Kilka Pytań

PYTANIA BRZMIĄ NASTĘPUJĄCO:
Gdzie kończy się proces choreograficzny i dźwiękowy, a zaczyna świat? (Przesunięty w stronę sytuowania ekologicznego) Jaka jest ekologiczna relacja pomiędzy procesem choreograficznym, dźwiękowym a światem?
W jaki sposób podmiot postrzega w ekologicznym środowisku choreograficznym, dźwiękowym, gdy jest zaangażowany w poznanie osadzone i rozszerzone? (Przesunięto w stronę percepcji-akcji i afordancji w osadzonych i rozszerzonych). Jak podejść do procesu choreograficznego, dźwiękowego, jako do środowiska ekologicznego, poprzez badanie zachowań bytów ludzkich i nie-ludzi?

ENG

KILKA PYTAŃ – A FEW QUESTIONS –
This is an interdisciplinary project where the main element is the meeting of modern choreographic thought with scientific considerations – human-environment relationship – and dialogue with other fields of art : music – performance activities.
The project was realized in October in Nadarzyn and Puławy also some interviews and meetings took place in Warsaw, Końskowola
The workshop was held at the headquarters of the KZMRZ Foundation in Pulawy

The project involved: – American choreographer WENDY JEHLEN [https://anikaya.org/who-we-are-2/wendy-jehlen/], who also prepared the workshop participants to participate in the audiovisual performance project authored and directed by Paweł Sala „SWIMMING POOL-WORLD, WORLD – SWIMMING POOL” with music by Mar Krz. – MARCEL GBEFFA, an African dancer and choreographer born in Benin [https://anikaya.org/marcel-gbeffa/] – Curator, leader of discussions, playing „live” in workshops, rehearsals and performance activities Marcin Krzyżanowski – voice in discussion and rehearsal leader Paweł Sala The project was implemented in cooperation with the KZMRZ Foundation

THE QUESTIONS ARE AS FOLLOWS:
Where does the choreographic and sound process end and the world begin? (Shifted towards ecological situating) What is the ecological relationship between the choreographic, sound process and the world? How does the subject perceive in an ecological choreographic, sound environment when engaged in embedded and extended cognition? (Shifted towards perception-action and affordances in embedded and extended). How to approach the choreographic, sound process as an ecological environment by examining the behavior of human and non-human beings?

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