INTERCONNECTION OF ELEMENTS OR SHARED CREATION PROCESS AMONG DISCIPLINES
According to Deleuze:
Everything has a story. Philosophy tells stories as well. Stories with concepts. Cinema tells stories with blocks of movements/duration. Painting invents entirely different types of blocks. These are neither blocks of concepts nor blocks of movements/duration, but blocks of lines/colours. Music invents other types of blocks, equally specific. Beside all this, science is no less creative. I don't really see oppositions between the sciences and the arts. (Kaufman & Heller (Eds.), 1998, p. 15)
A shared process of creation according to Deleuze is something that makes it possible for people from different fields to talk with one another. However, communication is possible because of these shared patterns in the work of individuals. He writes:
It is not that talk of creation took place – creation, to the contrary, is something very solitary – but it is in the name of my creation that I have something to say to someone. (Kaufman & Heller (Eds.), 1998, p. 16).
Having this in mind, a question of the interconnection of the elements from different disciplines rises assuming that if there is a similar pattern of thought becoming body in one discipline, it could find its place in another and that way enrich the process of creation. Deleuze also claims that because of the specifics of each discipline, philosophers inventing concepts, filmmakers – blocks of movements/duration, scientists – functions, an idea or a thought that rises in each of their minds is an idea that was born out of this or within this specifics (Kaufman & Heller (Eds.), 1998, p. 15). However, closing oneself only in the realm of arts, it is evident that apart from differences in the work specifics of different art forms, there are some overlappings.
In the words of Kandinsky, 'double sound - cold tension of the straight lines, warm tension of the curved lines, the rigid to the infinity, the flexible to the compact' (Goodman, 1976, p. 45).
It is true that many art fields interconnect with one another, roughly speaking, painting rises from playing with colour, shape and movement, cinema adds up light and sound, duration. Movement adds up the body. However, there is no doubt that at times we can hear a painting and see a dance in it or it dancing. As there is no doubt there are colour and shape in dance.
Preston-Dunlop, (1998, p. 121) writes:
The basic elements out of which movement design is made are
the curved and the straight line.
The elements occur overtly and geometrically
in the movement material of abstract spatial dances
as the content of the work.
They are used on individual bodies,
in group designs,
in counterpointed and random ensemble work.
They occur in gestures, in postures,
in motion and positions and floor patterns.
The patterns at times can appear or bloom with the use of the material in a slightly different manner. The sound recording of ferry's machinery has a strong sense of rhythmical repetition at times aligned and sometimes breaking in relation to the pace of changing drawings. The sound recording of a ferry from passenger's position could be called noise, or something completely familiar, something that we do not pay attention in the real-time, however, as a sound listened in physical movement lab could awaken certain senses in the body of a dancer. Burrows writes about habits: another approach, however, might be to try to render them visible again, enough that the meanings and feelings are rediscovered and what has been taken for granted is cherished (2010, p.7).
The last insight from the experiment is related to the Pareyson's theory of formativity that 'opposes the concept of art as form, in which the term "form" means organism, formed physicality with a life of its own, harmoniously balanced and governed by its own laws; and to the concept of expression it opposes that of production as forming action' (Eco, 1989, p. 158). The drawings and sounds (created/recorded in a certain manner) appear as stimuli maintaining their creation processes. In other words, as separate creations with a potential of rebirth in the body of a dancer, and therefore, become immediately mediated through the capacities of this realm. Even more, mediated through every single one of the bodies in its own way. This theory could beautifully reveal the merge of vulnerability and power of the body to the stimulus because of its individuality.
Another way of looking at this is the difference of responses to the same stimulation applying linguistic theories. Goodman in his book Languages of art: An approach to a theory of symbols (1976) includes the insights of anthropologist Ray L. Birdwhistell, according to whom:
Insofar as I have been able to determine, just as there are no universal words, sound complexes, which carry the same meaning the world over, there are no body motions, facial expressions or gestures which provoke identical responses the world over. A body can be bowed in grief, in humility, in laughter, or in readiness for aggression. A “smile” in one society portrays friendliness, in another embarrassment and, in still another, may contain a warning that, unless tension is reduced, hostility and attack will follow.* (1976, p. 49)
A clear difference between the participants is noticeable. While one's body was responding in a more inner movement with slightly visible impulses, the others were moving all their bodies, using lots of space and at times interacting with the projection itself. 'Each dancer’s imagination is different, inevitably there will be as many solutions as dancers. These solutions can be vastly different' (Kirsh et al. 2009, p. 192), and it might just be true that dancer's imagination during a rapid, unexpected stimulation can reveal itself more or even fully when without the presence of conscious. Can become material in the process of creation.
The word material is approached from a slightly different perspective by Burrows, however, his thought reveals the other corresponding aspect: a gap. He writes: another way of looking at it might be this: that ‘material’ is what happens in the gap between two movements. This puts the emphasis on composition, on the placing of two things in relation to each other‘ (2010, p. 6). In relation to the previous thought of the somehow unprepared body, a gap could be also approached not only as an essential aspect in the composition but also as a moment of complete vulnerability and nakedness of the movement. During the physical movement lab, moments of ease in the gap in between the two parts were captured and a sort of direct body – stimulation relation during the changing moments of the drawings, a pause, a gap in between the release of an impulse and the contemplation of it.
Further researches on the potential of disciplinary crossings are planned.