Some Times
We Know
Some Times
We Do
Some Times
We Are
(And, Or, ‘Nt)


Metacognitive Tool

2016

This work was produced as part of Arts Catalyst's season 9 Evenings: Theatre and Engineering Revisited 1966/2016.  
The video installation Metacognitive Tool (2016) was developed for an experimental one-day-exhibition at Arts Catalyst, while the performance was created together with performer Alice Weber for an experimental evening of actions and installations called Why make it simple, when you can make it complex?, co-organised by The Performance Studio.

Starting point was a month long collaboration between a group of students from MA Art and Science at Central Saint Martins, UAL, and recent MA graduates from Goldsmiths and UCA Farnham. Our group came together as performers in Robert Whitman's new commission, Side Effects, produced as part of Arts Catalyst's recent season 9 Evenings: Theatre and Engineering Revisited 1966/2016. In collaboration with The Performance Studio, Arts Catalyst had since hosted weekly workshops to develop a practical and historical perspective on performance practice and transdisciplinary working.


Everything Should Be Made as Simple as Possible, but Not Simpler.

In his quote Einstein addresses the dendritic interplay of accuracy and creativity in the sciences. This interactive relation is present at the debates about the shifting scientific definitions of mind and body. Our brains neural plasticity responds to environmental developments and the implant of technology in our life creates synthetic dependancy. Simultaneously we are learning more about the organic control over our bodies.
In Dr. Daniel Siegels Hand Model of the Brain the psychiatrist suggests a possibility to cope with emotional stress by explaining its structure with a hand model; an action formally called Metacognition. The installation ‘The Metacognitive Tool’ adapted Siegels model to the gallery context and transformed the metacognitive theory in a collective game that invited the audience member to interpret the hand gestures. 



For the evening organised by The Performance Studio at The Nines, the 3-D work transformed in a performance on Agency, Disembodiment and the anthropocentric paradox of humanity's position within nature, and outside of it. The performance lecture connected physical and theoretical elements, and was interpreted by Trinity Laban student Alice Weber with my 12-min-long soundtrack.

This performance was performed another time as part of the evening Sensing The Invisible atThe Cube residency em-em in 2017. And at the Lethaby Gallery by Rebecca Korang. 

The collaboration with Alice Weber was archived in a photographic project, called The Alienated Self  (2016).

The video stills was published in Terra Firma Magazine (2017), color edition, together with a poem, and the film was screened as part of an evening hosted by Terra Firma in Down/Under Gallery, Melbourne, Australia.

again and yet again,
the mistake to believe that time can be conditioned with synthetic formulas; appearing fragmentations that one ought concatenating,
failing to comprehend:
what has happened, cannot not have happened, not any longer –

oppressed memory and overbeared mind,
now, avid for new, vague impressions, instead of contemplating, what appears to not disappear;

memory is carried in the body, displaced by news, obstructing the wearer, with matter, that time is absorbing, an initial idea,
to slip through physics, is denied by collective elements;

it is invisible, and too present not to be.
Monika Dorniak (c) 2018