+ The AOMC's Index Overview
© the A.O. Movement Collective, February 3, 2015
To create a physicalized and authenticity-based system of time travel that situates itself within the (female and/or gender non-binary) human body, the AOMC has developed a movement system called a rebel THIC Index. These indexes, sharing a common structure but completely individualized to each performer, act as both robust sets of data/content, and an improvisational score, which performers can navigate at will.
Each Performer’s Index is comprised of 15 unique points, or “signposts.”
Each of these individual signposts corresponds to a dataset of information:
- A memory of a specific moment in time, written out in a description a few sentences long
- A signpost number, ranging 1-15, corresponding to the memory’s linear chronologic order among the 15 points
- A trigger word recalling that signpost
- A movement based off of that trigger word
- A point on the body corresponding to that movement
- A photograph, acting as visual portal to the initial memory, which can be superimposed over that point on the body
In this way, data about each signpost can be recalled to describe and pinpoint a discrete moment in personal time. Using this data, a performer could provide specific information, ie: the performer could show you where her 14 is located on her body, tell you the trigger word for her 3, and show you the movement for her 7. Additionally, each performer’s index can be used as a network of connecting content, and navigated as a movement score in a number of different ways:
Chronologically [C] (ie: 1 > 2 > 3 > 4…)
performer can move forward through the signposts in chronological order
In reverse chronological order or “Retro Chrono” [RC] (ie: 19 > 18 > 17 > 16…)
performer can move backward through the signposts, reversing both the order and the movements themselves
Via the performer’s “Heavy Set” [HS] (ie: 10 > 14 > 13 > 8 > 2)
performer has a pre-set “highway” of their 5 most powerful signposts, and can move forward or backwards through it on a linear (though not chronological) track, starting at any point within the heavy set.
Via Sensory Arcs [S] (ie: 14 > 2)
performer has multiple “arcs” comprised of short combinations of signposts that share sensory qualities (ie: soft, spatially large, melting) ordered by the increasing amount of the quality. performer can move forward (and only forward) through the arc, starting at any point within it.
Via Narrative Clusters [N] (ie: 9, 12, 13, 14)
performer has multiple “clusters” comprised of signposts that share narrative content (ie: a specific person, place, or topic). different from the narrative arcs, these clusters are created by superimposing all of the movements contained in the cluster into one. by navigating into one of these clusters, the performer can then jump non-sequentially to any other number contained in the cluster.
Thus, from any given point in the index, the performer has a set of options for where they are able to navigate next. Written out, the data for the first five points of a performer’s index might appear as such:
Signpost #1: 2[C], 4[S], 8[N], 10[N], 11[N]
Signpost #2: 3[C], 1[CR], 8[HS], 13[HS], 14[HS], 10[HS], 14[S]
Signpost #3: 4[C], 2[CR]
Signpost #4: 5[C], 3[CR], 1[S]
Signpost #5: 6[C], 4[CR]
In addition to each performer’s 15 personal signposts, they have 4 additional signposts that are shared contact points with the other performers’ indexes. These linking points are noted as “.5s” and fall chronologically within both performers’ chronologies. These .5s are not included in the performers’ Heavy Sets, Sensory Arcs, or Narrative Clusters, and can only be accessed chronologically or retro-chronologically. For example, in Aya’s timeline, in addition to her signposts 1-15, she has four .5s:
0.5 (which corresponds to Lillie signpost #1)
8.5 (which corresponds to Shayla’s signpost #6)
9.5 (which corresponds to Anna’s signpost #7)
and 14.5 (which corresponds to Leah’s signpost #12. note: Leah’s 12 is the only signpost shared by all performers)
In this way performers can jump from their own indexes into those of their fellow performers. At this point, this maneuver is theoretically only, and has not yet been physicalized. Once we have set a protocol for how the performers enact this maneuver, this document will be updated.
An Active Navigation of the Index occurs when a performer is asked to navigate their index, traveling from specified points to other specified points, in a non-predetermined or improvised manner.
Full Group Index