Instruments

A direction often emerges from a constellation.

Around the lines already shaping a situation, other lines can be introduced: signs, maps, scores, objects, questions. Together, they form a constellation of instruments for observing, shifting or activating what is there.

An Elanographic Instrument is a transferable structure for observing or activating a situation. It can be borrowed, adapted, displaced and put back into play elsewhere.

It proposes conditions for use without determining the meaning or outcome of the experience. Elanographic Instruments form evolving families of public forms derived from the research and reshaped through use.

Logography

Logography is an exploratory alphabet of 41 signs moving between speech, image, gesture and activation. It slows down immediate reading and opens a space for association. A fragment can become a sign; a sign can move, meet another, change position or be activated elsewhere.

POSSIBLE USES

• Select a sign without translating it.
• Associate a sign with an operation.
• Move it from a page to a gesture.
• Place two signs in tension.
• Transmit the sign and allow its function to change.

Click here to experiment with the Logography.

Deictic Cartographies

A Deictic Cartography maps a situation from a situated point of view. It works with words such as here, there, inside, outside, near, far, elsewhere, beyond — terms whose meaning changes depending on where you stand.

Working with it makes visible the positions from which relations have been drawn, while helping other words and directions emerge beyond the ones already given.

As you place, connect and move these words, the cartography becomes a territory to explore. The map you draw makes visible positions, distances and relations that can shift as you move.

POSSIBLE ACTIONS

• Move a here.
• Leave one relation without a legend.
• Make a margin active.
• Add what remains off-field.
• Return from another position.

Orientation Scores

Orientation Scores are written structures for putting a situation into motion through lines, positions, gaps, tensions, and shifts. They distribute actions, durations, choices, transmissions, possibilities of refusal or withdrawal.

Their purpose is to create enough movement for another direction to become perceptible. Embodiment matters: a score can be traced with the hand, carried by the voice or followed by the body, making orientation something that is physically experienced as well as thought.

Theatres of Thought

Theatres of Thought are material constellations in which objects, signs, lines and spatial relations form temporary situations. They may be observed, entered, displaced or reconfigured.

A theatre places a tension into play by arranging these elements so that their relations become perceptible, can shift and be tested. Thought emerges here through proximity, distance, interruption, movement and return — as something that can be suspended, reconfigured and resumed.

The theatre makes it possible to observe how a situation holds together, what alters it, and how other relations or directions might appear.

A THEATRE MAY DISTRIBUTE

• Places without prescribing participation.
• Words without guaranteeing legibility.
• Rules that include refusal and withdrawal.
• Objects that can be moved or left untouched.
• Different distances and partial points of view.
• Traces that remain without becoming proof of transformation.