The Asynchronic Manual: A Choreographic Method

Introduction

The place that performance and choreography now occupy in the contemporary arts is contributing to the emergence of new paradigms of image, space and temporality. My research seeks to free and emancipate one’s relationship to physical and perceptual space.

My research focused on this temporality made of a diversity of space-time planes—all somewhat disjointed from each other—which bring about asynchrony. Asynchrony is the modification or disturbance of perception caused by a slight change in space and/or time within a work, and which, like a pebble, slips inside a machinery. The tiny friction between space and time has for effect to pump up the audience’s attention. The field of philo-phenomenology, but not only, resonates with the theoretical side of my research while incorporating the affective aspect. Such considerations are significant in the context of research founded on experience and subjectivity. I am particularly interested in the notion of surprise it is marked by emotion, movement, and a temporality, which can be described as micro-phenomenological.

My current research, entitled for now The Asynchronic Manual: A Choreographic Method, aims at translating an asynchronic syntax into a consistent compositional and editing method, to offer a new methodology for creation in contemporary art, and to bring about a new concept. The manual will be a tool and a handbook for artists. The final form of the manual will be a booklet that will integrate everything: the artist’s scores, a glossary, parameters, and theoretical texts.

Choreographic methodological reach remains underused. I am transferring space and time strategies used in live art in fine art practices. My research strives to lead to a new aesthetic, theoretical and epistemological understanding.