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1. After 8: Remote State, Before 9. Stable State: Heavy Weight - Indirect Space

After 8: Remote State, Before 9. Stable State: Heavy Weight - Indirect Space

Day 3 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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2. 1.LightBound

1.LightBound

Day 5 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. http://www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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3. 5.HeavyFree

5.HeavyFree

Day 5 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. http://www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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4. 1.Heavy - Free

1.Heavy - Free

Mara: It's very hard for me, I have to say. It's the heavy weight that is really hard, and the free flow also hard. And the combination is like the worst thing possible. Marcus: Yeah, the thing with free flow is that it's just so difficult to be indecisive, also because of the positions. We were trying it yesterday... it's also this thing with not being in control of what you are doing, not making decisions and doing things that you know. It's superdifficult. Camille: For me it was still really bound. Comaci: Yes because it's tiring and you need to get out of it a bit. Camille: But in the end it didn't feel that light for me. It got lighter at one point. Cornelia: Yes, because it becomes unbearable.

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5. 4.Indirect - Sudden

4.Indirect - Sudden

Adilia: For me indirect and sudden...it doesn't connect somehow. It is really difficult. So I did sudden through the bow stroke. But than indirect space, I was trying to do what I could with this instrument that is so tiny. Mara: for me it was really nice because I didn't hear what the task was but I could guess it from hearing the piece. It was really clear. Marcus: but for me this thing with sudden-sustained time...they go hand in hand. For something to be sudden it needs to be set in contrast with something else – for it to become sudden. Jane: but you can also have silence maybe. Cornelia: Yes. There is also the problem of presence and what you do with your body. If you say “sudden time” you might feel that you always have to rush. It is an emotional behaviour: what comes out from a state of rush. Adilia: it is also the difference between the sound and the movement. For me, as a musician, I don't feel so much this problem.

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6. 5.Indirect - Sudden

5.Indirect - Sudden

Marcus: I was also thinking about something: when it's only musicians it was kind of like someone creating the indirectness and someone creating the suddenness within the whole picture. For example the electronic layer: It were some times that it was very sudden but all the time it was actually sustained. But it was this spacey sound which became indirect. And with the others you start to create a lot of things which made the combination. I don't know if someone has another idea or picture. Bruno: Ok so you have the silence as a sustained state or you create something which is like a layer. And than you put sudden changes in it. And than the changes lead to another layer... When I see musicians I can react, or when I see movement...and than I try to create semiposes and sound. With musicians it's easier, because we can speak the same language. I think if everyone is doing something different. Do the people do the same thing or go in the same direction? This is my thinking in the group. Cornelia: I guess your case is really special because you need much less of your body to play the instrument. So you think even more like a “musician”: from the sound. You see, unlike dancers or people who's target is movement, all o us musicians from this room, we start with and from the sound imagination. And than you command the movements. Adilia: I have to laugh because when I see people doing dj'ing, they are always moving too much. It has nothing to do with the contact with the instrument. Maybe if you use an iPad... Bruno: I think it's also something for the eyes to see. Cornelia: I think you need to be somehow the beat. You need some external non-cerebral help, some embodiment. I think this is also a curious thing to ask Adilia: you are in CorpoReal research group, mainly dealing with embodiment of music. Do you have any colleagues doing electronic music? Adilia: I also have colleagues doing electronic set-up. For example, interactive installation with sensors.. Even working with algorytms, ... So for them it is really the body in movement. Bruno: Probably many people interpose different elements to the sensors and have different set-ups. But even that way, the interaction or the kind of improvisation is just the movement or the space between and the speaker and the movement, because the sound is already predefined. The decisions are made before. So all you can do is shape the movement. Adilia: Because than it's really a question for us: if we use the Laban system, do we think about the movement? Because actually as I did, if I use just the bow in movement, do I make the sound? So I also have to combine with how I make the sound. But maybe for you – can you really think just about the sound? Bruno: I think...small gesture, I just move some things, but I'm always...we are always thinking in large in our minds. And the output is always a delayed thing of what you're thinking about. Because my thinking is also that way I hear the gesture and I produce the response to my intentions. I really prefer people to listen to the music than to see me moving/dancing. Cornelia: Yes, for us it always goes from the head to the body.

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7. 9.Stable State

9.Stable State

Welcome to our Soundcloud! We are a group of musicians/dancers/artists who had an interdisciplinay impoLab of some days to focus on LMA efforts. Day 3 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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8. 6.SustainedDirect

6.SustainedDirect

Day 5 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. http://www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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9. 2.LightBoundMovementsCanon

2.LightBoundMovementsCanon

Day 5 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. http://www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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10. 7.Sudden - Light 3

7.Sudden - Light 3

It became a bit heavy. Mara: I look now a lot to the drawing... and listen a bit to the sound. At the beginning it was always squares and the lines and it was really predictable in a way. You get a rhythm at a a certain point. For me light reminds me often of free flow, but than I repeat myself and the sudden is gone... Bruno: I think I feel it's kind of a problem because being a musician I always feel like we always enslave one another. Because you do a gesture and than he (Marcus) tries to capture the it into his arms or viceversa. But I feel much like a kind of separation. I feel there are different connections creating different identities. Cornelia: I was not even aware of what you were playing, I was trying to relate more to the movement. Bruno: I hear something and than I go for that thing, than I see you and I think you are going to follow. But I would like to see 4 identities. But I think it's impossible. Cornelia: No, let's try. Marcus: I really try to focus more on the state. Mara: Also with the sudden it is a difficult reaction. But then it's not sudden because it's always together. Comaci: Why did you choose those patterns? Cornelia: Because I thought if I choose something sudden to make it light I should do it more playful.When you have humour it is still light effort. The intention is to make someone laugh, no?

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11. 2.Heavy - Free 2

2.Heavy - Free 2

Jane: I was thinking that maybe for free flow it is easier to try to switch roles. Because we all know how to do what we do. The piano was better, but if we just did things it would be easier. Marcus: That's a good point. Because when you don't have all the theory and all the knowledge you just kind of... Cornelia: freeflow... Marcus: Do. Yeah. Cornelia: I was thinking that we could try again but this time we don't change the materials. I think it's difficult to create materials and to perform them at the same time, so that's why I suggest that we perform these materials and we do the same piece, but we just perform it with these efforts.

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12. 8.Remote State

8.Remote State

Welcome to our Soundcloud! We are a group of musicians/dancers/artists who had an interdisciplinay impoLab of some days to focus on LMA efforts. Day 3 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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13. 6.Sudden - Light 1

6.Sudden - Light 1

Marcus: Sudden for 2 minutes... Cornelia: I would go on for two hours (everybody laughing) Mara: That is the problem ,when you make the pause in dance, it was really like heavy and sustained. Cornelia: For high instruments the space to produce the light/sudden is much more handy. There are many contemporary musics like this. Camille: I had the impression that the light weight also makes the music very small. Cornelia: Yes, The little lines... and all the music was mostly little and short. Camille: yes, short. That is sudden also and it adds to it. Pierre: I tried to do long sounds and interrupt them suddenly. Cornelia: These are some of the drawings from yesterday. Even when it's bound flow still the line respects the weight. Camille: Don't know if it's possible to make a wagner kind of sound with sudden and light. Cornelia: for the default cliche image, you can't have base notes in notes in forte and make it light.

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14. 3.Heavy - Free 3

3.Heavy - Free 3

Marcus: I was thinking: when you're improvising are you tying to relate what you're doing to the others right now? Are you thinking: “I'm doing heavy weight/free low – this is me!”, or are you trying to connect it to each other? Comaci: I am tying to connect. That's the difficulty, because we mean different things with different materials, but i'm always trying to relate. Cornelia: Just wanted to say: I think free low can be really “autistic”. It is really difficult to connect. Marcus: With this Laban idea, if everyone is moving in a similar way - so same parameters with the same state,- I think it will connect by itself. So you have these 2 approaches: you are trying to connect because what you are doing is with the same idea, or you just go with the same state. Cornelia: It is a guarantee that it will sound together, but still there are different degrees of how much you can connect. Marcus: Because yesterday I at least felt we had this approach that we were all just kind of doing our own thing. And all of a sudden we just started to get to a place where we were able to connect to each other. C: Yes, it takes some time and than we can put the focus on other, different things. But I think it's a good idea to keep in mind whether you are trying to improvise connecting to the other people right now or whether you are just improvising by yourself within a certain state and maybe it will connect at some point, maybe all of a sudden you have this capacity to be able to put attention on what the other people are doing. But let's just be aware of that.

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15. 10. Mobile State - Sustained Time, Bound Flow

10. Mobile State - Sustained Time, Bound Flow

For discussion after, please check file "last discussion" This impro is generally in Mobile state with tendency towards Passion Drive. Flow, Weight, & Time. NO SPACE "Passion Drive is about being present in the emotional moment. Because there is no Space, Passion Drive has an "all about me" feel--dealing with the senses, feelings, and one's inner listening. It often has a pain or pleasure sensibility about it." http://www.lmaeffortbank.com/passion-drive.html Day 3 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - live electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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16. 10.Mobile State (Sustained time, Bound flow) / Passion Drive

10.Mobile State (Sustained time, Bound flow) / Passion Drive

Welcome to our cloud! We are a group of musicians - dancers - visual artists who met to do something together during Common Ground Interdisciplinary week @ Royal Conservatoire of Antwerp. During our 5 days interdisciplinary improlab we focused on Laban Movement Analysis efforts as a...common ground for 13 people who met artistically for the first time. This soundcloud is made in order to -share some of our experiment results -stimulate others to try out interdisciplinary encounters through LMA and other possible translations methods. http://www.lmaeffortbank.com/index.html We posted also some of the discussions so that you can follow the process. -we started by physically analyzing and experiencing all the poles of the 4 parameters. -on Day 3 (that you see most of the recordings of) we made improsets with different combinations of people in all 6 states (->combinations of 2 parameters). You can check the process and discussions in between the impros via the transcripts posted as comments of each track. Also there is a playlist with longer talks (with our voices) for the last 3 10-mins long impro sets. Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin *unfortunately you cannot "see" the dance and visuals in these recordings, but you can definitely "hear" them :) *** Enjoy and don't hesitate to contact me for any comments, questions, ideas. [email protected] (Cornelia Zambila)

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17. Last discussion, after 10.Mobile State - Sustained - Bound

Last discussion, after 10.Mobile State - Sustained - Bound

Day 3 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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18. 4.HeavyBound2

4.HeavyBound2

Day 5 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. http://www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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19. 3.HeavyBound

3.HeavyBound

Day 5 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. http://www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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20. 7.Parody SuddenFree

7.Parody SuddenFree

Day 5 of Imaginary Geometries project @ KC Antwerpen (selections) Interdisciplinary improvisation starting from LMA efforts. http://www.lmaeffortbank.com/index.html 1-5 February. Project initiated by Cornelia Zambila Group: Marcus Roydes, Mara Kluhs - dance Jane Coppin - amplified drawing Bruno Ferreira - electronics Camille Bauer - voice Adilia Yip, Domingo de Jesus - percussion Comaci Boschi, Antonio Muriano Atencia, Clara Muñoz - flute Diony Fernandez - guitar Pierre Herman, Maria Tataru - piano Cornelia Zambila - violin

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