Afjordance, 2019, single-channel video, sound composition and arrangement.

Exhibited: February 2020, Corwin Pavilion, University of California Santa Barbara for AWMAS Conference

March 2020, Arteriet, Kvinnekroppen Utstillingen, Kristiansand, Norway. 

 

 

 

Performance & Edit, Rachel Wolfe www.rachelwolfe.com

Affordance Technologist, Harald de Bondt www.movingmaking.com

Videography, Børge Indergaard www.indergaard.net

 


 


 
 
 
Afjordance, 2019, single channel video, soundtrack composed by the digital armature joint movements referencing an open source audio library of wind. The video looks at the new complexities emerging in Artificial Intelligence, the ways humans create mirrored structures, and affordances in the notions of Intelligence itself. 
 
 
NORSK: Afjordance, 2019, er i enkeltkanals video, med lydspor komponert av de digitale armaturleddbevegelsene som refererer til et lydbibliotek med åpen kildekode for vind. Videoen ser på de nye kompleksitetene som dukker opp i kunstig intelligens, måtene mennesker lager speilvendte strukturer og overkommelige i forestillingene om intelligens i seg selv.
 

 


 

 

FULL TEXT

Afjordance, 2019, Approximate run time 13:50 minutes, single channel video (with audio).

Affordance is what the environment offers the individual, and refers to all action possibilities depending on users’ physical capabilities. For example, a chair “affords” being “sat on,” “thrown,” “stood on,” and a continuing use of probabilities. James J. Gibson, coined the term “affordance.” The video portrays a dance at the fjord as movement research for technology lab-work.

 

The project developed from the Solfège Souche video performance. The relationship between the human body and the natural world remains full of misunderstandings and spaces for insight.

 

As Artificial Intelligence becomes part of human life, and human relations are increasingly dependent on technological screens and interfaces, the question of what is knowing and the way Intelligence is understood comes into question in the video.

 

The wind sound in Afjordance are from open source libraries. The composition is made by refercing the joints in the wire frame armature. This armature positioned antagonistically opposed to the fully covered body. The body becomes a form without much identity other than it shows the proportions of a female body. The wire frame of the body becomes the composer, making a track of wind sounds as an echo of the movements of the body.

 

The feminine as a figure of the earth or “mother nature” in certain instances is faced with the exorcised image of itself which can scarcely mirror the motions from the limited human body. The video is intended to be projected with sound, to create an immersive experience for viewers to consider the themes of technology, the body, nature elements.

 

The experience provides a multi-sensory meditation on the possible meanings and implications of the emergent technology.