THE 'STUFF’ OF LIFE: MATERIAL PLAY AND PERFORMANCE IN DIGITAL VIDEO CULTURES AND CONTEMPORARY ART PRACTICE

2020 ◽  
Author(s):  
Katherine Nolan
Keyword(s):  
Visual Culture ◽  
Digital Video ◽  
The Body ◽  
User Generated Content ◽  
Embodied Experience ◽  
Art Practice ◽  
Art Works ◽  
Sensory Qualities ◽  
And Performance ◽  
Material Form

Play and performance with materials and objects can be observed as a trope across digital video cultures. Forms such as slime making tutorials, prank stunts, ASMR and unboxing videos employ different forms of interaction that serve to emphasise material form and sensory qualities. Activities can include pouring viscous glue, crushing tin cans, exploding watermelons, nails tapping on plastic or sinking into sand. Sound, visual and material are employed to create a ‘haptic visuality’ (Marks, 2000) as an affective embodied experience. I will analyse these video cultures as presented in the algorithmic context of YouTube and its claim to user-generated content. Through a DIY culture aesthetic and frame, materials are represented as everyday: the 'stuff’ of life. I will unpack the mimetic representation of ‘reality’ through which these videos function, employing Cowie’s concept of ‘desire for the real’ and Auslander’s discussion of ‘liveness’ in a mediated society (Cowie, 2011; Auslander 1999). I will contextualise this discussion in wider visual culture, drawing parallels with historical and contemporary performance art works. In particular the online practices of David Henry Nobody Jr. and Jan Hakon Erikson, which use play with domestic materials, objects and food to provoke abject, sadistic and absurd voyeuristic pleasures. I will discuss how these works reveal, mobilise, parody and subvert such digital video cultures. In this way, I aim to trace and analyse how this sensory play with material works to ‘hook’ the body of the viewer as a means of harnessing affective labour within the digital economies.

Working manifesto/a for rovers

2021 ◽  
Vol 17 (3) ◽  
pp. 407-413 ◽  
Author(s):  
Jodi A. Patterson
Keyword(s):  
Art Education ◽  
Research Field ◽  
The Body ◽  
Educational Tool ◽  
Embodied Experience ◽  
Art Practice ◽  
Arts Based Research

This arts-based exploration offers potentiality and theory to the wider arts-based research field by expanding and naming embodied experience as it relates to mechanical means of transport. The author dubs such a practice of physically moving the body between vast and varied spaces to be a roving art practice. She offers modes of potential, a preliminary list of protocols to contextualize a rover’s manifesto/a and ways to use roving as an educational tool applicable to the field of art education.

scholarly journals Dancing dress: Experiencing and perceiving dress in movement

Scene ◽  
2014 ◽  
Vol 2 (1) ◽  
pp. 67-80
Author(s):  
Jessica Bugg
Keyword(s):  
Lived Experience ◽  
The Body ◽  
Theory And Practice ◽  
Contemporary Dance ◽  
Embodied Experience ◽  
Clothing Design ◽  
Physical Response ◽  
And Performance ◽  
Global Conference

Clothing design for dance is an area that has been little documented, particularly in relation to the experience and perception of the dancer. Contemporary dance and clothing can both be understood as fundamentally phenomenological and as such there is further potential to investigate the lived experience of wearing clothing in dance. This article approaches dress in the context of the moving and dancing body, and it aims to develop an understanding of the role of dress in dance by focusing on the sensory, embodied experience and perception of the performer. It addresses questions of how clothing is perceived in movement by the performer, how and if clothing’s design intention, materiality and form motivate physical response, and what conscious or unconscious cognitive processes may be at play in this interaction between the active body and clothing. The intention is to propose developed methods for designers across clothing disciplines to contribute in a meaningful way to the overall dance work. The article draws on an analysis of my practice-led research that employs embodied experience of dress to inform the design and development of clothing as communication and performance. The research has involved close collaboration with a dancer, analysis of recorded interviews, and visual documentation of design and movement. The research has produced data on the dancer’s experience and perception of garments in performance and this is discussed here in relation to writings on perception, performance, the body and cognition. The research is approached through theory and practice and draws on interviews, observation and lived experience. This article is developed from an earlier conference paper that investigated the role and developed potential of clothing in contemporary dance that was presented at the 4th Global Conference: Performance: Visual Aspects of Performance Practice, Inter-Disciplinary.Net, held in Oxford on 17–19 September 2013.

The Art and Flux of Telepathy 2.0 in Second Life

2011 ◽  
pp. 47-68
Author(s):  
Jacquelene Drinkall
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Performance Art ◽  
Virtual Worlds ◽  
Second Life ◽  
The Body ◽  
Art Practice ◽  
Western Front ◽  
And Performance

This chapter looks at contemporary art practice in Virtual Worlds, and the effervescence of new technologically mediated telepathies. Avatar Performance Art by Jeremy Owen Turner and Second Front have explored a variety of Second Life telepathies, and have quickly earnt the title of Virtual Fluxus. Second Front’s links to Western Front, Fluxus, Robert Filliou and the Eternal Network assist the continued internationalised new media and performance collaboration work with telepathy. As the body becomes obsolete, it develops new techlepathy1.

scholarly journals Treegazing. How Art and Meditation Connect Peripatetic Practices as a Form of Subtle Activism

2020 ◽  
pp. 231-244
Author(s):  
Heather Hesterman ◽  
Amanda Hawkey
Keyword(s):  
Public Space ◽  
Environmental Awareness ◽  
The Body ◽  
Green Spaces ◽  
Embodied Experience ◽  
Art Practice ◽  
Aesthetic Design ◽  
The Public ◽  
Collective Experience

Treegazing was a public walking event held in the Fitzroy Gardens, Melbourne as part of Melbourne Design Week 2020 inviting the public to lift their gaze, be mindful whilst acknowledging the garden’s aesthetic design and history. This walk created a temporary community of strangers who co-experienced the majestic arboreal canopies of trees and plants, reducing ‘plant blindness’ (Schussler & Wandersee, 1998). Acknowledging the importance of ‘what stories are told’ and ‘making-kin’ (Haraway, 2016), this article explores collaborative visions between yoga and meditation practitioner Amanda Hawkey and artist Heather Hesterman. Investigating the dualities of silence/sound, open/enclosed, empty/busy and built/green spaces as a series of experiences. The act of mindful walking aims to connect the body to green spaces; to provide an embodied experience of nature. How might fundamental practices, as humans walking individually and together in public space be potential acts of transformation, of mindfulness, and environmental awareness - even subtle activism? We argue that encouraging an engagement with nature via haptic and ocular modes of art practice and meditation may facilitate a deeper engagement with and/or increased appreciation for flora. Treegazing implicates the walkers to become part of a connective- fluidity that enacts the space not within as participants, witness nor viewers but offers a shared collective experience of both mobility and stillness with the landscape, a subtle activism that looks up and treads lightly to ‘conspire – with nature.’

scholarly journals instance: Soma-based multi-user interaction design for the telematic sonic arts

2021 ◽  
Vol 26 (3) ◽  
pp. 390-402
Author(s):  
Lucy Strauss ◽  
Kivanç Tatar ◽  
Sumalgy Nuro
Keyword(s):  
Interaction Design ◽  
Performing Arts ◽  
User Interaction ◽  
The Body ◽  
Digital Music ◽  
Network Interface ◽  
Embodied Experience ◽  
Iterative Design ◽  
Performance Space ◽  
And Performance

The telematic work instance is a performance for viola and dance that digitally connects performers in Vancouver and Cape Town. The network interface enables a violist and a dancer to simultaneously play multi-user digital music-dance instruments over the internet with music and dance. The composition, design and performance interaction of instance draw from acoustic multi-user instrument paradigms and music-dance interactions in the African performing arts to explore the idiosyncrasies of the telematic performance space. The iterative design process implements soma-based research methods to inspire sonic compositional material with the body and to explore the performers’ embodied experience of sonic aesthetics during their interaction.

Minimalist Aesthetics and the Imagined and Inhabited Interiority of Peter Eisenman’s Memorial to the Murdered Jews of Europe

IDEA JOURNAL ◽  
2012 ◽  
pp. 46-59
Author(s):  
Russell Rodrigo
Keyword(s):  
Social Construction ◽  
Vietnam Veterans ◽  
Emotional Engagement ◽  
Embodied Experience ◽  
Design Strategies ◽  
Vietnam Veterans Memorial ◽  
The Social ◽  
And Performance ◽  
Material Form ◽  
The Way

Since the dedication of Maya Lin’s Vietnam Veterans Memorial in 1982, minimalist design strategies have transformed the way in which public memorials, particularly those that deal with problematic pasts, have been conceived, constructed, managed and understood. Contemporary approaches stress the affective potential of memorial space, where physical and emotional engagement is as significant as symbolic and material form. This embodied and affective focus to memory-making is ultimately an expression of interiority, the social construction of the interior through embodied experience. This paper examines the imagined and inhabited interiority of Peter Eisenman’s Memorial to the Murdered Jews of Europe in the context of the effectiveness of the communicative aspects of minimalist design strategies employed in the Vietnam Veterans Memorial, as described in Jeffrey Karl Ochsner’s theory of ‘linking objects’. Intended meanings for the Memorial to the Murdered Jews of Europe as a place of remembrance, it is argued, are negated ultimately by the lack of signification within its design, the absence of ‘linking objects’. In contrast to the imagined interiority of the memorial, the inhabited interiority of the memorial it is argued, is predominantly one of play and performance rather than one of reflection and understanding.

Vibrations of the Body: Sounding Out a Way

2021 ◽  
Author(s):  
Angela G Joosse
Keyword(s):  
Computer Animation ◽  
Digital Video ◽  
The Body ◽  
Dynamic Processes ◽  
Creative Work ◽  
Embodied Experience ◽  
Primary Research ◽  
Working Through ◽  
Close Proximity ◽  
2D And 3D

Vibrations of the body: sounding out a way carves out a way to write in close proximity to creative work and embodied experience. The primary research examined in this paper is the group of four films and videos constructed by Angela Joosse during her Master's study. This body of work includes, Ear after ear (5 min. 16mm, 2D and 3D computer animation), City window (10 min. digital stills, digital video, computer annimation), 4C (7.5 min. digital video), and Shapes eat shapes (3 min. digital stills, computer animation). By working through an acoustic epistemology, this thesis proposes a means of including dynamic processes in writing and analysis. How might thinking, speaking and creating through metaphors of sound engender a more dynamic and embodied relation with being? Thinking through metaphors of sound necessarily includes elements of duration and modulation in time, as well as simultaneity and layering of disparate tones and textures.

Vibrations of the Body: Sounding Out a Way

2021 ◽  
Author(s):  
Angela G Joosse
Keyword(s):  
Computer Animation ◽  
Digital Video ◽  
The Body ◽  
Dynamic Processes ◽  
Creative Work ◽  
Embodied Experience ◽  
Primary Research ◽  
Working Through ◽  
Close Proximity ◽  
2D And 3D

Vibrations of the body: sounding out a way carves out a way to write in close proximity to creative work and embodied experience. The primary research examined in this paper is the group of four films and videos constructed by Angela Joosse during her Master's study. This body of work includes, Ear after ear (5 min. 16mm, 2D and 3D computer animation), City window (10 min. digital stills, digital video, computer annimation), 4C (7.5 min. digital video), and Shapes eat shapes (3 min. digital stills, computer animation). By working through an acoustic epistemology, this thesis proposes a means of including dynamic processes in writing and analysis. How might thinking, speaking and creating through metaphors of sound engender a more dynamic and embodied relation with being? Thinking through metaphors of sound necessarily includes elements of duration and modulation in time, as well as simultaneity and layering of disparate tones and textures.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

Hope and anxiety: The study of female embodied experience with assisted reproductive technology

2021 ◽  
Vol 7 (2) ◽  
pp. 138-170
Author(s):  
Chengpu Yu ◽  
Wanlin Li ◽  
Mingfen Deng
Keyword(s):  
Assisted Reproductive Technology ◽  
Social Factors ◽  
Cultural Context ◽  
Infertility Treatment ◽  
Reproductive Technology ◽  
The Body ◽  
Local Culture ◽  
Embodied Experience ◽  
Experiences Of Women ◽  
Infertile Patients

Assisted reproductive technology (ART) is hailed as “the holy grail” for infertile patients in the mainstream narrative. The existing studies have clearly demonstrated how external social factors shape how ART is to be used, but they ignore the recipients of the technologies, and especially the experiences of women. Based on an investigation conducted in Z hospital’s reproductive center, this article regards embodiment as the methodological orientation for integrating socio-cultural context with female embodied experience in order to show their bio-social entanglement. As fieldwork evidence indicates, ART in practice is far from simple “hope technology”; instead, it throws women into a paradoxical world in which hope and anxiety coexist. Embodied experience, hope, and anxiety are transmitted through the bodies of women, which reveals the inscription of social-cultural context and technical uncertainty on the female body and, meanwhile, women actively learn strategies by which to cope with the technical uncertainty and moral pressures from local culture (including healing the body, folk religion, etc.), so as to hold onto infertility treatment with hope.

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