Derivare

  • photo: Tsuyoshi Nakajima

  • installation performance by Alessio Silvestrin and Reijiro Tsumura
  • choreography, sound, text, video,set, light and costume design: Alessio Silvestrin
  • voice sampling: Reijiro Tsumura
  • Japanese transalation: Masaharu Takahashi
  • video and costume design assistance: Ayako Fujimori
  • video technique: Iina Naoto
  • length: 33 min.
  • premiere: Dance Biennale Tokyo, Aoyama Round Theater, Tokyo 24.11.2004

DERIVARE (deriving), is a composite project, where elements coming from different sources of expression, are documenting a similar reality.
By r econsidering introspective aspects of previous experiences, this reality expose the possibility of a possible human being.
The pages of personal notebooks are used as a source for a video projection, while an installation of printed shirts appears as pages of daily moments, during the time of one performance.
The elements which are combined in this installation performance, should be considered as possible separate parts, which can be used independently from the live performance.
The notebook’s pages are a possible environment, where other aspects of the same experience find their need to take place.

DERIVING ASPECTS

The dialogue, between that which is part of an instinctive act and that which is part of a rational activity, is searching for a spontaneous relation where a common meaning is not necessarily shared. While this possible relation seems to be consumed, the presence of something originally lost appears as a related, but detached, element of the rational and instinctive activity. The awareness of this presence is then perceived as a figure, which now becomes important because of its outside shape and volume, instead of its original inside meaning. In the surface of this original figure, traces are still present and recognized as indicative signs of a
previous significance. The independent union derived from the dialogue of the instinctive and rational activity, by producing a cloth around the figure, finds a dimension, which could be explained as an instinctive rational state. That is the result of an insistent movement, which finds again its inside original motivation by exploring from a periphery. There, where just partial aspects of a more spread situation may appear.
The inside figure seems now an empty body, and its outside reality is the document of a distorted translation.There, where that which is now the unnecessary original could have existed, is now the unique copy of an unfocused memory: the rediscovered presence of a forgotten past, which is still felt as a vivid experience. From inside an imperceptible resource seems to belong to a future already past.
This could be considered as a product of instinctive actions, introduced by more rational considerations, which are now presenting a derivative experience, blindly felt in a composite form. This form reflects a casual reality where traces are then regained as significant signs, of a vague but insistent meaning.
If it is still difficult to find myself where I am expected to be, or where I just simply could not be present, that can probably explain, or cause a reconsideration of the relevance of where I am now, where traces are, and where traces regain their important previous invisibility. Experiences taken into custody are looking for a meaning which is present now, more than has been present now before. Those experiences are becoming parts of an unbelievable reality, which seems to walk back towards an invisible home full of primitive fears.
If darkness is a part of that sense of fear, I could recognize my body as a need because something dark is existing.
If the darkness, or obscure nature, can define a body, is it then the sense of fear that searches for a body?
If a shape is invisible, is it then the cover of a shape that lets us perceive the dimension of the shape?
Covering a body becomes the derivative environment: the projection of an interior landscape which reflects its state of mind in a body of an embodied thought. That finds on the body the document of a thought. That thought allows a possible reality to condense in a casual coherence, where different layers are letting appear different derivative aspects of that which was original by falling. From a derived detention, the pages, which are covering a body as a book, are falling and exposing a detained reality that once outside, exposed, search for a new possible structure.
Exposed organs are searching for similar or related functions in a different situation.
If my eyes could turn from outside to inside, could they see inside what
they already see?
I should lose my eyes and maybe I will know.

DERIVING EXTENSIONS

Functional intentions, made external to the body by possible permutations, are reconsidering their locations, and proving an insistent will of a common need where a same thought finds different layers of translation. The number of infinite selves, or existing extensions of our noise, by amplifying the noise of one single self are stabilizing the sense of one common reality, where bodily oriented activities related to words are appearing as reflections of a broken mirror.
The broken mirror appears as a materialized broken object. that is the derivative result of a shape, now reflecting a fragmented and detached reality. That rationalizes the distances of its broken parts by mapping the dimensions of a volume divided into sections, which are fragmented units of a same shape.
If functional intentions – which by being fragmented and spread out from the body – are leaving invisibility to return towards meanings of a previous forgotten begining, is then history the result of an improved and civilized body, becoming an intelligible ideal?
If movements are an external extension of our body, is the mapping, or writing, of bodily extended possibilities the perception and understanding of human regions, where feelings are manifested by separate and detached models which are exemplifying one possible esthetic reality?

AFTER ALL YOU AND I LIKE THEM ARE NOW WE MORE THAN EVER THEY WERE NOW US BEFORE

The reality that proposes indeterminate events, which are adding to each other, doesn’t find satisfaction, and the fact of recognizing contradictions in compromised situations, doesn’t find anymore a consistent solution. It seems that inconsistency should then be surviving, and that simulated actions are asked as a need to remove a stuck framework.
The act of mixing up a continuous, and discrete system of an infinite movement, finds incompleteness as an inconsistent result of different levels of one possible framework.
The frame, which becomes a working activity, is not a premeditated situation, and should be considered as a consistent system, which by containing the completeness of self-produced inconsistency, finds fluidity in a saturated structure.
The frame, which is the image of a formal aspect, is a kind of form which derives from the result of manifold elements, that by inconsistency are generating a process of an undoing experience, where, in a duration of time, the result of derivative materials, which are melting each other, are recognizable after their becoming.
The unconsciousness of inconsistency needs to adopt a microscopic view, in order to reduce the derivative layers.

DERIVATIONS EXTENDING IN A TEMPORAL ASPECT

Alessio Silvestrin