• Method : Notations of Spatial Experience

       By considering the space around the space, I come to consider the ecologies of spatial experience - the relationships between our senses as they process information; the relationship between the spectator and the space.  These drawings I create to describe my speculation and understanding of the ecological spatial information form these Notations of Spatial Experience.  

In considering the ecologies of the Scenography, questions arise about what kinds of information, how much  information and what modes of delivery  are required to allow the spectator to navigate  the spatial experience as parametered by me the Scenographer.  I aim to encourage the formulation of questions and curiosities within the spectato, to guide them to become sensitive and aware to the space and them selves. An example of the investigation of this approach are in the next segment Citing Kandinsky : Notation Experiment


The method is supported and informed by feedback sessions with my spectators.  

It is a task at this time to begin to consider the notations through time, similarly to how a traditional or conventional musical stave would measure time, I ask, how can I measure time through experience of a space?  Is there a rhythm? Can the spectator thereafter ‘read’ the space through the notations?  What are the boundaries - the limits?  Of the experience, of the space?  How do the elements of an experience - light, sound, movement, trigger-point - inform, influence or deter from each other?  Is there resistance in the relationship, in the experience? It is to consider the rhythm of the experience.

As Dewey mentions - 

"All interactions that effect stability and order in the whirling flux of change are rhythms.  There is ebb and flow, stysole ad distole: ordered change.  The latter moves within bounds.  To overpass the limits that are set as destruction and death, out of which, however, new rhythms are built up.  The proportionate interception of changes establishes an order that is spatially, not merely temporally patterned: like the waves of the sea, the ripples of sand where waves have flowed back and forth, the fleecy struggle and achievement, of adjustment after consummated irregularity, form the drama in which action, feeling and meaning are one.  The outcome is balance and counter-balance.  These are not static or mechanical.  They express power that is intense because measured through overcoming resistance.  Environing objects avail and counteravail." (Art as Experience, 1958) 


By using circle and line, I describe how the elements of a Scenographic work inform and influence each other.  I am experimenting to use this method as a language with my spectator that they may use the notation to explore a space.  It is also documentation of my works. 
Somehow, I come to consider the notation like a language. 


In reading Margit Brunner's book 'Constructing Atmospheres', I notice that she too dances with the ecologies of experience.  She takes quite a philosophical approach in her research.  When considering my own notations, I relate when she writes, with reference to Dutch modern self & universe philosopher Baruch Spinoza - 


"An atmospheric language can evolve only from moving between concept and practice, that is, constantly being in the gap that opens up in the communication of both and in relation to each other...  the language makes its own moves forwards and backwards within the confines of specifying categories, such as 'inwardly' or 'outwardly', and a variety of atmospheric terms.  To be more specific, to speak of a 'Spinozist mind' is a consequence of indicating three things at once: firstly, a starting point towards an unknown experience of being atmospheres (the passionate practictioner or intending Spinozist); secondly, the mind's required attitudes to activate atmospheric capacity, (active practicioner or exercising Spinozist) and; thirdly, the experience of having tapped into this state of atmospheres, the mind is in possession of its atmospheric capacity (atmospheres or the Spinozist mind" (Constructing Atmospheres, 2015)

Below,the boundary of the space within which the experience is notated, is represented by the black line around the notations.  The colours and shapes are the elements within the experience, influencing, overlapping and relating with eachother.  The idea is that these are captured moments in time.

• 'Curious' space

Relates to:
• 'Reflective' space 

• 'Approaching' space

• 'Sleepless' space

as in 'Immaterial Investigation : DarkLight

Relates to: 
• 'Restless' space 

• 'Unstable' space

• 'Merging' space
as in Transition Space

• 'Chaotic' Space

• 'Bubbling' space
As in IBB : Enquiring Aural Sensitivity and Empowering the Spectator 


Relates to:                              
• 'Dizzying' space                  and • 'Conversational' space

• 'Expanding' space

as in Culemborg: Station DeJa Vu

Relates to:

• 'Insecure' space