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

2016, performance

performed in Japanese, subtitle in English

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.


  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。

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.





それで、「相関と因果」というゆるやかな対比もそこにはある気がして、それは乗算的に環境がじっさいに掛け合わされてある「私」という帰納的な魂と、除算されてゆくがしかし”忘れがたい”演繹的な「私」という二極的な差ではないだろうか。彼らが自らの過去の映像を「所持」するように僕は自分の発する言葉を「遺失」しつづけたのは、他者の言葉の奔流のなかで、同一性(identité, あるいは同じもの性mêmeté)がほつれた糸が、継ぎ合わされたあとにも、繋がっていた記憶、ルーブ・ゴールドバーグ・マシーンの無数のチャレンジの途切れのうちひとつとして「残っている」こと、を除算のプロセスを経て析出(というか零出)ていくため、だったのかもしれない。



Performance Event 'Space and Description' in Exhibition New Rube-Goldberg Machine"

10.16.2016, at KomagomeSOKO