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Fleeing Research?

Re[a]ding Reports Bureau?

Dance
and
Code?

usless or just being nervous?

contextual reviewing?

writing?

learning, workshoping and conversing?

eating?

curating, eventing and performing?

↶ Dancing and Coding

ongoing choreographies

We are still in the process of defining the relationship between dancing and coding.

For us, this not just about using technology within performance or using motion tracking software, but something that goes deeper. It is a feeling, an affect, a relationship to embodiement and a process of understanding that happens in both code and dance. It is a plague on both houses.

We are trying to fill a lack of research on dancing and coding that goes beyond the interface and directly addresses the source codes as part of the process.

Stay in-between as we constantly dance to research and research to dance.

choreographic experiments

The lastest experiment in the Dance and Code project: "How to Make a Dancer Dance"

Coming soon, "Dancing Dead or Alive: Useless Bodies as Resistance within Necropolitical Web Choreographies",in Unlikely Journal of the Creative Arts, Issue Cancelled (peer reviewed)

August 2017, Laban Movement Analysis of a website published in: "Movement Online, Performing with eBay" essay in #exstrange exhibition catalogue, edited by Marialaura Ghindi & Rebekah Modrak, Michigan Publishing, ISBN 9781607854234

March 2017, Flee Immediately! Hand choreography for hire on #exstrange

July 2017 "Selfie Help", On Constanza Macra / Gorky Park’s new dance piece The Pose and some hope in the absurd

July 2017, "Yes To Body Thinking, Yes to Dancing", My experiences in a contemporary dance class with choreographer Anna-lise Hearn connected to my research on dance and code

June 2017, "Colour, Motion and the Body", An essay on exploring colours through the senses, developing new systems and using our bodies as tools

June 2017, "Useless bodies: dancing in the time of social media glitches", Marlene Monteiro Freitas dance piece Jaguar, Stravinsky, bum dancing and social glitching

April 2017, "Machine learning, body processing and dancing like no one is thinking", Resonate (Belgrade) Day 3: Workshop, dancing, install errors, agency, tSNE algorithms, reading and processing

April 2017, "Be Aware of the Space Around You", Some thoughts on Kat Válastur’s choreography and how we can better communicate online and between interfaces

March 2017, "Code is More Than Just Beautiful", An essay on limits, movement, bodily sensation and the aesthetics of code

March 2017, "Moving on to Movement On", After the closing ceremonies of the dance and code floor, my reflections and a preview of what is coming next.

February 2017, "Database of Dances", But why should we give a wiggle to database and dancing anyway?.

February 2017, Dance and Code Remix, performance series with BBB_, Joana Chicau, cryptodance, Renee Carmichael, Holger Heissmeyer, Maru Mustrieva, Lai Yi Ohlsen, Daniel Pinheiro, Manuel Rossner

February 2017, "Dance and Code: A Reading List", Starting points on how I connected dancing with coding

January 2017, "Two Steps Before One Step", A half fictional tale told through messy code of learning to salsa dance. AKA: the belated birth of the idea of code connected to dance.

January 2017, "Taking Cues from Pina Bausch — dance lessons for all social media users", How we can use the legacy of Pina Bausch to refocus our use of technology and create more understanding

December 2016, "Bodies of the screen", And I don’t just mean, the idea of virtual reality and screen-to-body-ratio — I mean literally.

May 2016, Issue 02 Dance and Code, with Renee Carmichael, Eleni Papazoglou, Freya Field-Donovan, Hamish MacPherson, Samantha Harvey, Liat Berdugo & Phoebe Osborne, Joana Chicau, Holger Heissmeyer, Benoit Maubrey, Verena Hermann, Eri Kassnel, Nicholas Lawrence, Lai Yi Ohlsen, Matthew de Kersaint Giraudeau, Cliff Hammett, Matt Lewis, Lisa Erb, Angelina Voskopoulos, Susannah E. Haslam, Emilie Giles, Stephan Groß, Maru Mustrieva

February 2016, "I'm not a dancer, no, no not a dancer", (In other words: how I got into the idea of dance and code / technology, and why you should too, or rather find your own way to dance)

2013, "Dance, Technology and the Plague — Death", Part 1: What do you get when you combine dancing, plague and cybernetics? A research into the Dance Epidemic of 1518.

2013, "Dance, Technology and the Plague — Cure", Part 2: What do you get when you combine dancing, plague and cybernetics? A research into the Dance Epidemic of 1518.

2013, "Dance, Technology and the Plague — Monument", Part 3: What do you get when you combine dancing, plague and cybernetics? A research into the Dance Epidemic of 1518.

2013, Come to Feet: Monument to the Dance Epidemic of 1518, A research and film exhibition developed as part of the Permacultures Residency, Space Studios London

2013, Come to Feet: Monument to the Dance Epidemic of 1518, The score of the above film

↶ Fleeing Research

ongoing conversations

This will slowly become a big part of Flee Immediately!

What is the point of doing experiments if others cannot learn from them?

The goal is to situate Flee Immediately! in conversation with other people, practices, theories and ideas.

We all can take back control of the technologies we use everyday. We just have to incorporate new rhythms.

Get in contact to organise talks, workshops and conversations: info[at]fleeimmediately.com

Conversation Extracts

Stay in-between for more opportunities to join us! We will launch a monthly online peer review conversation as well as some ideas for future workshops

July 2017, Talk, Book Liberation: A Conversation

October 2016 Useless workshops at Unstable EU Conference, at Kunsthalle am Hamburg Platz

2013 Code & singing workshops, as part of Hello World! exhibition curated by ccthenradiate

2012 Code Poetry Workshops as part of ccthenradiate

↶ Fleeing Research

ongoing process(ings)

The Ever-Changing Bureau Motto & Tagline

Flee Immediately! is a moving being that has been difficult to define since 2011.

To Flee is also to Flow to a new pulse.

The bureau is a bureau that does serious research without taking itself to seriously.

Context

In an academic context, research is often restricted to strict formats. The essay begins with an introduction, then proceeds to a contextual review and eventually reaches a conclusion. It is made of specific languages (firstly, lastly, furthermore) and it is often limited in its creative form. But surely another form could be used to argue a point better depending on the point itself?

Flee Immediately! began as a publication that attempted to use critical formats to coincide with critical contents as a critique on the limits of these theoretical frameworks. It attempted to put theory into practice. Now it will attempt to define new methodologies and ways of thinking to contribute back to the limited world of theories. Ironically, but happily, to put practice back into theory.

Artistic Research has been around to circumvent the restrictive limits of research. It is defined in the book Artistic Research Methodology: Narrative Power and the Public by Mika Hannula, Juha Suoranta and Tere Vadén as "Artistic Research Methodology argues for artistic research as a context-aware and historical process that works inside-in, beginning and ending with acts committed within an artistic practice."

What is fleeing research?

Flee Immediately! extends and contributes to the field of artistic research by not limiting itself to getting inside of artistic practices, but to using this way of thinking to understand larger cultural processes in everyday life, especially those related, but not limited to, technology.

Flee Immediately! proposes an embodied practice that mixes together choreology and rhythm analysis to explore, create, and fail with new rhythms and pulses of thinking as we scroll online, connect to flows of power and move to the tune of data and code. It ends in processes not acts.

As this is all process based, thinking in action, being in action, and creating new incorporealities, the methodologies and contributions to the larger research context will be updated as the research continues. We hope to eventually provide a thorough account of a new way of moving as being as researching as moving within our technological worlds.

Stay in-between for further updates.

The bureau is always open for business. Get in touch at info[at]fleeimmediately.com

What does the Flee Research Bureau embody?

The content here is divided into various sections that we are currently focusing on. These boundaries are not strict, and you will find overlapping, remixing and reusing of content. That is all part of the process: embedding within embedding within embedding...

The Flee Research Bureau consists of:
* Monthly Flee Research Re[a]ding Reports (performance reviews of various contemporary topics that take the form of scripts to also try out and perform)
* Events, performances and exhibitions
* Yearly publication of an Issue
* Contextual reviews (reviews of performances, artworks and exhibitions put into the context of our research and methodologies)
* Peer reviews as conversations and monthly online meetups
* Weekly blog experiences, failures and thoughts
* Collaborations
* & more to be processed

Practices

In theory this everything we do. We have listed below some of the past projects we have done that are most relevant to the methodologies we are trying to develop. We will add specific projects that we do under "Fleeing Research" as we go along.

For further explanation of our methodologies: Re[a]ding Report #1: Fleeing Research

The lastest experiment in the Dance and Code project: "How to Make a Dancer Dance"

Example of a choreological methodology: "Movement Online, Performing with eBay" essay in #exstrange exhibition catalogue, edited by Marialaura Ghindi & Rebekah Modrak, Michigan Publishing, ISBN 9781607854234

Example of Practical Experiments: "Yes To Body Thinking, Yes to Dancing"

Example of a Contextual Review: "Useless bodies: dancing in the time of social media glitches"

Example of events, performances and curation: Flee 02 Dance and Code Remix

Example of research that doesn't take itself to seriously: "Dissecting the Mouse" A Russian doll-critical-social-history-dissection report of your beloved computer mouse (and its impending death)

↶ Curating?

Curating?

We see curation as art practice.

We see art practice as a form of research.

We see research as a place to Flee.

Fleeing research is an attempt to create new pulses within our everyday world of technology.

Curation = perform the gaps in-between the statements above.

Get in contact to organise exhibitions, performances and events: info[at]fleeimmediately.com

Exhibitions, Performances and Events

Performance, Breathing in the Time of Social Media, at the #16.art Conference in Oporto, Portual

Coming Soon, curation of nervous.online as part of the Wrong Biennale, in collaboration with Sophie Rzepecky, launching 1st November 2017

Offline Dance Performance: "How to Make a Dancer Dance"

September 2017, #exstrange book launch at panke.gallery, With Iocose, Niko Princen, Renee Carmichael, Sarah Ancelle Schönfeld and Sakrowski

July 2017, Talk, Book Liberation: A Conversation

February 2017, Dance and Code Remix, performance series with BBB_, Joana Chicau, cryptodance, Renee Carmichael, Holger Heissmeyer, Maru Mustrieva, Lai Yi Ohlsen, Daniel Pinheiro, Manuel Rossner

July 2016, Performance of Issue 02 Dance and Code, at Res. in London

May 2016, Issue 02 Dance and Code, with Renee Carmichael, Eleni Papazoglou, Freya Field-Donovan, Hamish MacPherson, Samantha Harvey, Liat Berdugo & Phoebe Osborne, Joana Chicau, Holger Heissmeyer, Benoit Maubrey, Verena Hermann, Eri Kassnel, Nicholas Lawrence, Lai Yi Ohlsen, Matthew de Kersaint Giraudeau, Cliff Hammett, Matt Lewis, Lisa Erb, Angelina Voskopoulos, Susannah E. Haslam, Emilie Giles, Stephan Groß, Maru Mustrieva

2011, Issue 01 Manual, with Lisa Badini, Renee Carmichael, Cliff Hammett, Kiosk Collective, Alexandra Sofie Jonsson, Sarah Jury, M. J. Rainey, Miriam Wistreich

2011, Issue 00 Open the Blackbox, with Nick Blythe, Loes Bogers, Renee Carmichael, Timothy Cooper, Stephen Fortune, Holiday Holdsworth, Ana Palma Silva, Anna Maggi, Miriam Wistreich, Kiosk Collective, Megha Ralapati

↶ Re[a]ding Reports

ongoing definitions

Monthly performance reviews of various contemporary topics that take the form of scripts to also try out and perform.

Bureau = based on Greek purros ‘red’.

It is also a writing surface.

This project flees being bureau a la government type and instead remains as a open writing desk a la 17th century definition of the word type.

Here we report on current happenings dissecting them into histories and cultures.

Always exploring new ways of reading. And reding included.

Always a new script to perform, a new pulse to try.

It is not about how things perform from the outside, the how to’s and the top 10’s or the data and conclusions, but how they perform as they connect to bodies, embodies and rhythms. How they intersect the existing context of us caught in the web of (technological) power flows.

Re[a]ding List

#1 Fleeing Research

↶ Contextual Reviews

Contextual Reviewing

This isn't your normal contextual review a la academic style.

Instead it is our research put into practice within contemporary exhibitions, artworks, performances and events.

Theories become reworked into other forms, not left as statements of who says what on the page.

Flee Immediately! is open for any proposals to review exhibitions, artworks and performances, both online and offline. Get in contact info[at]fleeimmediately.com

Theories put into [other] practice[s]

July 2017 "Selfie Help" On Constanza Macra / Gorky Park’s new dance piece The Pose and some hope in the absurd

July 2017 "Yes to Body Thinking, Yes to Dancing" My experiences in a contemporary dance class with choreographer Anna-lise Hearn connected to my research on dance and code

June 2017 "Bubbles Full of Fidget Spinners" A short tale of my time at the Digital Bauhaus Summit, Being Modern

June 2017 "Useless bodies: dancing in the time of social media glitches" Marlene Monteiro Freitas dance piece Jaguar, Stravinsky, bum dancing and social glitching

April 2017 "In the neighbourhood of silicon valleys (and I don’t just mean technology…)" Resonate (Belgrade) day 1: Silicon Valleys, Gender and Foreign Gaps

April 2017 "The humble breaths of tech identities)" Resonate (Belgrade) Day 2: Errors, Silicon (again), Thought Systems, and Breaths

April 2017 "Machine learning, body processing and dancing like no one is thinking" Resonate (Belgrade) Day 3: Workshop, dancing, install errors, agency, tSNE algorithms, reading and processing

April 2017 "Social media colonisations and writing outside" Resonate (Belgrade) days 4 & 5: virtual realities, context collapse, — graphy, and of course, movement

April 2017 "Be Aware of the Space Around You" Some thoughts on Kat Válastur’s choreography and how we can better communicate online and between interfaces

February 2017 "On Earth Elusive" My thoughts on the Transmediale 2017 Conference ‘Ever Elusive’

January 2017 "Taking Cues from Pina Bausch — dance lessons for all social media users" How we can use the legacy of Pina Bausch to refocus our use of technology and create more understanding

December 2016 "Bodies of the screen" And I don’t just mean, the idea of virtual reality and screen-to-body-ratio — I mean literally.

February 2016 "The Conversation Starts by Not Talking At All" Thoughts about Transmediale 2016: Conversation Piece.

↶ Writing

ongoing {flee} writing

Flee Immediately! is open to any commissions, essays, writing projects, editing, proofreading and ideas. Get in contact info[at]fleeimmediately.com

Essays and Publications

Coming soon "Dancing Dead or Alive: Useless Bodies as Resistance within Necropolitical Web Choreographies" in Unlikely Journal of the Creative Arts, Issue Cancelled (peer reviewed)

Coming soon "Dancing by Proxy: A Choreography for AI" in Living in the Future Journal, Issue 4 AI

August 2017 "Movement Online, Performing with eBay" essay in #exstrange exhibition catalogue, edited by Marialaura Ghindi & Rebekah Modrak, Michigan Publishing, ISBN 9781607854234

June 2017 "Innerfields" artist review in Panta Magazine, ISSN 2509842X

2013 "An Homage to the Death of Print: A Reading of the Remains" text in On the Upgrade: WYSIWYG, ISBN 9780957674103

June 2013 "Find the Women in Technology" article in Dazed Digital

June 2011 "The Electronic Man: A Global Performance." interview with Art Is Open Source on Furtherfield

2011 "The In’s and Around’s of Processed Soup" Essay In Plateau Print, Issue 0

2011 "Colour, Motion and the Self" Essay In Paris/Atlantic

↶ Useless?

ongoing nerves

We are nervous. Our emotional labour is out of sync with others. We are part of the social glitch and we are uncomfortable. We don’t always connect because we exist in different times and spaces. And yet, we scroll. We scroll and find feeds that speak to our universality and worlds that we are all a part of…Or perhaps not a part of, but they always speak directly to us—a connected body of people. We are common. Whatever that means. Yes, we belong here, we belong together. We play in this world and make it human, make it predictable. We play out the labour of identity that allows for us to belong in a place where we already belong anyway. Diversity doesn’t matter and yet it must be present at all costs—a menu of hardcoded identities. So we are fine, we do belong after all, we can relax. But even if we play the game, we cannot escape being nervous about it. We interface as user, always stuck in a loop of translation between two points in time and space, always feeling like we have to make a decision and in the end we can never decide. We are nervous because we glitch and yet we know we belong—somehow: “What of today's digital class? It has no choice but to speak, continuously and involuntarily….” (Galloway, The Interface Effect)

Different Veins

November 2017 curation of nervous.online as part of the Wrong Biennale, launching 1st November 2017

Coming soon, "Dancing Dead or Alive: Useless Bodies as Resistance within Necropolitical Web Choreographies" in Unlikely Journal of the Creative Arts, Issue Cancelled (peer reviewed)

June 2017 writing on Useless Bodies and Marlene Monteiro Freitas's dance piece Jaguar

I saw Jaguar, the German premiere of a dance performance by Marlene Monteiro Freitas and Andreas Merk at Hebbel-am-Ufer (HAU 2) in Berlin. Based on the description (…a unique visual language, which is as disturbing as it is humorous), I was expecting something absurd, but I never imagined also something so profound. I even dare to say that this dance performance is the piece of our times. The Rite of Spring to the world of political buffoons, fake news, data identities and Facebook scrolls — serves us right — up with the emotional labour we face everyday....
Read whole text

March 2017 writing on white space, Imagination and design. Includes Speculations the dance peice by by Mette Ingvartsen and the exhibition Talking is not Always the Solution of works by Omer Fast.

I call for allowing imagination in design. For a process that doesn’t just blink blink click here but allows us to think about what we are doing, how we are moving, what decisions we are making, what technological processes are running behind — to imagine and to learn, to really engage.
Read whole text

January 2017 Writing "Taking Cues from Pina Bausch — dance lessons for all social media user"

Ah-ha moments, you know the moments when the missing piece is found and everything clicks together, come at the weirdest, or even, the most boring of times — but always in that moment when they are needed the most. We’ve heard it recently: now is the time to act, the political climates are recreating a history that we all hope (except those who profit) to not be recreated. Technology included, we need to re-learn how to read, communicate and think critically. And my ah-ha moment in this context happened while visiting the Pina Bausch exhibition at Martin Gropius Bau in Berlin.
Read whole text

December 2016 writing "How to Write a Blog as told by Macintosh Manual Vol I, 1984"

It is designed to appeal to an audience of non-bloggers, including people who have traditionally feared and distrusted blogs. To achieve this goal, Blog must be friendly. The blog must, once and for all, dispel any notion that blogs are difficult to use. Two key ingredients combine in making a blog easy to use: familiarity and consistency.
Read whole text

October 2016 Useless workshops at Unstable EU Conference, at Kunsthalle am Hamburg Platz

↶ Hungry?

The Flee Recipe

Menu Items

¾ Flee Recipe event(s) coming soon

¾ May 2017 writing "The Appendix is Able to Destroy the System"

I have been stuck in bed this week with a stomach bug, food poisoning, or thing whose identity remains a mystery but whose horrible name I have given it I will not mention here. I had grand plans (and finally the time again) to see art, performances, and finally have something new to write about. Those plans obviously went down the drain.
Read whole text

¾ March 2017 writing "The In's and Around's of Processed Soup"

The recipe is the discrete, the refuge of line forming line. But a recipe is never just measurements and items listed in order on a page. It requires mashing and smashing, estimating and spilling, tasting and amending. In the end, it is not what we see on the page of a recipe book that we taste but the blurred mixture. The lines of a recipe become the form of a meal. But what really happens in between? What is the story behind the refuge, behind what we actually taste?
Read whole text

Flee the story

Flee Immediately! attempts to research a world in-between design, art, technology, culture, offline, online... and it constantly redefines itself along the way.

In a world where the latest designs take centre stage and everyone click-baits onto how to do this and that and this and that, Flee Immediately! attempts to be a space that does not do this but that rather becomes a place to experiment, question, move and create in new ways. It is about getting us to think critically about the technologies we use everyday, the designs we interact with and the control we have. And probably having a boogie somewhere in-between.

Fleeing your classic research methods, Flee Immediately! attempts to show that research does not have to exist in finalised pdf's of purely academic thoughts and data. Practice, theory, failure and creation are parts of the process. Process immediately, says those fleeing. You can read more about our ongoing definition of Fleeing Research in our Flee Research Bureau.

The fleeing started in 2011 when Renee Carmichael was frustrated with the world of art and technology. It still consists of Renee as well as collaborators who come and go, yearly issues, weekly blogs, monhtly flee the research reports, exhibitions, funny instagrams, offline and online events, performances, workshops and a lot of dancing.

This is only the beginning. We are open to projects, ideas, experimenting, curating, researching performing and events. Get in touch: info[at]fleeimmediately.com

onlining

offlining

in-betweening

↶ Fleeing at the Moment

On 20th September 2017, we launched the Flee Research Bureau

Please remain exploring here for more information about monthly research reports, fleeing research and our new directions.

On 1st of November, nervous.online launch

The online exhibition is part of the wrong biennale and is curated in collaboration wtih Sophe Rzepecky

with works by Aya Bentur & Bili Regev, Liat Bergudo & Emily Martinez, Jordana Bragg, Joana Chicau, Jane Frances Dunlop, dstet.zone, Matthew de Kersaint Giraudeau, Elizabeth Mputu, Colm O'Neill, Daniel Pinheiro, Niko Princen

you can see a sneak preview here: nervous.online

yes it is "Fl-e-E" and not "Fl-e-A".

No this is not your ordinary marketplace

  • Coming soon! More items in the Flee Market
  • Flee Immediately! Hand choreography for hire on #exstrange