Synchronized Timeline Methodology as seen on December 10th 2023

To present my idea of Syn­chro­nize Time­line, a way to link a moment of expe­ri­ence into a cer­tain phys­i­cal moment, I want to present it from two direc­tions. This is a method­olog­i­cal direc­tion that inter­plays with my idea of co-research. I will have to dis­cuss in more detail lat­er about this inter­play between the meth­ods, but now I will present you this method­ol­o­gy from two directions.

The Cycles of Re-Expe­ri­enc­ing presents my cur­rent work­ing the­o­ry of how the mate­r­i­al of dif­fer­ent time­lines might be ana­lyzed in prac­tice. I give it in a form of a short sto­ry of a fic­tive co-researcher. They go through the cycles with­in their re-expe­ri­enc­ing process. This is an exam­ple of how the process might present itself after a rehearsal ses­sion for some­one inside the process. See also audio ver­sion record­ing of the same short sto­ry if that is help­ful to you.

The sec­ond pre­sen­ta­tion for­mat, sec­tion about The Tech­ni­cal Method­ol­o­gy describes the tech­nol­o­gy to cre­ate the time­lines: main­ly the rehearsal record­ing where I pre­dict more prac­ti­cal chal­lenges. It describes the prac­ti­cal tools through which the re-expe­ri­enced mate­r­i­al will be cre­at­ed and reworked with. It also sets dif­fer­ent part of the tech­ni­cal process with­in the time­line of week­end workshops.

I have felt that I will need to plan and com­mu­ni­cate my co-research project from expe­ri­en­tal and exper­i­men­tal direc­tions in order to include oth­ers in it. More about this can be foudn on the co-researcher side of the method­ol­o­gy.

The Cycles of Re-Experiencing

I put a head­set on me, and it names the pro­duc­tion, rehearsal day and time. Shows me a jour­ney of out­side the build­ing first, and then I am tele­port­ed to the rehearsal space.

The First Cycle

I am back in the rehearsal room. It feels like a dream of a sit­u­a­tion past. Dreams do help us learn from our expe­ri­ences, to plan for the future, I men­tion this pass­ing thought out aloud in order to prac­tice vocal­iz­ing my thoughts dur­ing the watch­ing the record­ing: like a com­men­tary track! A time­stamp starts at 0:00 when the first per­son enters the room. It was B. The rehearsal day starts as it did before. Past-me also enters and starts talk­ing with B. B is nice. The first cycle is a full cycle.

I look at myself mov­ing in the space, lis­ten­ing to the voic­es and rem­i­nisc­ing what hap­pened, remem­ber­ing the day before I came to the space. “It was a cold, misty morn­ing then. We sat on the floor for a while.” I vocal­ize this. The now-me, I, smiles when the past-me is released to the floor again.

I see a time­stamp high­light­ed for a moment. This is the moment we are to inves­ti­gate specif­i­cal­ly: the start of the first exer­cise. When the exer­cise is in full action the high­light stops. Record­ing of a full cycle fin­ish­es, first cycle that only repeats once. Yes. That is exact­ly what hap­pened: noth­ing out of ordi­nary there. A small break for my brain.

The record­ing restarts from the high­light­ed moment of inter­est. I vocal­ize the first thing that comes to the mind. It fin­ish­es at the end of the highlight.

Cycles two to four

The sec­ond cycle repeats itself again, and I take a moment to think, not say­ing any­thing. With the third cycle, I express the cold­ness of the floor, some­thing about the cold bones tak­ing time to rev up the engine, I remem­ber think­ing of.

Things slow down at the third cycle. The moment is now frozen, or not com­plete­ly frozen. Half a minute of orig­i­nal time slowed down into a minute. Time to vocal­ize in more detail, I have been told. There will still be a slow­er cycle too.

The moment repeats repeat­ed­ly three times. What hap­pens? What do I expe­ri­ence? What did I see, what affects me? I notice a moment of think­ing some­thing else. I vocal­ize that: it was the fun­ny joke I heard before about… rab­bits maybe. Then I con­cen­trate again and con­tin­ue bal­anc­ing the space.

The fourth cycle is about quar­ter-speed moments. Thir­ty sec­onds in two min­utes… This time I smile at A’s expres­sion: hap­py that they were in the room. They have always such a warm pres­ence. I men­tion that out aloud also: it is some­thing that exists in the space even if I was not aware of it in the moment. Might need to think of that lat­er, thank A for it.

Returning Cycles

The fifth cycles speed up again. We go back to the half-speed. Sixth cycle is the nor­mal speed. Sev­enth will let me watch the whole record­ing and com­ment on that.

Every­thing I say is record­ed and tran­scribed lat­er. Won­der­ful new technology.

Tak­ing off the head­set now.

It is super-inter­est­ing what can be found from what A, B and C said!

I count down in my head the cycles: 30 sec­ond, 60 sec­ond, 120 sec­ond, 60 sec­onds and 30 sec­onds times three makes… 900 sec­onds of con­densed time. Fif­teen min­utes of ran­dom com­ments from every­one: One full hour from this group four! And nat­u­ral­ly my com­ments dur­ing the full rehearsal… some­body has a lot of lis­ten­ing to do. Hap­py that it is not my role in this research! Sounds like a lot of work that must be done with care!

The Cycles of Re-Experiencing (audio recording)

by Juu­so-Matias Maijanen

TEXT.<br />
1. FULL CYCLE<br />
2. Normal CycleS<br />
4. QUarter-Speed CYCLES<br />
5. Half-Speed Cycles<br />
7. Full Cycle<br />
CYCLES<br />
OF RE-EXPERIENCING<br />
During the first cycle, we watch through all the filmed material<br />
Normal-speeded cycles, which concentrate in the moment of interest<br />
3. Half-Speed Cycles<br />
Half-speeded cycles that allows more time for elaboration<br />
Quarter-speed cycle that allows even more time for elaboration<br />
Another set of half-speeded cycles to give a way to<br />
A full cycle to remind the co-researcher of the context once again<br />
6. Normal Cycles<br />
Normal cycle: again - how things were in the reality<br />
The Physicality of Performing Arts Processes<br />
1. FULL CYCLE<br />
2. Normal CycleS<br />
4. QUarter-Speed CYCLES<br />
5. Half-Speed Cycles<br />
7. Full Cycle<br />
During the first cycle, we watch through all the filmed material<br />
Normal-speeded cycles, which concentrate in the moment of interest<br />
3. Half-Speed Cycles<br />
Half-speeded cycles that allows more time for elaboration<br />
Quarter-speed cycle that allows even more time for elaboration<br />
Another set of half-speeded cycles to give a way to<br />
A full cycle to remind the co-researcher of the context once again<br />
6. Normal Cycles<br />
Normal cycle: again - how things were in the reality

The Technical Methodology

To help dis­cuss the phys­i­cal­i­ty of a process, I have cho­sen to use a 360-film to cre­ate a com­mon real­i­ty. If what hap­pens in the space is syn­chro­nized to everyone’s inner expe­ri­ences, it becomes eas­i­er to under­stand and dis­cuss the expe­ri­ences in their com­plex­i­ty and in a con­text. I will describe more about the human side of the things when pre­sent­ing the co-research method­ol­o­gy.

The con­crete plan of action for the tech­ni­cal research looks as follows.

Weekend # 1: Practical measuring methodology test

  • Com­mon Time­line (record­ing process) 
    • 360-video (Ins­ta 360 One, Ins­ta 360 Pro, Insta360 ONE X2, Kan­dao Obsid­i­an R)
    • Sound­scapes
    • Data­base (Vimeo, Youtube, OneDrive)
    • Time­stamp­ing
  • Expe­ri­ence Time­lines (re-expe­ri­ence process) 
    • Dis­plays (Com­put­er and phone, VR head­sets: Meta, Day­dream View and HTC Vive)
    • Com­men­tary Tracks
  • Analysing the test results 
    • Tech­ni­cal Challenges
    • Tech­ni­cal Pos­si­bil­i­ties and Restrictions

Weekend 2: Building the record-and-mirror-with-experiences framework structures.

  • Test­ing the choices
  • Mock-analy­sis of the data in col­lab­o­ra­tion with the work­ing groups
  • Craft­ing the ped­a­gog­i­cal frame­work to present the co-researcher model.

Weekend 3: Testing the co-researcher framework in a real-life rehearsal setting.

  • Record-Reflect Frame­work

After-the-weekends meetings

  • 3‑to-5-hour ses­sion for the inter­nal data dis­cus­sion work­shop: invit­ed to Turku for a dinner.
  • 30 min­utes ses­sion for the pre­sen­ta­tion of mock data and tweak­ing the frame­work as a part of an artis­tic research event or pub­lished as a video pre­sen­ta­tion at an online media.

I plan to syn­chro­nize the expe­ri­ence time­lines with the help of a 360 cam­era, a cam­era that records three-dimen­sion­al pic­tures. We tried sim­i­lar tech­no­log­i­cal tools while work­ing Love Sim­u­la­tion EVE and Keski­aikainen pyhi­in­vael­lus where I noticed that these kinds of tech­nolo­gies can record quite accu­rate­ly what all hap­pens in the space even if they have their restric­tions too. My plan is to show these films to the co-researchers and let them com­ment on the events and con­nect them with their own expe­ri­ences. See the pre­vi­ous table for more detailed research tools and dif­fer­ent tests I am plan­ning on doing in order to cre­ate the process described in the first sectin.

Predicted Practical Challenges

I am pre­dict­ing at least these types of chal­lenges with­in the methodology.

Besides the ones I men­tion below, I dis­cuss labour and respect more on the co-research side of this two-method presentation.

Human mem­o­ry is lim­it­ed. There are lim­its to the time span between rehearsal and revis­it­ing the moment. The human brain is also some­times unre­li­able: I remem­ber things wrong, mix­ing mem­o­ries and fill­ing in the gaps of mem­o­ry with make-believe. Key here is to avoid the build-up of fatigue by slow­ing down the process­es and short­en­ing the process­es arti­fi­cial­ly, but also not let the rehearsal and analy­sis hap­pen too far apart.

The phe­nom­e­na I am study­ing are very com­plex. Human expe­ri­ences, aspects of phys­i­cal­i­ty in space and dynam­ics of human inter­ac­tion are all extreme­ly fas­ci­nat­ing, com­plex phe­nom­e­na. That is, I need to plan for time and labour to take the time and care to grace­ful­ly study the physicality.

The research process will also influ­ence the actu­al pro­duc­tions peo­ple are work­ing with, slow down and affect them. The time and labour put into the work with me is time tak­en away from the pro­duc­tion. That is, any labour by my co-researchers should be com­pen­sat­ed for.

Besides these, we are work­ing with tech­nol­o­gy. It needs updates, main­te­nance, prac­tice to use and might some­times still not work as intend­ed. I have to look into fig­ur­ing out a few back-up plans and process­es of mak­ing sure that we can make things work in a moment. This is one part of the tech­no­log­i­cal test­ing dur­ing the process.

Juuso-Matias forming a triangle with their hands

Juuso-Matias Maijanen

Author has a background in physical acting (Bachelor of Culture and Arts in Performing Arts) and theatre and drama pedagogy (Bachelor of Culture and Arts within Degree Programme in Music and Stage Art). They are also an intimacy director with Intimacy Directors and Coordinators Inc. with a 'certification pending status' and have a vast amount of training with dramatic combat.

Author is currently preparing for their degree projecct within is a MA student at Stockholm University of the Arts (starting autumn 2023) and looking for people to collaborate with.