Subscribe to:
Post Comments (Atom)
skip to main |
skip to sidebar
Concourse clock, rush hour - Wellington Railway Station. Cam Fiona Baker
Duet in the Concourse. Cam Fiona Baker
Leaving 1. Cam Fiona Baker
The witness ... Cam Fiona Baker
Followers
'IN THE COMPANY OF STRANGERS'
Abstract Title:
In the Company of Strangers - Negotiating the parameters of Indeterminacy; a study of the Roaming Body and Departure in Urban Spaces
Abstract:
This performance-based project scrutinizes Indeterminacy as a mediating force impinging upon our behaviour and its subsequent impact on the nature and constituency of engagements and dialogue between people in selected urban spaces. Concepts centring on the dynamics of temporality and embodiment in departure are being investigated in both First Life and the Multi User Virtual Environment, Second Life as two locations on the same world surface of the Real.
My research-practice posits the formation of a new Urban Myth: Experienced through the vehicle of the Roaming Body, our meetings and encounters with people frequently manifest as disjunct mis-communiqués and dis-engagements. I am asserting that this is due to the inevitability in our existence of indeterminacy acting as a significant governing factor in the articulation of our relations with others, reinforcing our description as time-based entities traversing the passage of the everyday. I maintain that this is evidenced in us through the occurrence of a continual, pre-emptive state of departure. Indeterminacy implies motion and emerges, as Massumi asserts, through ‘… an unfolding relation to its own nonpresent potential to vary …’. We, as humans, are constantly being drawn away – always either approaching or embracing involuntarily, a state of ‘Leaving’ which co-mingles with and unerringly erodes our efforts to stay engaged with another in the here and now.
In my research/practice, which underpins the concepts in
this masterate, interventionist inscriptions are being used to prompt and interrogate the constituents of encounters and departures in designated public places. Experiential movement frameworks employed are informed by the discipline of Contact Improvisation Dance and Authentic Movement. The working process is being documented using a range of video narrative.
Massumi, B. (2002). Parables for the Virtual: Movement, Affect, Sensation. Duke University Press, Durham & London, (p.5).
Def: 'The Roaming Body' - the body as entity which can never be fully committed to a set position or location in space and time (Mike Baker Feb 09)
Title image: Dancers - Mike Baker and Sylvie Haisman, Camera - Fiona Baker
In the Company of Strangers - Negotiating the parameters of Indeterminacy; a study of the Roaming Body and Departure in Urban Spaces
Abstract:
This performance-based project scrutinizes Indeterminacy as a mediating force impinging upon our behaviour and its subsequent impact on the nature and constituency of engagements and dialogue between people in selected urban spaces. Concepts centring on the dynamics of temporality and embodiment in departure are being investigated in both First Life and the Multi User Virtual Environment, Second Life as two locations on the same world surface of the Real.
My research-practice posits the formation of a new Urban Myth: Experienced through the vehicle of the Roaming Body, our meetings and encounters with people frequently manifest as disjunct mis-communiqués and dis-engagements. I am asserting that this is due to the inevitability in our existence of indeterminacy acting as a significant governing factor in the articulation of our relations with others, reinforcing our description as time-based entities traversing the passage of the everyday. I maintain that this is evidenced in us through the occurrence of a continual, pre-emptive state of departure. Indeterminacy implies motion and emerges, as Massumi asserts, through ‘… an unfolding relation to its own nonpresent potential to vary …’. We, as humans, are constantly being drawn away – always either approaching or embracing involuntarily, a state of ‘Leaving’ which co-mingles with and unerringly erodes our efforts to stay engaged with another in the here and now.
In my research/practice, which underpins the concepts in
this masterate, interventionist inscriptions are being used to prompt and interrogate the constituents of encounters and departures in designated public places. Experiential movement frameworks employed are informed by the discipline of Contact Improvisation Dance and Authentic Movement. The working process is being documented using a range of video narrative.
Massumi, B. (2002). Parables for the Virtual: Movement, Affect, Sensation. Duke University Press, Durham & London, (p.5).
Def: 'The Roaming Body' - the body as entity which can never be fully committed to a set position or location in space and time (Mike Baker Feb 09)
Title image: Dancers - Mike Baker and Sylvie Haisman, Camera - Fiona Baker
‘What is the appropriate behaviour for a man or a woman in the midst of this world, where each person is clinging to his piece of debris? What`s the proper salutation between people as they pass each other in this flood?’
Buddha.
Human Givens. vol 14, (3) Human Givens Publishing Ltd, East Sussex, England, UK
Buddha.
Human Givens. vol 14, (3) Human Givens Publishing Ltd, East Sussex, England, UK
Blog Archive: New discussion topics related to the above abstract:
-
▼
2008
(84)
-
▼
May
(21)
- Expressing the Duende in Meetings and Engagements ...
- Station 2 poignancy in Leaving
- Station 3 poignancy in Leaving
- Station 4 poignancy in Leaving
- Expressing the Duende in Meetings and Engagements ...
- Concourse roll
- Street duets
- No title
- No title
- Friends parting
- No title
- Strangers meeting in the Street
- No title
- No title
- Leaving and the Duende
- No title
- No title
- No title
- No title
- No title
- No title
-
▼
May
(21)
About Me
- Wild Swimming Heart
- Nelson, South Island, New Zealand
- Please check my blog and profile ... you will also find images of my work on flickr.com, under: http://www.flickr.com/photos/nomads_hat/ and my videos under RolloKohime at YouTube
Links List / Please find more images at the bottom of this post
- -empyre- soft-skinned space
- alansondheim.org
- AlienNation Co
- dance-tech.net
- danssansjoux.org
- Dr Donna Haraway, A Cyborg Manifesto: Science, Technology and Socialist-Feminism in the late Twentieth Century, in Simian, Cyborgs and Women: The Reinvention of Nature (New York; Routledge, 1991
- Dr Donna Haraway, When Species Meet, University of Minnesota Press, 2008
- Henri Bergson, Mark Hansen, (bodies in code), microflicks, dad.project, leftluggage, davidandjacob, slightly.net, hyperchoreography, throwdisposeablechoreography, Contact Quarterly, Text and Performance Quarterly, Liminalities, skellis.net, Body Space Image, Jumpcut, Brian Massumi, Marc Augé, T`ai Chi Ch`uan, Body Space and Technology Journal, Slightlymoving, Proximity, Saatchi-gallery.co.uk, Len Lye, Rafael Lozano-Hemmer
- Michel Serres, The Parasite, University of Minnesota Press, 2007
- Scott Draves.com
- Second Life.com
- subtletechnologies - Alan Sondheim
- touchcompass.org.nz
- Turbulence.org
- YouTube (people and blogs - strangers), Discourse off the Walls - Authored Indeterminacies, Peter Lorre,
In the Company of Strangers
Concourse clock, rush hour - Wellington Railway Station. Cam Fiona Baker
ICS. Red Station Dance
ICS. Todd Cochrane and Grant Corbishley streaming our dance from the station onto the Net
Duet in the Concourse. Cam Fiona Baker
In the Company of Strangers
Leaving 1. Cam Fiona Baker
A Murder of Crows - Crowd Composition in the SL Station
In the Company of Strangers
The witness ... Cam Fiona Baker
3 comments:
This sketch is filmed in lighter mode, with better contrast. It is important to me that some of my filming places us in the distance, removed from the viewer. This is responding to those original thoughts I had last year - creating small dramas seen only out of the corner of one`s eye, down an alley, on the other side of the street or space. The removal contributes to the relegation of the piece to just one among many tableaux played out on any given day. Our holding of the postures works well - sustaining a moment of mutual thought/intimacy, slow, as if making efforts not to walk out onto the platform, but also there is an element of the 'stranger' here. An awkwardness with the parting, Sylvie`s legs crossed, almost leaving but not quite - proxemically, a measurable distance between us suddenly closed in the, as if in second thought, hug. A lighter, less charged leaving in demeanor (the playful rock to the side) and feeling than in Station 1, which was more loaded. I would have liked this to have been surrounded by more people streaming through but maybe the quieter expanse enhances the shared moment.
The sound of a man`s voice in the background is interesting here. He mentions the dancers but it is not his impressions of us that interests me. What interests me is that he stopped to talk to Fiona while she was filming us. He was a little insistent and something (without being unkind) of a distraction while he kept talking through Fiona`s efforts to capture what was taking place. When
we finished that particular phrase of movement we talked and it became obvious that he was seeking contact, albeit with strangers but who might offer empathy and understanding in a time which for him personally, was challenging and difficult amidst the rush of impersonal crowds. Loneliness has its own poignancy, powerful
and by some, worn like an item of clothing for all to see. Pathos approached us from an unexpected direction here and our dancing was the catalyst for this meeting - projecting an intimacy and level of feeling that was out of reach for this person at that time.
Post a Comment