The Poetics of Temporal Scaffolding and Porosity: Sharing Affect and Memory

P (AR) ticipate: body of experience / body of work / body as archive and AffeXity are two AR (Augmented Reality) and Screendance works that attempt to capture, amplify and share affect and memory using AR, mobile phones and audience participation. P (AR) ticipate is an immersive, autobiographical, participatory and live installation work comprising: text, analogue hieroglyphs and gestural Screendance videos, tagged to the hieroglyphs, using the AR app Aurasma, within an interaction design. The work explores the porosity between analogue and augmented gestures, personal somatic memories and mediated experiences, of living in an apartheid and democratic South Africa. AffeXity on the other hand, is an interdisciplinary choreographic project examining affect, dance on screen and cities. AffeXity, a play on both 'affect city' and 'a-fixity'. It is a collaborative project drawing together dance, visual imagery, AR and mobile phones, that audiences use for the viewing of choreographies embedded on tags in the city of Copenhagen Denmark. The project now forms part of the Living Archives Research Project at Malmö University. This paper describes the process and methodologies of capturing affective choreographies and memory on video, on analogue hieroglyphs and the processes of sharing them within interaction AR designs. It also describes the collaborative processes involved in both projects that attempt to allow audiences with mobile devices, to extrapolate hidden layers of affect and memory using networked mobile technology. These projects may shape choreographic formations that have not yet been explored and “is a specialized and evolving form - where the choreographic language is interrogated not for form or content sake, but in response to the changing stimuli and physical liberties of the technology itself.” (KRIEFMAN, 2014). This consequentially liberates the choreographic content and language from more traditional vocabularies, narratives and settings, to poetic ones. Above all, the paper investigates the archiving of affect within a relational and dialogical field, of “unfolding the self into the world, whist enfolding the world within” (BRAIDOTTI, 2013). It explores how we anchor our bodies to the world (GREGG and SEIGWORTH 2010 cited in KOZEL, 2012) and how these “messy encounters become platforms for the transmission of affect (and memory) across bodies that themselves exist across layers of mediatization” (KOZEL, 2013). Keywords: Haptics. Affect. Temporal Scaffolding. Screendance. Augmented Reality. THE POETIC OF TEMPORAL STRUCTURE AND POROSITY: SHARING AFFECTS AND MEMORIES Summary: P (AR) ticipate: body of experience / body of work / body as file and AffeXity are two works of AR (Augmented Reality) and video dance that try to capture, amplify and share affection and memory using AR, cell phones and public participation. OP (AR) ticipate is an immersive, autobiographical, participatory and live installation that includes: text, analog hieroglyphs and gestural video dances, marked with hieroglyphs, using the augmented reality Aurasma application, within an interaction project. The work explores the porosity between analog and augmented gestures, personal somatic memories and mediated experiences, of living in a democratic and racially segregated South Africa. AffeXity, on the other hand, is an interdisciplinary choreographic project that analyzes affection, on-screen dance and cities. AffeXity is a piece in "affect the city" and "a-fixity". It is a collaborative project that brings together dance, visual images, AR and cell phones, which the public uses to view choreographies embedded in tags in the city of Copenhagen, Denmark. The project is now part of the Live Files Research Project at the University of Malmö. This article describes the process and methodologies for capturing affective choreographies and video memory, analog hieroglyphs and the processes of sharing them in AR interaction projects. It also describes the collaborative processes involved in both projects that attempt to enable audiences with mobile devices, to extrapolate hidden layers of affection and memory using mobile network technology. These projects can shape choreographic forms that have not yet been explored and “it is a specialized and evolving form”, where the choreographic language is interrogated not because of form or content, but in response to changing stimuli and the physical freedoms of the technology itself “. (KRIEFMAN, 2014). Consequently, this frees choreographic content and language from more traditional vocabularies, narratives and settings for more poetic content. About everything, the article investigates the archiving of affection within a relational and dialogical field, of “unfolding the self the world, involving the world itself” (BRAIDOTTI, 2013). It explores how we anchor our bodies to the world (GREGG and SEIGWORTH 2010 quoted in KOZEL, 2012) and how these “confusing encounters become platforms for the transmission of affections (and memory) in bodies that exist in layers of media coverage” (KOZEL, 2013