 It's not necessarily a talk, it's more a performance, and it's titled A Webpage in 3x. It's done by Joanna Cicco, a graphic designer, a researcher and a performer with a background in dance. Thank you for being here. I'll start by sharing some of these choreography code. Yeah, I hope you enjoyed the dance, and there will be time for questions afterwards. First act. Warning. Theatrical actions are not necessary to the performance piece. Avoid if at all possible. Warning too. Please switch off your mobile phones. Remove. Remove. Remove. New sequence or phrasing. Phrase as a metaphor. For a long or total duration containing beginning, middle, no end. Eliminate or minimize. Keep mindful or be aware of your breathing. Behalte deiner Atmung im Kopf. Choreografie als eine mobilisierende Sprache. Ritualistik. Substitution. Simulate. Element das Zufalls. Kein Zeit in der Akkumulation. Ich höre nicht aufzuspricht. Atmen realistisch. Substitution. Ritualistik. Wiederholend. Gleichzeitig. Simulierend. Akkumulierend. Keine Zeit zum Atmen. Ritualistik. Variation. Erweitern und zusammenziehen. Oder so zu lassen, wie es zu sein scheint. To accept the position of elements and their aleatory influence. Aneinanderreihung von Elementen und verschiedener Einfluss. Ein Ding, das sich Körper nennt. Chance modifies perception. Destroying the idea of sequencing. Accuracy changes perception. Destroying the idea of... beginning, middle, no end. Beginning, middle, no end. Words that define and define. Space and time. Expand and combine. Or everything remains as it seems. Choreography is the organization of tensions. Choreography is a combination of contradictions. Leave the stage. Leave the stage. Accumulation, superimposition, kitalisik, I think all about it. Simultaneously accumulation, superimposition of rhythms. Not that for breathing, accumulation. Simultaneously everything is interesting. Accumulation, re-tailisik, re-tailisik, re-tailisik. Variation, think all about it. Not that for breathing, accumulation, variation, variation. I think all about it. Variation, re-tailisik, re-tailisik. Rhythms, accumulation to the body, somebody position, not utalistic, I think all about accumulation of variations, which is to think all about the repetitive, reading until the end of the utalistic variation, and to really pursue simultaneously, I think all about the utalistic, reading until the end of the utalistic, simultaneously, leave the stage. Verlas di Bühne. Second act. Zweite act. Pause. Pause. The circle suggests the infinity of perpetual motion, repeating itself, internally. The circle shows the repetition of a movement. Or inertia. Movement. There are as many spatial temporal experiences as there are distinct movements. There are as many spatial and temporary differences as there are distinct movements. Spatializing time in multidirections. Multiple speeds and orientations. Different orientations. Between geometry and gesture. Between geometry and guest guests. Our world organizing. Remove. And fernon. Remove. And fernon. Breathe. Undefined. Circle. Like the clockwork. A stronger circle. Undefined. Public area. Rotation. Rotating wheel. Geometry of time. Undefined. The private circle. Rotating. Repeating itself. Undefined. As always in motion. Breathe. Rotation. Rotation. Rotation. Kugeln. Rotating. The private circle. Breathe. Breathe. Breathe and delete enough. Breathe until it's enough. And rotate. And rotate. Pause. Pause. Leave the stage. Final act. Last act. By moving or by opting to remain still, choreography demonstrates how its decodings are not mere conceptual propositions, but actual possibilities for action. By moving or by opting to remain still. For the people in the stream, it's about the room that you probably don't see. And now you're in the second row breathing heavily on a chair. Thank you. Thank you. Thank you for being here until the end. Thank you. Thank you. Thank you. Thank you for being here until the end. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you for finally staying up. Or not sleeping in, and by doing something like that. So, yes, I am open to asking questions. I have a few notes with me, and I'm happy to share a little more about this project. So, yes, I am starting to ask questions. ideas. And I can share more of my choreographic ideas. I read something from Michael Klein and other choreographers. It is something that I brought into the design and the programming world. I think it also helps to explore what happens behind the interface. Maybe that is just a very basic definition. And you also know that choreography for writing movements is. So here you have the tool of a language that was constructed over many years, which was developed by different people and movements in different times. The audience, even if there are Greek-speaking people here who also read it, speaks of written movements, especially this notion of a hand, which goes very physically back to the notions of writing and the movement in writing. The space is not defined beforehand, but something that we define ourselves. And this idea of making space, not giving space, but taking space as a collective is pretty much how I sort of my own formula. That is my own formula, that I have decided to deal with choreographic languages and programming and web programming. And to do different things can be a demonstration or a live performance. For me it is not just an appropriation or trying to... through these performative adherents of code, but it is also a way of thinking critically and thinking differently and also to react to critical voices. There were also other projects in other genres. What you just saw was based on post-modern dance, which has its origin in the 50s. Maybe you know a few names. For example, Yvonne Rayner, Merce Kenningen, Trisha Brown, these are the stars. Many of these voices also fought for other fighters, for example, for women movements, to fight for their own rights and also to fight for their own views, to be performed by them. With all these different projects, I have worked with other choreographers. My background is ballet and contemporary and classical ballet. And that you just saw a little bit. I also worked with other, for example, with Ashka Watson, Movement Notation and finally with Putton. Many of them you can find online. You can find videos or you can find the source code that you have. But I could obviously just have the code in itself. But I could have the code alone, of course, but I also think it's important to perform the code in these moments. Here is a quote. And the way I make the words and the code and everything to my own, in which I bring them together and for example, I am on stage, but also can be a public. And it is for me a kind of physical work that is otherwise not so direct, because normally it is programming, but it is more hidden or only the screen. Here is another reference from Miriam from Emschut. And how the flesh is also something, but also the language with the devices, the body, the flesh is dynamic and always in connection with the environment and with different agents. That was different things that I found out and that I would like to share with you. And I see these programmers and these choreographies as developing and not as static. I wanted to show you some of these projects, but please don't interrupt me, if you have questions. But then I would like to continue. If you want to interrupt, you can like to run to the microphone and interrupt. That was a short experiment. It is an interesting 3D environment and it is an interesting 3D environment. In this gallery, every few months, different artists are invited and I was able to insert my code and made public access to it and created it for Google Maps. This code was created specifically for Google Maps. And I demonstrated the whole thing in the Moon Gallery. I don't always perform alone. I have a collaboration and I am always happy about collaboration. Some of the guests have already worked with me. I am not only a choreographer, but I am also very interested in theater. Traditionally, well, if you can speak of tradition, there is a great connection with music with live coding. I have started a collaboration with Rannick Bell. You can find our platform online if you want more details. I think it is very interesting to have these dual interface performances. When we work on them, I make the sound and someone changes the visual side. Hello, thank you very much for this presentation. It was very moving. When you are around us, I have the feeling that it is a moving movement that pulls us together. If you are around us and have a good idea of what you want to do, you want others to continue to change this code, to develop it and to practice it a little bit as a movement. Do you see it as how it is with people who are not so good at the movement? One thing is sure, we are all in movement. Even if we are still, everyone could take part. We are also part of many choreographies. I was hoping that someone would work. If you want, please come to work with us. It was a great performance. I wanted to talk about what your idea was. I am looking for the visualisation of beauty. Do you look for a personal experience of a room that you want to share? In what direction do you go when you write the code? I don't really know what to say about beauty. I don't know what I could say about beauty. That is something different for me. I wouldn't think about it while I perform. But I think about aesthetics and sense and sensual experiences with movement. In the body, in the flesh, in the sweat and all of that together. And to bring that into the space of codes. I think we are all in this circle. But I don't really think about web design in terms of beauty or ugly. This is a very technical group. Are technical visitors different from those who see the entire interface from the front? I think I had really different comments and I heard really different feedback actually. I got a lot of different feedback and comments. But after a while they really realised that there is actually a head in the body. And some people always see the same code and realise later that there is a head and a body. And they see this differentiation later. So it's quite surprising for me. I always think that what I do is something new. That there is an existing interface. But it's possible to see and read this code differently. In more technologically oriented environments it happens more. People who actually know how to program know more functions and terms. And find more in the code. And I think that's another experience that you have. This is the end of this talk. We will continue at 2150. That was the German translation of this talk. A web page in three acts. I hope you enjoyed it. That was Escarina and Franz T. Have a nice day. If you had feedback it would be great. If you liked this video please leave a comment. Or send us an email at c3lingo.org. See you next time.