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Emerging Forms

This is part 2 of 4 workshops exploring the body’s relationship to technology with the framework of body based practices and intermedial approaches. The video is a moving camera – that acted as a wild card during this score and was positioned freely at anytime by those involved. 12/04/12 – University Northampton 25min Score.

Me Screen You Screen

So I wanted to strip things down to encounter. The objective, or name of the game, or research question is: What occurs in this encounter between bodies and screen? And thus a devised intervention was performed at UN post-grad research conference.

s  m
n you

‘This is an invitation for us to meet and be with each other – its quite simple really – just to be in the presence of me and you for a moment. To sit and notice all that there is between you and me and me and you for a moment. A moment of noticing all that there is between approach and meeting, between being and being with each other between boundaries and windows, between being and leaving.’

Participants were given a 10 min meeting with myself. They were advised they could leave before the end of the encounter if they wished. Feedback about the encounter could be given in several ways: drawing, writing and by text. All participants chose text as well as choosing to feed back via written and image based medium. The space was a long dark studio with a corridor structure set up with screen at one end and lit by minimal lighting. Participants entered and I approached, walking towards the screen when it felt right to do so. The approach was devised in order for participants to feel a close to equal status to myself as performer. This was a kind of mirrored response in that as they walked towards me, I walked towards them. It was designed to put them at ease. I sat with participants using approaches devised that would play with screen conventions of both live and recorded content, ie. flowing between being responsive and not responding. Bar autonomic responses, I remained silent. Although some participants spoke. Feedback from myself was texted to participants sometimes hours later in a form of observational wittness close to the form given in Authentic Movement practice. The results astounded me, since I thought people would sit and then leave before the 10 mins had finished. Only one participant left early. A range of responses from emotional responses to more philosophical observations were expressed. More on these to follow.

2: Follow Body

What I have found is two crucial factors, one which is related to the understanding of performance and intentionality and the other a more primitive form of subjectification. So I would like to pick up on at least one of these in relationship to most recent material of ‘follow body’ scores. The notion of the ‘self edit’. This I see as a broad term encompassing our selectivity both conscious and unconscious or the land that lies between these identified terms. A particular poignant example of this re-iterated by Kochhar-Lindgren:

The darkness descends;light (re)appears (2005:19)

Yes, this is the blink – an autonomic bodily delay, a built in somatic time-lapse which is replicated in the ‘machinic edit’  (eg. see Midgelow, V and Halliday T, 2011: http://vimeo.com/26686287). The notion of selective viewing or experiencing begins at home so to speak, within the very self that traces or at least attempts to trace the ambiguities of what Kochhar-Lindgren also explores in Derridean and Heideggarian terms as the ‘line’ – a spacialization between two points (2005:21). If I am to understand a system of self-edit then I can potentially articulate or begin to identify that which appears as the most visceral viewing that animates the body on screen. Where I find most connection … with the digital other /self. Not least as what is visually absent is still encountered and envisioned in its absence. As I also close the door each time on my own practice both literally and metaphorically, I hear the door close – yes, I am reminded how the last sense suggested to leave our bodies through mortality is hearing, yet so ‘othered’ to its counterpart digital image.