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'Diffracting the Copenhagen Interpretation: Toward non-local collaborative art practices' investigates the resonances of concepts from quantum theory in the realm of transdisciplinary practice-based artistic research. Throughout a series of protocols using diffractive methodologies, we intend to translate and embody concepts such as spacetime, entanglement, non-locality, uncertainty, indeterminacy, and superpositionality, and embed them as tools for our artistic practices. These concepts were chosen for their singularity in physics, but also for the ways in which they confront ontoepistemic pillars of ‘Modernity’, such as sequentiality, determinacy and separability. The research is carried out by a transdisciplinary non-local core ensemble formed by Søren Kjærgaard, Amilcar Packer, and Carla Zaccagnini. The cities we inhabit – Copenhagen, Sao Paulo and Malmö – have been our laboratories. Departing from tools and methods learned from each-other's disciplines, we have been creating scores to guide our relationship to these urban spaces. The scores conduct our collective experiencing of our cities through a practice we call ‘non-local walking’, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. These experiments are conceived as a boundary-crossing transdisciplinary methodology through which we seek to engage with a non-local city, creating a relational, critical consciousness and sensing that stimulates unexpected outcomes. These scored performances have resulted on cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations of the non-local walks, unexpected connections, constellations, and coincidents e/merge, unveiling yet unheard polyphonies that give resonance to these urban spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.
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Toucing the tactile surfaces of the city with graphite and charcoal pencils. Various kinds, qualities and sizes of paper are laid upon the surfaces, as a careful veiling to be drawn upon. The practice points to a tactile imaging that does not reveal photo-perfect vision, but gives but an imprint of the shades, curves, contours and other nuances of surfaces that were visited along the walk.
