About Reduction of Myself (including "About Measuring the Distance of Death with My Body")


*performed in Japanese, but English subtitles in this video
*performed at "Space and Description" on Oct.16,2016 in Exhibition "New Rube Goldberg Machine"

Is playing of a script a development or an unfolding of an action of "talking"? To magnify "myself" as an allopoietic system that "I talk that I am talked" (yeah, this phrase begins with "I") as possible. When you find a form of descriptions of 'unsynchronized synchrony' like telephone, the space of the receiver may be filled with mirrors. Determine the volume the mirrors have passed by. (You know, it is a determination.)


1. Perform improvisationally "About Measuring a Distance of Death with My Body" with taking a video(A) and auto-dictation(B).

2. Explain my motions of the performance with showing the taken video(A). I record the explanation(C).

3. Play the recorded voice(C) from the amplifier and input it to auto-dictation again(D).

4. I replay the first performance on my memory of motions, but the lines are replaced by the dictated text(D). And I take a video of it(E).

5. Play the first video(A) and the last video(E). I watch them with the audience. I look for a chair.

    When I think about Rube Goldberg Machine as a device that reiterates failures many times towards the success-to-come and contains possibility of fail and one to succeed in the several processes respectively, I vaguely remember the concept "hope(Hoffnung)" by Walter Benjamin. Innumerable processes contain innumerable connections and innumerable disconnections, so the hope is given "to us for the hopeless" in the great frustration.
    I think that Hiroki Yamamoto + h (Novelist, from Inu-no-senaka-za), who did a performance in the event "Space and Description", amplified fictitiously and presented the model that a soul is being arranged as an "invariant" (from J.J.Gibson) in multilayered environments or experiences of time-and-space with running 'loose simultaneousness' (I compare it to 'telephoning') using their gestures as the nodes. (I think the model is "oneself" as a domain where several universes switches causually, and it is During-like framework.)
    Yamamoto is concerning that these nodes are typical movements, and I think it is familiar to the project (of amplifying our body movements) by William Forsythe or Haiku. He said that he works with his colleagues as a trigger to amplify themselves, I envy them. It is 'to com-municate(hand-work together)', and this plurality of selves is the model of 'diary' in their zine "Inu-no-senaka-za 2".

    And I have a world outlook like Benjamin's one or Derrida's one basically, in other words, it is the images of "worn-out wires", where one falls out from but another go through, that means our incomplete connection that sometimes reconnected with "a-ha". My understanding of Rube Goldberg Machine is the fact that the wires of our network can be worn-out, so in the performance I used body, fictitious perception of space (I cited 'designing of displaying'), memory and co-working(with machines) etc. as elements in order to bring up for discussion a 'series' that "reduces oneself with changing the functions of oneself". So two performances are similar but different, I think.
    Therefore, I think there is a contrast between 'correlation and casualty', it is the bipolar distinction between an inductive soul of "oneself" multiplied some environments actually and a deductive soul of 'oneself' is getting reduced but unforgettable. They "have" their past images meanwhile I "lost" my words, in order to deposit (or 'drop-posit') the fact that there is a frayed thread of identité (or mêmeté) left in a stream of others' words as a remnant of innumerable failures of Rube Goldberg Machine or the memory of connections after the thread has been grafted, via reductive processes.
    So I improvisationally performed computer operation, or miss a chair in a tention, but succeeded in slopping water into the sink. In our life, there is filled with 'to slop water' and 'to look for a chair' and we always have "failures and successes".

     It is the thing I should talk about additionally, when a network is spread with (over)connection I always find the penetration by a strong speciality (an invariant) in it. So I think we should prepare a precautionary disconnection as like a "varistor". The issue is "which 'a gesture as a node of environments' or 'a character that connects some language systems' is an invariant severed at?". There are reductions after multiplications and are multiplications in memory of reductions.



1. 《私の身体で死の距離を測ることについて》を即興的に演じ、撮影し(A)、また自動筆記する(B)。

2. 撮影した映像(A)を見せながら、演じられた自分の動きについて説明する。その説明もまた録音される(C)。

3. 録音した声(C)を増幅して再生し、再び自動筆記する(D)。

4. 初めの演技を、動きの記憶にもとづいて再演する。ただし、科白は筆記されたテキスト(D)に差し替えられる。再び撮影する(E)。

5. 最初の映像(A)と最後の映像(E)を再生し、観客とともに観る。椅子を探す。