Taiteellisen tutkimukseni kohteena on ollut kehollinen toisin toimiminen julkisissa tiloissa. Olen havainnoinut tanssin ja kosketuksen aiheuttamia muutoksia julkisissa tiloissa sekä tilan kokemuksen muovautumista tanssivassa kehossa.
Koronaepidemia on vaikuttanut olennaisesti tutkimuskysymyksiini sekä käyttämiini tutkimusmenetelmiin, sillä toisten kanssa fyysisesti kosketuksissa oleminen on tänä vuonna tuntunut äärimmäisen tärkeältä, mutta myös radikaalilta teolta.
This exposition explores the backround noise as aesthetic periphery. My attempt is to define my subjective experience about what I consider as peripheral frequencies and how do they affect the formation of aesthetic experiences.
Even if this brief historical outline of perception is structured chronologically as far as possible, it is difficult to describe the variety of parallel events. This overview, therefore, makes no claim to completeness. It demonstrates that after the establishment of technical aids for the expansion of human perception, phases of an intensive exchange of information begin. This allows existing structures to be viewed and reflected on in a new way. But this does not mean the end of the world in any way. Only the end of an outdated worldview. And that means a new beginning.
Tree Encounters – artistic dialogues of human and non-human bodies / #Berlin Series –
is the title of an Artistic Research project around the development of special movement forms of the body in suspension. The focus lies on the mutual interdependencies with nature/ the trees (in the urban sourrounding of this specific Berlin Series). In contrast to traditional movement concepts, especially in the classical aerial acrobatics, where an objectified body has cognitively been forced in 'preplanned' forms – in this work the Physical-Intuitive, the body-immanent knowledge is assigned more agency and a leading role. The practical artistic research is documented in this exposition mainly by video.
NON-BREAKING SPACE is a dance movie revealing the vulnerability of creation process to its context when questioning the nature of movement and looking at choreography through a zoomed-out lens. Thirteen minutes lasting continuous floating in sound, colour, shape and time starts with an impulse of a meandering line through drawing and of a floating thought through text imposing the interconnectedness and shared choreographic characteristics. The movie continues with moving mass, however, maintaining a distanced look towards movement.
This is the seventh appendix to my doctoral thesis: Material Words for Voicing Dancers. The thesis stems from practice-led research that has investigated the role of voicing (both linguistic and non-linguistic sound) in improvisatory dance-based performance practices. My research is rooted in the pedagogies of three independent practitioners — Ruth Zaporah (US), Julyen Hamilton (UK/ES) and Billie Hanne (BE) — which took place intermittently between 2012 and 2017 in Spain, Belgium and the UK. Reference is made to pedagogical processes and Instant Composition performance practice, as well as the my own artistic performance experiments and outcomes, to draw out the figure of a voicing dancer. The analysis considers: 1) how a dancer might ‘access’ feeling for voicing, taking a somatically-oriented approach that also utilises my experience as a practitioner of the Feldenkrais Method; 2) how voicing can be ‘arranged’ in a compositional environment with objects; 3) how voicing is amplified for performance in an enlivened acoustic space drawing on theatre aurality. Working through these stages (‘accessing’, ‘arranging’ and ‘amplifying’) aims to discern and differentiate the way voicing and dancing can be considered a potentially unified but situated act, as well as offer an analytical model for researching such practices. I argue that to describe such practice in terms of ‘embodied voice’ is limited and I use Tim Ingold’s relational ontology, and particularly his notion of ‘ensoundedness’, as a foundation for expanding the terms of engagement. I suggest that ‘voicing-and-listening’ can more fully account for how voicing(s) are produced by dancers in a studio and performance environment. Reference is made to my own artistic performance experiments and outcomes that have attempted to extend the research. The performance documents that stem from this are housed in this digital appendix.