship to nature and our environment. In HUMANFOREST we want to demonstrate techne, the learning of the dialogue of two humans with a "non-human" environment on stage. Senses vs Sensors. An exploration of how our senses and bodies are in contact with our environment.

Space:
Our starting point is digital technology as materialized thought, and how it is an integrated part of ourselves. We will use digital technologies that allow us to become aware of our movements in a different way than would otherwise be possible. Throughout the performance, our movements will be the impetus for the soundtrack and for the movement of a robotic architecture. This is made possible through the use of sensors and other interfaces, eliminating the separation between the performance of sound and the performance of movement.

The kinetic architecture receives motion and sound data to animate a matrix of lights. The shapes and movements are linked to the physical movement of the dancers (measured by sensors), but also by acoustics, which can also be defined and measured as physical movement in space. 

Chris Ziegler's "forest3" stage system is a complex interactive matrix of custom-built motorized led lights that can be controlled by algorithms and sensor input from the dancers' sensors.

- forest3  https://vimeo.com/257403687

Interaction:
roosnaflak have been working since 2014 with MiniBee accelerometers attached to the dancers' limbs as simple sound triggers or controllers. They use the open source programming language SuperCollider. This gave them the flexibility to work with algorithmic music and also communicate with other systems like "forest3."

Motion:
Currently we are interested in the potential of dialogues, both touch-based and remote. We start from simple principles: finding a common breath; letting go and catching; dissolving and solidifying; falling and recovering; pushing and pulling. We draw inspiration from martial arts-style partnering as well as classical acrobatics. By refining, combining, and expanding these principles, we aim to challenge our own limits in terms of physical expressiveness, complexity, and sensitivity, and approach a kinetic architecture. 

In addition to partner work, we will work with improvisational solo structures, through listening and responding to the conditions of the environment. Mapping two systems of movement - body and architecture - is a challenge to be solved.

The space can "speak back" to the dancers with movement and sound. The lights move up and down mechanically, physically challenging, sometimes threatening to the bodies moving through "forest3". Bodies in distress.

Sound:
The music is based on both recorded samples and synthetic sounds and combinations thereof. We are particularly interested in ways to create synthetic sounds that feel organic, as well as to manipulate recorded samples to make them feel "artificial." The mechanical noise of the machine is used both as a sound source and as an orchestra in its own right.
This is done in a performance space with a multi-channel speaker setup.

- 100 Sketches http://roosnaflak.com/100-sketches



Summary:
Underlying our entire project is the recognition that sensory feeling of the world is our primary reality. We seek to explore the tension between the kinesthetic, preverbal experience of movement and the process of interpreting that experience. Can the perception of time and space be manipulated through the use of rhythm and the quality of movement, both flesh and machine? The illusion of seeing sounds and hearing movement is created.

We want to create a virtual and a real space where multiple narratives can emerge from dance and architecture, and from the connections between the performers, the technology and the audience. 

Supprted by NPN - Stepping Out