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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:
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 image presents a view of the Eastern end of the concourse space, including a cameo of myself filming as wallpaper. This is an emigmatic space, where people appear to disappear - a utilitarian exit space and conduit to the levels above.
In-life I have made use of a SL anomaly which, when you overlap a number of images and they are set to levels of transparency, as I have done, as you move around and past these images, they appear and disappear, flash and recede to create a moving pastiche. This one of the reasons why I have chosen to build, not a copy, but an assemblage of sensed imagery - I want to keep the building 'on the move' to correlate with our changing perceptions as we ourselves move through the real spaces - whether we are dancers or commuters.
The layers of imagery in this still creates for me the association of 'who has gone before'. Almost in a ghostlike sense, or a second dimension, the commuters, dancers or any other transient being who has moved through this space. This could also refer to the visitors through cyberspace who have viewed the work online as well as the original performance in the 'real non space' where it was filmed, and/or photographed.
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