Introduction to the practice - Revision history

BrunoPocheron at 22:20, 12 February 2022

2022-02-12T22:20:28Z

← Older revision		Revision as of 22:20, 12 February 2022
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	lighting itself can be. Involving KASK students in taking part in the practice could make this process		lighting itself can be. Involving KASK students in taking part in the practice could make this process
	grow into an agency of its own.'		grow into an agency of its own.'


			If you are interested in joining the practice, please write to reflectinglight@gangplank.group

BrunoPocheron at 22:30, 9 February 2022

2022-02-09T22:30:33Z

← Older revision		Revision as of 22:30, 9 February 2022
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	Emese Csornai:		Emese Csornai:

	My observation about lighting design is that it is seldom talked or written about. Part of the problem lays		'My observation about lighting design is that it is seldom talked or written about. Part of the problem lays
	in the lack of any shared language between lighting designers and the ones elaborating on their work.		in the lack of any shared language between lighting designers and the ones elaborating on their work.

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	lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as		lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as
	lighting itself can be. Involving KASK students in taking part in the practice could make this process		lighting itself can be. Involving KASK students in taking part in the practice could make this process
	grow into an agency of its own.		grow into an agency of its own.'

BrunoPocheron at 22:30, 9 February 2022

2022-02-09T22:30:12Z

← Older revision		Revision as of 22:30, 9 February 2022
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	I introduced a practice among the participants of the Reflecting Light project. We go to each other’s		I introduced a practice among the participants of the Reflecting Light project. We go to each other’s
	performances and write factually about what was to be seen. ''The more of us write about one work, the''		performances and write factually about what was to be seen. The more of us write about one work, the
	more the work can be introduced in its complexity. We go to see and write about works made by		more the work can be introduced in its complexity. We go to see and write about works made by
	colleagues unrelated to Reflecting Light as well.		colleagues unrelated to Reflecting Light as well.

BrunoPocheron at 22:29, 9 February 2022

2022-02-09T22:29:25Z

← Older revision		Revision as of 22:29, 9 February 2022
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	[[category: Lighting_designs_described_as_experienced]]		[[category: Lighting_designs_described_as_experienced]]

			Emese Csornai:
⚫	~~Emese Csornai:~~ My observation about lighting design is that it is seldom talked or written about. Part of the problem lays

		⚫	My observation about lighting design is that it is seldom talked or written about. Part of the problem lays
	in the lack of any shared language between lighting designers and the ones elaborating on their work.		in the lack of any shared language between lighting designers and the ones elaborating on their work.

BrunoPocheron at 22:29, 9 February 2022

2022-02-09T22:29:10Z

← Older revision		Revision as of 22:29, 9 February 2022
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	choreographers. The descriptions provided by this wider array of colleagues will be published here.		choreographers. The descriptions provided by this wider array of colleagues will be published here.

	''My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on''		My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on
	''lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as''		lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as
	lighting itself can be. Involving KASK students in taking part in the practice could make this process		lighting itself can be. Involving KASK students in taking part in the practice could make this process
	grow into an agency of its own.		grow into an agency of its own.

BrunoPocheron at 22:28, 9 February 2022

2022-02-09T22:28:47Z

BrunoPocheron at 22:27, 9 February 2022

2022-02-09T22:27:12Z

BrunoPocheron at 22:26, 9 February 2022

2022-02-09T22:26:03Z

BrunoPocheron at 22:24, 9 February 2022

2022-02-09T22:24:34Z

BrunoPocheron at 22:20, 9 February 2022

2022-02-09T22:20:29Z

← Older revision		Revision as of 22:28, 9 February 2022
Line 1:		Line 1:
	[[category: Lighting_designs_described_as_experienced]]		[[category: Lighting_designs_described_as_experienced]]

	Emese Csornai: ''My observation about lighting design is that it is seldom talked or written about. Part of the problem lays''		Emese Csornai: My observation about lighting design is that it is seldom talked or written about. Part of the problem lays
	in the lack of any shared language between lighting designers and the ones elaborating on their work.		in the lack of any shared language between lighting designers and the ones elaborating on their work.

	''I do think light can be talked about without using too much of the technical jargon, and it would be in my''		I do think light can be talked about without using too much of the technical jargon, and it would be in my
	''point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to''		point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to
	dance, staged arts, stage or space, reaching far beyond the mere indicators ‘more’ and ‘less’, into the		dance, staged arts, stage or space, reaching far beyond the mere indicators ‘more’ and ‘less’, into the
	multiplicity of indicators such as texture, color, dramaturgic arch, rhythm, transformation of context,		multiplicity of indicators such as texture, color, dramaturgic arch, rhythm, transformation of context,
Line 11:		Line 11:
	understood in its meaning and potential as a dramaturgic tool in space and time.		understood in its meaning and potential as a dramaturgic tool in space and time.

	''I introduced a practice among the participants of the Reflecting Light project. We go to each other’s''		I introduced a practice among the participants of the Reflecting Light project. We go to each other’s
	performances and write factually about what was to be seen. ''The more of us write about one work, the''		performances and write factually about what was to be seen. ''The more of us write about one work, the''
	more the work can be introduced in its complexity. We go to see and write about works made by		more the work can be introduced in its complexity. We go to see and write about works made by
	colleagues unrelated to Reflecting Light as well.		colleagues unrelated to Reflecting Light as well.

	''As a first step, I would like to open up this practice to cultural journalists, dramaturge, and''		As a first step, I would like to open up this practice to cultural journalists, dramaturge, and
	''choreographers. The descriptions provided by this wider array of colleagues will be published here.''		choreographers. The descriptions provided by this wider array of colleagues will be published here.

	''My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on''		''My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on''

← Older revision		Revision as of 22:27, 9 February 2022
Line 1:		Line 1:
	[[category: Lighting_designs_described_as_experienced]]		[[category: Lighting_designs_described_as_experienced]]

	Emese Csornai: ''"My observation about lighting design is that it is seldom talked or written about. Part of the problem lays		Emese Csornai: ''My observation about lighting design is that it is seldom talked or written about. Part of the problem lays''
	in the lack of any shared language between lighting designers and the ones elaborating on their work.''		in the lack of any shared language between lighting designers and the ones elaborating on their work.

	''I do think light can be talked about without using too much of the technical jargon, and it would be in my		''I do think light can be talked about without using too much of the technical jargon, and it would be in my''
	''point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to		''point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to''
	dance, staged arts, stage or space, reaching far beyond the mere indicators ‘more’ and ‘less’, into the		dance, staged arts, stage or space, reaching far beyond the mere indicators ‘more’ and ‘less’, into the
	multiplicity of indicators such as texture, color, dramaturgic arch, rhythm, transformation of context,		multiplicity of indicators such as texture, color, dramaturgic arch, rhythm, transformation of context,
	distance, flatness, dimension and so forth. Through deeper reflection the praxis of lighting design can be		distance, flatness, dimension and so forth. Through deeper reflection the praxis of lighting design can be
	understood in its meaning and potential as a dramaturgic tool in space and time.''		understood in its meaning and potential as a dramaturgic tool in space and time.

	''I introduced a practice among the participants of the Reflecting Light project. We go to each other’s		''I introduced a practice among the participants of the Reflecting Light project. We go to each other’s''
	performances and write factually about what was to be seen. ''The more of us write about one work, the		performances and write factually about what was to be seen. ''The more of us write about one work, the''
	more the work can be introduced in its complexity. We go to see and write about works made by		more the work can be introduced in its complexity. We go to see and write about works made by
	colleagues unrelated to Reflecting Light as well.''		colleagues unrelated to Reflecting Light as well.

	''As a first step, I would like to open up this practice to cultural journalists, dramaturge, and		''As a first step, I would like to open up this practice to cultural journalists, dramaturge, and''
	''choreographers. The descriptions provided by this wider array of colleagues will be published here.''		''choreographers. The descriptions provided by this wider array of colleagues will be published here.''

	''My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on		''My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on''
	''lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as		''lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as''
	lighting itself can be. Involving KASK students in taking part in the practice could make this process		lighting itself can be. Involving KASK students in taking part in the practice could make this process
	grow into an agency of its own.~~"''~~		grow into an agency of its own.

← Older revision		Revision as of 22:26, 9 February 2022
Line 5:		Line 5:

	''I do think light can be talked about without using too much of the technical jargon, and it would be in my		''I do think light can be talked about without using too much of the technical jargon, and it would be in my
	point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to		''point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to
	dance, staged arts, stage or space, reaching far beyond the mere indicators ‘more’ and ‘less’, into the		dance, staged arts, stage or space, reaching far beyond the mere indicators ‘more’ and ‘less’, into the
	multiplicity of indicators such as texture, color, dramaturgic arch, rhythm, transformation of context,		multiplicity of indicators such as texture, color, dramaturgic arch, rhythm, transformation of context,
Line 12:		Line 12:

	''I introduced a practice among the participants of the Reflecting Light project. We go to each other’s		''I introduced a practice among the participants of the Reflecting Light project. We go to each other’s
	performances and write factually about what was to be seen. The more of us write about one work, the		performances and write factually about what was to be seen. ''The more of us write about one work, the
	more the work can be introduced in its complexity. We go to see and write about works made by		more the work can be introduced in its complexity. We go to see and write about works made by
	colleagues unrelated to Reflecting Light as well.''		colleagues unrelated to Reflecting Light as well.''

	''As a first step, I would like to open up this practice to cultural journalists, dramaturge, and		''As a first step, I would like to open up this practice to cultural journalists, dramaturge, and
	choreographers. The descriptions provided by this wider array of colleagues will be published here.''		''choreographers. The descriptions provided by this wider array of colleagues will be published here.''

	''My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on		''My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on
	lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as		''lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as
	lighting itself can be. Involving KASK students in taking part in the practice could make this process		lighting itself can be. Involving KASK students in taking part in the practice could make this process
	grow into an agency of its own."''		grow into an agency of its own."''

← Older revision		Revision as of 22:24, 9 February 2022
Line 1:		Line 1:
	[[category: Lighting_designs_described_as_experienced]]		[[category: Lighting_designs_described_as_experienced]]

	My observation about lighting design is that it is seldom talked or written about. Part of the problem lays		Emese Csornai: ''"My observation about lighting design is that it is seldom talked or written about. Part of the problem lays
	in the lack of any shared language between lighting designers and the ones elaborating on their work.		in the lack of any shared language between lighting designers and the ones elaborating on their work.''

	I do think light can be talked about without using too much of the technical jargon, and it would be in my		''I do think light can be talked about without using too much of the technical jargon, and it would be in my
	point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to		point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to
	dance, staged arts, stage or space, reaching far beyond the mere indicators ‘more’ and ‘less’, into the		dance, staged arts, stage or space, reaching far beyond the mere indicators ‘more’ and ‘less’, into the
	multiplicity of indicators such as texture, color, dramaturgic arch, rhythm, transformation of context,		multiplicity of indicators such as texture, color, dramaturgic arch, rhythm, transformation of context,
	distance, flatness, dimension and so forth. Through deeper reflection the praxis of lighting design can be		distance, flatness, dimension and so forth. Through deeper reflection the praxis of lighting design can be
	understood in its meaning and potential as a dramaturgic tool in space and time.		understood in its meaning and potential as a dramaturgic tool in space and time.''

	I introduced a practice among the participants of the Reflecting Light project. We go to each other’s		''I introduced a practice among the participants of the Reflecting Light project. We go to each other’s
	performances and write factually about what was to be seen. The more of us write about one work, the		performances and write factually about what was to be seen. The more of us write about one work, the
	more the work can be introduced in its complexity. We go to see and write about works made by		more the work can be introduced in its complexity. We go to see and write about works made by
	colleagues unrelated to Reflecting Light as well.		colleagues unrelated to Reflecting Light as well.''

	As a first step, I would like to open up this practice to cultural journalists, dramaturge, and		''As a first step, I would like to open up this practice to cultural journalists, dramaturge, and
	choreographers. The descriptions provided by this wider array of colleagues will be published here.		choreographers. The descriptions provided by this wider array of colleagues will be published here.''

	My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on		''My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on
	lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as		lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as
	lighting itself can be. Involving KASK students in taking part in the practice could make this process		lighting itself can be. Involving KASK students in taking part in the practice could make this process
	grow into an agency of its own.		grow into an agency of its own."''

← Older revision		Revision as of 22:20, 9 February 2022
Line 3:		Line 3:
	My observation about lighting design is that it is seldom talked or written about. Part of the problem lays		My observation about lighting design is that it is seldom talked or written about. Part of the problem lays
	in the lack of any shared language between lighting designers and the ones elaborating on their work.		in the lack of any shared language between lighting designers and the ones elaborating on their work.

	I do think light can be talked about without using too much of the technical jargon, and it would be in my		I do think light can be talked about without using too much of the technical jargon, and it would be in my
	point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to		point of view a quality shift for lighting design to introduce a vocabulary describing it, and its relation to
Line 9:		Line 10:
	distance, flatness, dimension and so forth. Through deeper reflection the praxis of lighting design can be		distance, flatness, dimension and so forth. Through deeper reflection the praxis of lighting design can be
	understood in its meaning and potential as a dramaturgic tool in space and time.		understood in its meaning and potential as a dramaturgic tool in space and time.

	I introduced a practice among the participants of the Reflecting Light project. We go to each other’s		I introduced a practice among the participants of the Reflecting Light project. We go to each other’s
	performances and write factually about what was to be seen. The more of us write about one work, the		performances and write factually about what was to be seen. The more of us write about one work, the
	more the work can be introduced in its complexity. We go to see and write about works made by		more the work can be introduced in its complexity. We go to see and write about works made by
	colleagues unrelated to Reflecting Light as well.		colleagues unrelated to Reflecting Light as well.

	As a first step, I would like to open up this practice to cultural journalists, dramaturge, and		As a first step, I would like to open up this practice to cultural journalists, dramaturge, and
	choreographers. The descriptions provided by this wider array of colleagues will be published here.		choreographers. The descriptions provided by this wider array of colleagues will be published here.

	My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on		My hope is that the fruit of our labors help establishing a language facilitating a discourse focused on
	lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as		lighting in relation to performances, on lighting as a performer in its own right, a discourse as nuanced as