Reflection on my practice - Trim Three

Title So far (so good?) on personal research.

Introduction Current Practice (resource: here you can use the descriptions of recent work)

Here are some keywords / brainstorming of ideas I've been through: body language - performance - articulation - movement - sequences - patterns - choreography - structures - diagrams - grids - systems - codes - algorithm - hypertext - gramathology - visual statements - construction of narratives - communication - visualization of information - experience - perception - . speech and body.

Relation to previous practice

How does your current work connect to previous projects you have done? (resource: here you can use a) the descriptions of older work b) extracts from your interview.)

Relation to a larger context

“For Massumi, affect is precisely a matter of how intensities come together, move each other, and tranform and translate under and beyond meaning, semantics and fixed systems, cognitions. Part of the assumpstion here is that, even in the most reactionay circumstances, nothing happens if affective intensity has not already paid us a visit. This refines our understanding of why territory - spatial and temporal - is always “existential territory“. It has as much a territorry that enables movement as something that keeps everything in its place, it is movement itself.” Reading / Feeling - If I Can’t Dance Archives.

Brian Massumi, on the dimensions of visual experience, from the chapter The Brightness Confound - of the book "Parables of the Virtual: Movement, Affect, Sensation".

Research strands This essay aims to summarize my recent readings and further notations for my self-directed research.

As to better support my recent projects and deepen my knowledge on my interest towards choreography and performance; I found relevant to research on sense experience and how knowledge is achieved by the interrelation between brain - body - world. One of my references being Alva Noë, one of the theorists that inspired the EEC programme - Embodied Embedded Cognition.

Noë investigates the structures of experience and consciousness (what philosophers call phenomenology); Presenting experience as the "basis of accessibility", allowing humans into "achieving access to the environment".

In an interview with Marlon Barrios Solano, part of the Embodied Techne Series (2012), Noë discusses "Dance As A Way Of Knowing".

He explores the idea that human consciousness is something we enact or achieve, in motion, as a way of being part of a larger process. Motion as "sensory motor understanding is what brings the world into focus for consciousness."

Noë highlights the fact that motion relies on a "temporally extended involvement", which enhances sensorial perception and consequently produces sensorial change: "transformations that happens in you while you go across the process; what is that transformation? Is understanding, is seeing connections, is knowing your way around."

Dance as a way to enact experience, thinking in motion - "dance in a sense of performance is an enactment or modeling of this fundamental fact about the world around us, which we dynamically interact with.".

In dance, along with similar kinesthetic experiences, the human body reaches an intense sensorial perceptual experience, composed of information from many places in the body, finding the need to have an understanding of/ control over of sensory consequences of their own movement. It can be seen either as personal, depending on the case- collective, confrontation - creating great awareness.

Conclusion