{"id":31080,"date":"2024-02-29T14:06:56","date_gmt":"2024-02-29T14:06:56","guid":{"rendered":"https:\/\/www.forumdanca.pt\/tecer-ctr\/"},"modified":"2025-03-10T16:16:59","modified_gmt":"2025-03-10T16:16:59","slug":"tecer-ctr","status":"publish","type":"post","link":"https:\/\/www.forumdanca.pt\/en\/tecer-ctr\/","title":{"rendered":"TECER | CTR 1<\/sup>"},"content":{"rendered":"

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Time | Study | Composition | Experimentation | Real 2<\/sup><\/h3>\n

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\u201cIf we observe the spider at work, what it eventually weaves first (…) is not the web; what eventually happens is that the little pearl that it weaved, suspended on the end of the thread carried by the wind, finds a branch [a wall, a corner]. (…) Is it possible to say that the spider has the project of weaving its web? I don’t think so. It’s better to say that the web has the project of being woven.\u201d<\/em><\/p>\n

 <\/p>\n

Fernand Deligny, O Aracniano<\/p><\/blockquote>\n

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Presentation<\/h4>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]TECER | CTR<\/strong> is a project directed by Jo\u00e3o Fiadeiro as part of his role as artist-researcher in residency at Forum Dan\u00e7a. Through this platform, Jo\u00e3o Fiadeiro intends to transmit the study (and study the transmission) of Real Time Composition*, a (theoretical) practice and a (practical) theory that offers itself as a “field”, a place-territory that aims to welcome and host the forces at play in what we conventionally call the present. Within this present and from RTC\u2019s perspective, an expanded time moves, simultaneously “no more” and “not yet”. A non-linear time, experienced like a M\u00f6bius band, with no inside or outside, with no before nor after. A time where the shadow, the margin and the fragment have the same prominence as what is in the light, in the center and in the whole. A time when positions are taken so that com<\/em>3<\/sup> -positions can take place.<\/p>\n

 <\/p>\n

To share Real Time Composition from the potency within the “not-knowing” and not from the power carried by the “knowing\u201d. To share Real Time Composition, reducing the distance and the split between theory and practice, process and product, action and observation, action and procrastination, memory and forgetting, teaching and learning.<\/p>\n

 <\/p>\n

This is TECER | CTR<\/strong> ambition as a center for the study and experimentation of Real Time Composition.[\/vc_column_text][vc_empty_space height=”30px”][vc_column_text]<\/p>\n

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1<\/sup> TECER | CTR is the Portuguese acronym for Weaving Real Time Composition.<\/span>
\n2<\/sup> Time, Study, Composition, Experimentation, Real.<\/span>
\n3<\/sup> In Portuguese, the preposition \u201ccom\u201d means \u201cwith\u201d and taking a position-with instead of com-posing (arriving with a readymade \u201cwith\u201d) is the performer\u2019s main challenge in this practice. Following and repeating this modus operandi will eventually give place to a set of relations between positions (position-with-position-with-position-with- position\u2026) which is how an emergent system can be generated within this practice.<\/span>[\/vc_column_text][vc_empty_space height=”80px”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_column_text css=””]<\/p>\n

Contextualisation<\/h4>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text]Select each of the sections below to find out more.[\/vc_column_text][vc_empty_space height=”20px”][vc_accordion active_tab=”false” collapsible=”yes” style=”boxed_accordion”][vc_accordion_tab title=”Sensitivity to Initial Conditions” title_color=”#000000″ background_color=”#eeeeee”][vc_column_text css=”.vc_custom_1710161396766{padding-left: 25px !important;}”]In Real Time Composition, the rules of the game are defined as the game is played and not, as in most games (including the game of life) before the game begins. Before beginning the practice of Real Time Composition, what is established as common ground are the premises and principles that govern the game, in a kind of collective ethical commitment where its singularity is circumscribed, its cardinal axes are defined, and the conceptual framework of this practice is established. In general terms, the three premises that guide this commitment can be summarized using simple coordinates:[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text css=”.vc_custom_1710161445449{padding-left: 50px !important;}”]<\/p>\n

    \n
  1. You don\u2019t explain your move.<\/li>\n
  2. You don’t play twice in a row.<\/li>\n
  3. You don’t correct the previous move.<\/li>\n<\/ol>\n

    [\/vc_column_text][vc_empty_space height=”20px”][vc_column_text css=”.vc_custom_1710161463007{padding-left: 25px !important;}”]Following (and as a result of) these initial restrictions, the game unfolds in a fine and meticulous management by the players, of the doses of repetition and difference that, at each move, are introduced into the system.<\/p>\n

     <\/p>\n

    Another key concept in this practice is the principle of \u201cnon-linearity”. In Real Time Composition, it is always the subsequent action that retroactively establishes the rules of the game (of that game is being played, because as soon as the game in question ends, the rules are instantaneously obsolete). That’s why you can only really talk about a game when you are halfway through. In other words, for most of the time Real Time Composition experience isn’t spent playing the game but finding the game. This encounter takes place a) when, from a position, you establish a relation; and b) when, from that relation you establish an operation. This process takes place in three stages:[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text css=”.vc_custom_1710161491748{padding-left: 50px !important;}”]<\/p>\n

      \n
    1. The time when a “position” takes place.<\/li>\n
    2. The time when a \u201ccom (with)\u201d takes place (creating a “positioning-with” type of relationship).<\/li>\n
    3. The time when a “positioning-with” takes place (creating a “positioning-with-positioning” type of operation).<\/li>\n<\/ol>\n

      [\/vc_column_text][vc_empty_space height=”20px”][vc_column_text css=”.vc_custom_1710161502984{padding-left: 25px !important;}”]The resulting “positioning-with-positioning” operation works like an equation, a fractal that expands into what we call instant, moment or present. Developing a sensitivity to this triad – positioning-with-positioning – is the necessary condition to play Real Time Composition\u2019s game. [\/vc_column_text][\/vc_accordion_tab][vc_accordion_tab title=”*Real Time Composition” title_color=”#000000″ background_color=”#eeeeee”][vc_column_text css=”.vc_custom_1710162590390{padding-left: 25px !important;}”]* Real Time Composition<\/strong> is a term used in a wide range of artistic interactions and contexts, most commonly in the field of electronic music and its relationship with computer science. In the field of contemporary dance, it is used by many artists as a synonym for the practice of “improvisation” (a term somewhat “hijacked” by common sense as an arbitrary, disorganized or chaotic experience), in order to emphasize the complexity and rigor involved in the act of improvising, especially when presented publicly.<\/p>\n

       <\/p>\n

      When Jo\u00e3o Fiadeiro began his research into improvisation in the 1990s, the expression most often used to claim this rigor was “instant composition”. Intuitively Jo\u00e3o Fiadeiro decided to adopt the notion of ” real time composition” to designate his research, because it was the term that best corresponded to the experience of expanded, distended and plastic time that he had when “colliding” with the unknown, whether when improvising or composing. He was later able to better formulate this resistance to the term “instantaneous” when he realized that an important part of the hypothesis he put forward as a researcher, on the performer’s experience with time, was based on the premise that the idea of an “instant” is made by the human being, who has decided, out of interest (and profit) that an instant is the thinnest slice of time and that successive instants replace the previous one.<\/p>\n

       <\/p>\n

      More recently, by accessing the writings of authors who think about the concept of time, this reasoning has gained even more ground. In particular through the formulation of “operative time” that Giorgio Agamben uses in “The Time That Remains”. To defend his hypothesis, Agamben relies on the linguist Gustave Guillaume (1883-1960) who states (in his book Temps et Verbe) that “all mental experience, however rapid [it may be], requires a certain amount of time, which may be very brief, but is no less real”. What Guillaume defines as “operative time” (and Jo\u00e3o Fiadeiro as “real time”) is exactly “the time that the mind uses to realize an image-time”. Agamben complements this reasoning when he says that “a careful examination of the phenomena of language shows that languages organize their verbal systems not according to the preceding linear scheme (…) but through the reference of the constructed image in the operative time of its construction.” Operative time (or, as Fiadeiro would say, “real time”) “is neither the line – representable but unthinkable – of chronological time, nor the instant – equally unthinkable – of its end, and even less a segment extracted from chronological time (…). It is rather the operative time that urges on chronological time and works and transforms it from within, time that we need in order to bring time to an end – in this sense: the time that remains.\u201d<\/p>\n

       <\/p>\n

      When discussing the term “instant” or “real time” to designate the type of “improvisation” Jo\u00e3o Fiadeiro researches, he is not referring to the time shared between improviser and spectator, but to the internal time of the performer, in the management of the experience that mediates the identification, circumscription and processing of stimuli; the selection and choice of relation possibilities; and their consequent manifestation in the form of gesture and action.<\/p>\n

       <\/p>\n

      Jo\u00e3o Fiadeiro’s use of the expression Real Time Composition to describe his research and practice must be understood in the light of this reflection.[\/vc_column_text][\/vc_accordion_tab][vc_accordion_tab title=”Jo\u00e3o Fiadeiro” title_color=”#000000″ background_color=”#eeeeee”][vc_row_inner row_type=”row” type=”full_width” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” css=”.vc_custom_1709566118068{padding-left: 25px !important;}”][vc_column_inner width=”1\/3″][vc_single_image image=”26213″ img_size=”” add_caption=”yes” qode_css_animation=””][\/vc_column_inner][vc_column_inner width=”2\/3″][vc_column_text css=”.vc_custom_1710162825071{padding-left: 25px !important;}”]Jo\u00e3o Fiadeiro<\/strong> (1965) belongs to the generation of artists who emerged in the late eighties in Portugal and gave rise to Nova Dan\u00e7a Portuguesa [New Portuguese Dance], a movement highly influenced by the Judson Dance Theater in America and New Dance scene in Europe.<\/p>\n

       <\/p>\n

      Between 1990 and 2019 he was Atelier RE.AL<\/strong>\u2019s artistic director, a venue that played a major role in the development of contemporary dance and trans-disciplinary initiatives in Portugal, both within art and between art, science and society. Among the projects organized by this association, the LAB\/Moving Projects<\/strong> (1992-2006), a work-in-progress platform from emergent artists; \u201cRestos, rastos e tra\u00e7os\u201d<\/strong> (Leftovers, tracks and traces) and \u201cG.host\u201d<\/strong> (2009-2011), two residency programs focused on documentation practices for contemporary art; and the project AND_Lab<\/strong> (2011-2014), a research laboratory working on the relationship between ethics, aesthetics and politics, are among the initiatives that had the biggest impact in the community.<\/p>\n

       <\/p>\n

      Jo\u00e3o Fiadeiro has toured extensively throughout Europe, North America and South America with his solo and group works. His pieces navigate in-between disciplines (performance, dance and theater), contexts (theaters, museums or site-specific) and formats (choreographies, happenings or lecture-performances), in an attempt to maintain a \u201cradical sensitivity\u201d towards the present and remain vigilant against any form of stagnation or loss of critical discourse.<\/p>\n

       <\/p>\n

      Between 1995 and 2003 he collaborated with Artistas Unidos<\/strong> (United Artists), a Lisbon based theater company, where he was responsible for the movement of the actors in pieces from Silva Melo, Shakespeare, Brecht, Goethe, etc.. For this company he also staged plays by Samuel Beckett (Waiting for Godot), Sarah Kane (Psychosis 4\u201948\u2019\u2019) and Jon Fosse (Nightsongs).<\/p>\n

       <\/p>\n

      Parallel to his work as a choreographer, theater director and curator, Jo\u00e3o Fiadeiro studied and practiced intensively Contact-Improvisation<\/strong> in the 90\u2019s which led him to pursue and systematize his own research on improvisation under the designation of Real Time Composition<\/strong>. This research, which started as a tool to support his own creative practices, has since been used by researchers from art and science (coming from fields as diverse as anthropology, complex systems sciences or economy), as a theoretical-practical platform to study decision-making, representation and collaboration. This work has led him to teach extensively in different independent venues in Europe and South America (Brasil, Uruguay, Argentina and Chile) and to lead workshop sessions in the most important master programs and schools in Europe that relate to contemporary dance like PACAP\/Forum Dan\u00e7a; EXERCE Master, MA in Arts Practice and Visual Culture at Rainha Sofia Museum; SoDA MA Program; Performing Studies at the Hamburg University; Amsterdam Master of Choreography; Master of Theatre DasArts; a.pass_advanced performance and scenography studies; MA Theatre Academy of the University of the Arts Helsinki; Villa Arson; Centre National de la Danse, etc.<\/p>\n

       <\/p>\n

      The Real Time Composition<\/strong> tool has since expanded its application outside the artistic field with initiatives like \u201cSoft Skills for Hard Decisions\u201d<\/strong>, designed in collaboration with the economist Ant\u00f3nio Alvarenga and applied in human resources departments of foundations; or the discipline \u201cSocial Stigmergy\u201d<\/strong> designed for the PhD program at ISCTE University in Lisbon with the complex system scientist Jorge Lou\u00e7\u00e3.<\/p>\n

       <\/p>\n

      In 2018 Jo\u00e3o Fiadeiro published his book \u201cAnatomy of a Decision\u201d<\/strong> where he synthesized his life long research on Real Time Composition<\/strong> and in 2019 co-curate (with Romain Big\u00e9) the exhibition Drafting Interior Techniques<\/strong><\/em> at Culturgest Gallery, the first retrospective look taken at Steve Paxton work and legacy.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_accordion_tab][\/vc_accordion][vc_empty_space height=”80px”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_column_text css=””]<\/p>\n

      General Note<\/h4>\n

      [\/vc_column_text][vc_empty_space height=”20px”][vc_column_text css=””]For those wishing to take part in any of our CTR transmission and practice programmes<\/strong><\/p>\n

       <\/p>\n

      Even though we are committed to creating a safe place of practice, sustained by a work ethic based on principles of care and mutual respect, the experience of improvisation and performance, by definition, can take performers to places of intense sharing, often vulnerable and emotionally charged, where doubt and error have a prominent place. When signing up, bear in mind that in this practice you may find yourself in situations of experimentation that shake up your comfort zones, even if only temporarily.[\/vc_column_text][vc_empty_space height=”80px”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_animation=”none” css_animation=””][vc_column][vc_column_text css=””]<\/p>\n

      TECER activities<\/h3>\n

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      TECER | CTR – Tempo | Estudo | Composi\u00e7\u00e3o | Experimenta\u00e7\u00e3o | Real<\/p>\n","protected":false},"author":15,"featured_media":29093,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[269,7,311],"tags":[],"class_list":["post-31080","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-en","category-agenda-en","category-highlights"],"_links":{"self":[{"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/posts\/31080","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/users\/15"}],"replies":[{"embeddable":true,"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/comments?post=31080"}],"version-history":[{"count":0,"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/posts\/31080\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/media\/29093"}],"wp:attachment":[{"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/media?parent=31080"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/categories?post=31080"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.forumdanca.pt\/en\/wp-json\/wp\/v2\/tags?post=31080"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}