Abstract
Title: Kin-aesthetic Space-making
The paper presents a cross-medial practice exchanging body movement and tectonic space. Working with a performative model of gesture, the practice takes up a dialogue with Jean-Francois Lyotard’s Gestus , discussing the work-of-art as a sensuously expressed ‘torsion’ of space/ time/ matter, producing its own space/ time/ matter. Erin Brannigan in Dancefilm uses the gesture-model as well, and points to a hybrid practice where dance and film work on each other. Likewise Shaun Gallagher’s How the Body Shapes the Mind forms part of the theoretical approach to motile kin-aesthetical forces of art-making, underlying this paper.
In my practice I work with body- and space gestures, interchanging through a ‘third’ material, featured on screens. The hybrid production includes animated 2 and 3D drawings, video sequences, and technological treatment constituted by movement of camera, light and diverse editing. Creating a mutable changing sensory surface, the modelling gestures draw attention to their actual occurring in space-time, articulating and transforming space-time configurations as well as their production of meaning.
Concurrently the practice questions presentation/ representation and creator/ spectator relations. Gesture-models call for an understanding of the work-of-art as creating affordance; affordance in the sense that effects generated between embodied-enactive perception and tangible appearance produce sensation of incipient movement or possibility of action, without actually undertaken these manifestations as you do in everyday life.
My work set up terms for kinaesthetically enacting, using everyday movements and related tectonic gestures as a kind of initial identifiable position. To trigger the sensation of ambiguously strangeness and familiarity, the modelling ‘torsion’ makes the motile components spill into and access each other. And, dancerly, produce configurations that stretch sensory capacity and imagination to explore constrains and special receptiveness of human and spatial bodies.
The paper presents a cross-medial practice exchanging body movement and tectonic space. Working with a performative model of gesture, the practice takes up a dialogue with Jean-Francois Lyotard’s Gestus , discussing the work-of-art as a sensuously expressed ‘torsion’ of space/ time/ matter, producing its own space/ time/ matter. Erin Brannigan in Dancefilm uses the gesture-model as well, and points to a hybrid practice where dance and film work on each other. Likewise Shaun Gallagher’s How the Body Shapes the Mind forms part of the theoretical approach to motile kin-aesthetical forces of art-making, underlying this paper.
In my practice I work with body- and space gestures, interchanging through a ‘third’ material, featured on screens. The hybrid production includes animated 2 and 3D drawings, video sequences, and technological treatment constituted by movement of camera, light and diverse editing. Creating a mutable changing sensory surface, the modelling gestures draw attention to their actual occurring in space-time, articulating and transforming space-time configurations as well as their production of meaning.
Concurrently the practice questions presentation/ representation and creator/ spectator relations. Gesture-models call for an understanding of the work-of-art as creating affordance; affordance in the sense that effects generated between embodied-enactive perception and tangible appearance produce sensation of incipient movement or possibility of action, without actually undertaken these manifestations as you do in everyday life.
My work set up terms for kinaesthetically enacting, using everyday movements and related tectonic gestures as a kind of initial identifiable position. To trigger the sensation of ambiguously strangeness and familiarity, the modelling ‘torsion’ makes the motile components spill into and access each other. And, dancerly, produce configurations that stretch sensory capacity and imagination to explore constrains and special receptiveness of human and spatial bodies.
| Translated title of the contribution | Kin-aesthetic Space-making |
|---|---|
| Original language | English |
| Publication date | 2016 |
| Number of pages | 1 |
| Publication status | Published - 2016 |
| Event | Body Space Object Memory Identity Symposium - C-DaRE and researchers in the Scool of Art and Design, Coventry Duration: 20 May 2016 → … |
Conference
| Conference | Body Space Object Memory Identity Symposium |
|---|---|
| Location | C-DaRE and researchers in the Scool of Art and Design |
| City | Coventry |
| Period | 20/05/2016 → … |
Artistic research
- No
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