Dit is niet necessarily a talk, this is more a performance and it's titled a web page in 3x. It's done by Joana Chico, a graphic designer, a researcher and a performer with a background in dance. Thank you. Thank you for being here. I'll start by sharing some of these choreography codes. I hope you enjoyed the dance and there will be time for questions afterwards. First act, warning, theatrical actions are not necessary to the performance piece, avoid if at all possible. Warning 2, please switch off your mobile phones, remove, remove, remove, new sequence or phrasing. Please as a metaphor, for a long or total duration containing beginning, middle, no end. Eliminate or minimize, keep mindful or be aware of your breathing. Elements of chance, checks the position of elements under aleatory influence. Chance modifies perception, destroying the idea of sequencing, beginning, middle, no end. It's the organization of tensions. The tensions and counter tensions. Stop or intensify. Leave the stage. Ritualistische repetitie is simoutenissely Lieve de stage De tweede actie Pause De cirkel sugestes de infiniteit van een voorspronkelijke motie Repeet hetzelfde internabel Momentum Of inertie Er zijn zoveel spatiatemperale ervaringen Zo zijn er verschillende bezoekers Found movement, ritualistisch repetitie Spatialiseerd tijd in multidirecties Multipeel spelen en orientatie Between geometry and gesture Organising our vision of the world Remove Remove Breathe Breathe Breathe Breathe until it's enough And rotate Pause Leave the stage Final act By moving Or by opting to remain still Choreography demonstrates how its decodings Are not mere conceptual propositions But actual possibilities for action Thank you, thank you for being here until the end And not falling asleep and all these things Yeah, I'm open to questions I also have some notes with me And I'm happy to share more of these Projects and research that I'm doing So feel free to Yeah, to start with questions And otherwise I can also Yeah, share more of my Choreographic Ideas I will So this quote you're Reading is by Steve Volk And Michael Klein, also to choreographers En So for me, choreography really is something That I took to The design and programming world And I see them now as This sort of hybrid language that Really helps at Yeah, investigating what goes behind the interface So Maybe this is just a very basic Definitie En Maybe you also know that choreography stands for writing movement So it is a writing tool, a device And a language that has been constructed throughout Many many years Also it has been appropriated by different people Different movements, different time in history It has evolved There is a lot more Also if there's Greek speaking people in the audience You may also understand there's more nuances It's not just about Writing movement But there's actually traces of other words in the Definition and the etymology of the word itself Which for me is extremely interesting In particular this notion of a hand Which goes very physically back to the notions of writing En how we started with this technology of writing But also the notion of space Not as something that is appearing as already defined But something that we Yeah, something that we define ourselves So and also the notion of making space So not space as a given, but space as a construction Individual, collective, as we might take it So This is pretty much how I My own sort of formula That I started looking at choreography languages And programming Mainly web programming And do these sort of Well, it can be a demonstration sometimes But I try to make it more of a live performance And embracing a little bit more the theater or spectacle En yeah, for me, it's not just An appropriation or trying to Trying to find ways through Through these performative uterans of code But it's also a way of thinking critically and thinking otherwise And also listening to other voices There's been other projects On other sorts of dance genres What you've experienced before was mainly based on post-modern dance Which was originated in the 50s You might know some names For instance, Yvonne Rayner, Merce Canningham, Trisha Brown, Lucy in the Childs A lot of these voices were also speaking for Other fights So women really trying to Look at their body and their movements And the space and time constructions around them And having their own perspectives To be performed and to make that real Yeah, with all these different projects I started collaborating with other choreographers Because I have a background in classical ballet and contemporary Which in itself, these are very specific ways of seeing movement as well So I learned a lot from other encounters For example with Eschel Watchman movement notation Or tango and most recently buto A lot of these is actually documented online You can see videos from these But also the source code is available on GitHub But yeah, I could obviously just have the code in itself But for me is also important these moments in which I can perform the code This is a quote that I always like sharing from Francisca Schruder And the fact that I'm here and I'm typing And I'm writing these words that I That I make them mine in a way Because of merging all these references into the choreography code that I present This presence on stage but not actually not often I'm on a stage I can also be among the audience and so on It makes it visible a certain kind of physicality Which is often hidden by the screens So this is one of the motivations why I also started engaging with performance And these other reference from mediums on hymshoot Sorry if I'm pronouncing correctly So it's a thought on scores And how the flesh is also something dynamic And always in relation with the language With the devices, with the environment With multiple agents and agencies All of these have been discoveries that I'm happy to share in this forum But it's also a discussion, it's an ongoing discussion And I'd like to think of these scores Choreographic scores slash programming scripts as evolving As not as static Even though language always has a bad quality of trying to remain Still Yeah, so Yeah, I was going to show a few of these projects But again I do want you to interrupt me Otherwise I will also continue And those who want to interrupt please just walk to a microphone En we can have your interruption This was a recent experiment at the Internet Moon Gallery Actually it's a really interesting 3D environment and gallery That every x amount of months I'm not sure if it's every month or maybe Bigger periods hosts artists Artists works En in this case I was embedding my code there En this code would basically also be available for anyone Who would want to open the web console and try themselves And this one was particularly created for Google Maps En I did a demo with the moon For the Internet Moon Gallery Also it's not all the time that I'm alone performing I started new collaborations I'm always happy to collaborate Some people in the room have been collaborating with me I'm also very interested in not only choreographer In somatic practices and theater Traditionally I don't know if we can speak of a huge tradition But life coding has a strong connection with music And sound production En I also started now a collaboration with Renik Bell You can see our platform online For more details What was interesting was to have these dual interface performance In which our code interacts En I actually do interfere with the sound En I have someone interfering with the visuals It looks like we have a question On the microphone too Hi, thanks for this This was really very moving I've got a question When you circled around us I felt that this is a kind of inviting movement For all of us like taking us into the circle En you also put your code on GitHub And my question is Would you like other hackers to fork the code And maybe to practice this somehow As a movement practice And how you envision this As we probably are not so competent in movement En en Well one thing is sure Is that we are in movement Even when we think we are still standing I'm sure anyone could actually participate in this career Actually we're embedded in many choreographies We're just a matter of experimenting more Of co-creating other choreographies En I was hoping someone would fork my code on GitHub So far has it not happened Dus ja, ik kijk ervoor naar dat. Oké, de volgende vraag voor de microphone, nummer 1. Oké, geweldige performatie, ik vind het echt leuk. Ik wist gewoon over de intent. Misschien is dat een toevallige vraag, maar als ik naar een soort van beurt in die frameworks en visualiseren, zijn jullie gewoon kijken voor je eigen persoonlijke ervaring van wat soort plek dat je wilt shareen? Wat is je... In welke richting ga je naar? Wat is er daar aan? Ja, ik weet niet echt wat te zeggen over beurt. Dat is, ik denk... Ja, dat is iets anders voor mij. Ik zou het niet denken over dat tijdens performatie. Eigenlijk denk ik, het is iets die naar de sensus en sensoriele ervaring komt. Ik denk aan een beweging, een body en fles en fysicaliteit en zwet en alles. Ik breng dat naar het gebouw van code en code naar het gebouw van alles. Ik denk dat we al in deze loop zijn. Ja, ik... Ik denk niet echt aan webdesign in termen van beurt of ugliness of... Nee. Ja. Dank je. Oké. Probleem de laatste vraag van de microfoon nummer twee en please keep it brief, question-wise. Oké. Dit is een heel taxavië audience die veel achter de userinterface leert.  Ik denk dat we... Ik heb verschillende commons en ik heb eigenlijk verschillende feedback gehad. Sommige mensen zien dezelfde code en vanaf een while ze realiseren dat er eigenlijk een hoofd en een body is. En ze realiseren eigenlijk wat dat betekent dat we eigenlijk de interface in deze twee... in deze geweldige divide dat we eigenlijk hebben gebouwd over de historie. Dus, het is eigenlijk wel verrassend. Ik denk vaak dat... Ja, het zal er geen novelty zijn en er is niets... Ik ben gewoon gebouwd over een existente code en interface. En dan eventueel het is mogelijk om deze code te luisteren en te denken over dingen verschillend. En dat is wat vaak gebeurt in meer tech environment. Maar ook als het andere environment waarin er minder mensen weten hoe te code zijn ze ook eigenlijk... ze beginnen te recognizeren dat appearen vaak wanneer er errors en zo en dan突ien ze denken Ja, wel eigenlijk ik zie meer de cause en effect en... er zijn verschillende vindingen en experiences ik denk dat in ieder geval het onderdeel is. Dank u wel. En... Nou, dit is het eind van dit talk. We gaan continu op 2150 met een talk on media disruption Laad by the Blind. Dat is over user interface design by blind people, for blind people Een heel interessant topic. Bedankt voor het kijken.


In our previous video, we discussed about meristematic tissues, right? Tissues that had cells which could actively divide. In this video, we are going to talk about mature meristematic cells which differentiated and lost their ability to divide and we now call them permanent tissues. Well, in this video, we will look into the details of permanent tissue. So permanent tissues are again divided into two further types. Simple permanent tissue and complex permanent tissue. Simple permanent tissues are the ones which are made up of just one type of cells, okay? And complex permanent tissues are the ones which are made up of different types of tissues which together performs one particular function, okay? For example, let's consider this. Here, you can see it is all same cells forming one tissue and we can call it simple permanent tissue. But here, all these different colored cells are different tissues actually. They are coming together performing one particular task and we can call it complex permanent tissue. Now in reality, these tissues look nowhere near to what I have made on the screen, okay? I have oversimplified stuff here just for the sake of explaining, okay? Now if we take a plant and cut it somewhere here, we will do a cross section, okay? The shoot area and if we look at it under the microscope, obviously we will have to do a very thin slice from there. It would look somewhat like this, okay? Now, we zoom in even further. Maybe this particular part here, we will zoom in even further. Then it would appear like this.  Now, we will look into those complex parts later in the video. But if we look at the other parts which are made of simple permanent tissue, you will be able to observe that it is of different shapes and also of different color, which indicates that simple permanent tissues are again of different types. So, here are the three types of simple permanent tissue. We call them perenkaima, kolenkaima and sclerenkaima. The most abundant of the simple permanent tissues are perenkaima, which is also called the filler tissue. So, if a plant needs to fill up any area in the plant body, it is mostly perenkaima tissue, okay? These are living cells and they have very thin cell wall and are loosely arranged. You can see the intercellular spaces between the cells, right? They are mainly responsible for storage of food. So, these are their function. Now, there are perenkaima cells which are found in the leaf and they perform the function of photosynthesis because they have chlorophyll in them and because of the presence of chlorophyll, those perenkaima cells are called chlorenkaima. And again in plants that floats on water, these perenkaima cells are arranged in such a way that it creates air pockets between them. Like in case of lotus, if you look closely, you will see that these perenkaima cells are arranged in such a way that it provides buoyancy and helps the plant to float. So, such kind of perenkaima tissue are called erenkaima. Now, the next type of simple permanent tissue is called cholenkaima. They are again living cells, but their cell wall is not as thin as the perenkaima. Instead, there is deposition of cellulose, hemicellulose and pectin in the corners of the cell, making their cell wall a little thick and leaves a very little intercellular spaces in the cholenkaima tissue. The main job of this tissue is to provide flexibility to the plant. For example, you must have seen how coiled and flexible tendrils are of climbers. It is all because of the cholenkaima. Now, let's move on to the third and the final type of simple permanent tissue called sclerenkaima.  Yes, interesting, right? A living plant having dead cells. But before we proceed, let me tell you, plants have more dead cells than living cells inside of them. Do you know we humans also have a lot of dead cells in our body? Our hair? Dead cells. Nails? Dead cells. But we are pretty much living, right? So, living organisms can be called living even if they have some amount of dead cells in them. Now, these sclerenkaima or dead tissues, they make the plant parts hard and stiff and provide strength to the plant. For example, the husk of the coconut. How hard it is, right? It is made up of sclerenkaima. Now, the sclerenkaima is so hard because the cell walls are thickened due to the deposition of a chemical called lignin in them. Often, the cell walls are so thick that there is no internal space inside. The lignin deposition is so much that it fills up the entire cell. Making it a super hard tissue. This tissue is present in the stems around the vascular bundle, in the veins of leaves and the hard covering of seeds and nuts.