Through the Prism of the Senses , livre ebook

Intellect Books - Andrea Davidson , Enrico Pitozzi , Isabelle Choinière ,
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144 pages

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Description

Over the past decades, a fundamental epistemological shift has transformed notions of performativity and representation in the arts under the influence of new technologies. Mediation has challenged both spectators’ and performers’ conventions of corporeality, embodiment, cognition and perception. Centring on contemporary synaesthetic and multimodal works, Through the Prism of the Senses examines new theory and practice in body-based arts and contemporary performance. Three main chapters present three distinct strands of methodological enquiry, one from each author, creating a work that resonates with artistic and philosophical enquiry. This book is a vital contribution to discussions surrounding research creation and the body in relation to digital media, highlighting the ways in which new technologies confront the sensate, somatic body.

A French-language version is to be published by Presses de l'Université du Québec (ISBN 978-2-76055-148-0). This includes additional chapters in English by Erin Manning, David Howes, and Luc Vanier and Elizabeth Johnson. A Spanish-language version is to be published by Centro Editoral Universidad de Caldas.

Introduction

Chapter 1: The prism of perception. Corporeality between intermedial stages and environments – Enrico Pitozzi

Chapter 2: Seismographies of mediated bodies. A logic of creation – Isabelle Choinière

Chapter 3: The Mediated/Mediating Body – Andrea Davidson

Conclusion

Postface – Derrick de Kerckhove

Sujets

Arts visuels

Histoire des Arts

Histoire des arts visuels

Théâtre

ART

Digital

General

Dance

Graphic design

Politics

General officer

Performance art

Theatre

Performing Arts

Informations

Publié par	Intellect Books
Date de parution	13 janvier 2020
Nombre de lectures	0
EAN13	9781789380804
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,3600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2019 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2019 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright © 2019 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy editor: MPS Technologies
Cover designer: Aleksandra Szumlas
Cover photo: Image created in a collaborative artistic process between Isabelle Choinière ( chorégraphe et conceptrice-auteure en art médiatique [choreographer and media art designer-author]) and Stéphan Ballard ( infographiste et artiste média [computer graphics designer and media artist]). Performer: Alyson Wish
Production manager: Amy Rollason
Typesetting: Contentra Technologies
Print ISBN: 978-1-78938-079-8
ePDF ISBN: 978-1-78938-081-1
ePUB ISBN: 978-1-78938-080-4
Printed and bound by Short Run Press, UK.
To find out about all our publications, please visit
www.intellectbooks.com .
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This is a peer-reviewed publication.
Acknowledgements
Isabelle Choinière wishes to extend thanks to the Fonds de recherche du Québec—Société et Culture (FRQSC) for a postdoctoral fellowship in research-creation (2017–19) and the Programme Initiatives de la Faculté des arts (UQÀM)—Volet stagiaires postdoctoraux that allowed her to devote time to the research, writing, conception and direction of this book. She also wishes to thank Emmanuelle Lescouet, Emmanuelle Leduc (for the meticulous revision of the manuscript in French), Martyne Morin and collaborating colleague Enrico Pitozzi, along with special thanks to her postdoctoral supervisor Joanne Lalonde, for their constructive comments and feedback that contributed to enriching her research-creation process.
Additional thanks to the Università di Bologna, Dipartimento delle Arti—visive, performative, mediali (DARvipem), Figura—Centre de recherche sur le texte et l’imaginaire contemporain, ALN | NT2—Le Laboratoire de recherche sur les œuvres hypermédiatiques at Université du Québec à Montréal (UQÀM) and the Social Sciences and Humanities Research Council of Canada (SSHRC) Connection Program, for having contributed to make this publication possible.
Andrea Davidson wishes to extend thanks to the University of Chichester and Pierre Leroux.
Finally, the authors would like to thank all those who supported, assisted, inspired and believed in this collaborative and collective transdisciplinary research project, including the team at Intellect Books and especially Amy Rollason, who trusted in this journey of reflection and experimentation.
Contents
Note on the book’s internal system of references
Introduction: Through the prism of the senses
Isabelle Choinière, Enrico Pitozzi and Andrea Davidson
I. The state of art: The organization of thought in an analytical perspective
II. On the virtual: Corporal potentiality and corporeality
III. Technological devices
IV. Immersion: Multisensory environments
V. A logic of transformation
Chapter 1: The prism of perception: Corporeality between intermedial stages and environments
Enrico Pitozzi
I. In praise of spirals: Notes on a method
I.1. Fields of application: The mediated body and role of technology at the intersection of the arts
II. On corporeality
II.1. A reservoir of potentialities
II.2. The transition to action
III. The anatomy of particles: New forms of abstraction
III.1. Modelling technology: The principle of transduction
IV. Figurations
IV.1. The trace of the imaginary
IV.2. Extending the body in medial networks
IV.3. The architectural brain
IV.4. Bodysoundscape
IV.5. Choreographing cognition
V. New forms of corporeality: Emergent realities
VI. An archeology of sensations: Immersive environments
VI.1. Extending perception
VI.2. Inhabiting sensation
VI.3. Reorienting the senses
VII. Notes on the notion of immersion
VIII. Strategies: Silent transitions
VIII.1. A logic of transformation
Chapter 2: Seismographies of mediated bodies: A logic of creation
Isabelle Choinière
I. Complexity as a method of creation
I.1. The problem with conceiving of the body as an extension of the physical world
I.2. Experiential complexity: Integration of the somatic in creative processes with technology
I.3. Research approach: A practical-theoretical axis
I.3.1. Artistic, theoretical and methodological results
I.3.2. Goals of my research-creation
I.3.3. The collective body: A schematic description of the experimentation
I.4. Multiple intelligences: First founding principle of a method of complexity
I.4.1. Somatic intelligence: A corporal modality of experience and form of embodied knowledge
II. Points of articulation: Body/technology/the body-technology relationship
II.1. The somatic: An experiential study of corporeality (first axis of articulation)
II.1.1. The lived body: An embodied philosophy of becoming (second axis of articulation)
II.1.2. Nietzschean philosophy as a modality of discovery The loss of bearings as a foundation of the performative attitude
II.2. The ontology of the body: Contextual elements of change
II.2.1. Technology as an environment
II.2.2. Sensory-perceptual destabilization as a condition of ontological change Awareness of the body’s internal references in trans formation (third axis of articulation)
II.2.3. Contact with technology: A renewal of the ontology of the sensory linked to the ontology of the body
II.2.4. Lived technology as a co evolution (fourth axis of articulation)
II.2.5. The body as perceptual environment
II.3. Stages of the creative process
Invisible forces of the body as a principle of composition
II.3.1. Development of an aesthetic approach to interfaces
II.3.2. Sound: An aesthetic, intrasensorial and physiological strategy of a culture of flux
II.3.3. The three key elements of somatic education: Activation tools for the integrative process and principle of composition
II.3.3.1. Sensory emergence (fifth axis of articulation)
II.3.3.2. Self-organization of the body in a technological context
II.3.3.3. Augmented Rest as a first integrative principle
II.3.4. Elements of my method in the research-creation process
II.3.4.1. The importance of daily physical contact with technology during practical experimentation
II.3.4.2. Five stages of my method with the performers
II.3.5. Touch and Merleau-Ponty’s notion of ‘flesh’ in a technological era
II.3.5.1. An ontological relatedness of the body and world
II.3.5.2. Forms of invisible touch: Embodied access to a system of perception
II.3.5.3. Kinesthetic emergences
II.4. Activation of the carnal body: ‘Flesh’ as a phenomenal site and experiential modality of discovery through the experience of technology
III. A method of complexity: Other constitutive elements
III.1. A trans disciplinary structure for addressing complexity
III.2. The two operating axes of this method
III.3. A moving ecosystem of interaction: The interrelationship of embodied perception and embodied thinking
III.3.1. Embodied perception and the perception of the other through the somatic (sixth axis of articulation)
III.3.2. Interaction with theorists: An experimental space of resonance and empathy
IV. Towards a definition and experimentation of the collective body: An ontological shift of the body
IV.1. A dance of tactility as a general practical framework: Its radicalization as a specific practical application of the collective body and principles of composition
IV.2. Towards a methodology based on lived phenomenology as aform of reflexive practice
IV.2.1. Description and start of the integration of strategies of validation
IV.2.2. Processes and strategies of validation: Integration of the dancers’ and research-theorists’ accounts as members of the research team
IV.2.3. A process of synesthetic composition: Body spasms for the collective body
IV.2.4. Cannibalism as a radical integrative principle of embodiment of a different sensory reality
The embodiment of others
IV.2.4.1. Fieldwork as a trans disciplinary strategy of embodiment
IV.2.4.2. Processes of validation and synesthetic composition
IV.3. Metabolization as a seventh axis of articulation and perspective for the future
From collective intelligence to the collective body…
Chapter 3: The mediated/mediating body
Andrea Davidson
I. Context
II. Part 1: The body
II.1. Body/embodiment; inscription/incorporation
II.2. The animate body and kinesthesia
II.3. Somatics and somaesthetics
II.4. Corporeality in performance
II.5. Mediation
II.6. Situatedness: New alliances of artist, artwork, audience and critic/theorist
III. Part 2: Sōma and technē
III.1. Mediated/mediating bodies
III.2. Dramaturgy: The staging of perception and presence
III.3. The question of perspective
III.4. Embodied perspective
III.5. The device
IV. Part 3: Examples of works
IV.1. pH (1989), Dumb Type (multimedia performance)
IV.2. Body Paint—50 inch/Male/White (2015), exonemo (mixed media artwork: acrylic paint on LCD display, video imagery)
IV.3. Huang Yi & KUKA, A Duet of Human and Robot (2013–15), Huang Yi (robotic performance)
IV.4. Pixel (2014), Mourad Merzouki with Adrien M/Claire B (dance performance)
IV.5. Solo Date (2015), Tainaner Ensemble and Pao-Chang Tsai (dramatic performance)
IV.6. Ear on Arm (2015–), Stelarc (prosthetic art)
IV.7. In guise of a conclusion
Conclusion
Isabelle Choinière, Enrico Pitozzi and Andrea Davidson
I. Meeting points of embodied perception
II. A logic of the technical 226