October 9, 2009

walking 025

 

Researching for the essay and trying to get down out the outline this week. Find the ideas behind the subject area I’ve chosen are very exciting, but pinning them down in to a coherent discourse is a slow process.

Have been thinking about the link between the interface of surface, body and embodiment. How when walking you can feel absorbed in to that landscape.

 

 

‘As interface, the skin is obsolete. The significance of the cyber may well reside in the act of the body shedding its skin.’  Stelarc quoted in ‘Natural Born Cyborgs.’ Andy Clark

 

Reviewing and curating the weblog I came across one or two entries where I feel I haven’t been clear enough about the relevance of the content.

The 1st is around the work of choreographer Rosemary Butcher.

Butcher’s work became relevant because she bridges the line between dance and visual arts. Also she was one of the 1st UK choreographers to start using everyday movements to create works. Her work is grounded in the ordinary and banal, everyday movements… walking, running, standing,

 

‘….and the body’s physical relationship to contexts, environments and other objects.’

‘A ‘Conventional Subversive’.’ Josephine Leask: ‘Rosemary Butcher : Choreography, Collisions and Collaborations. ‘  Middlesex University Press 2005( P154)

 

With ‘Undercurrent’  the relevance was the change in the body when suspended in water.

 

‘The water and the trampoline were both what I call ‘interventions’. Their impact upon the movement was not caused by human decision, but by the nature of something else happening.’ 

 

Rosemary Butcher in ‘Rosemary Butcher: Choreography, Collisions and Collaborations.’ Middlesex University Press 2005

 

 

 Another entry I wanted to review was about the example of the traditional Japanese paper making process. The relevance was the level of embodiment involved in this process. In contrast to the level or kind of embodiment experienced using a mouse and keyboard.

January 16, 2009

 

It has got around to Friday with sickening speed.

 

This week it proved harder than I had hoped to get the research done for the blog.

 

Spent this week  looking at the work of Bill Viola as a starting point and  beginning to  read ‘The Art of Bill Viola’ Edited by Chris Towsend, Thames and Hudson 2004.

 

Viola’s ‘Five Angels For The Millennium’

 

http://uk.youtube.com/watch?v=YihTmDYfGqA&feature=related

 

 

 

Was useful to compare with Rosemary Butcher’s 2000/1 piece ‘Undercurrent’ .

 

http://uk.youtube.com/watch?v=tZCQbAzUYv8

 

 

And Butcher’s 1983 ‘Imprints’.

 

http://uk.youtube.com/watch?v=thncHcVK2WQ&feature=related

 

 

 The differences in approach and out come in these two pieces provided a frame work in which to begin to question myself over my expectations for out come of the final piece for MADA.

 

The sound track for Butcher’s ‘Undercurrent’ was created by Dr. Cathy Lane of the  University of the Arts London.

 

http://www.lcc.arts.ac.uk/coursework/sound_arts/frameset_staff_inner.htm

 

 

 

 

 

 

 

 

 

 

U2 W8

June 11, 2008

I am breaking away from Jonathan’s required format for the reflection for this entry as there are a great many thoughts and ideas that have been generated from Monday’s online chat and contextualization  which I want to jot down to make a reference for future enquiries.

 

I find the voice log difficult which I expected in terms of combining visuals with sound and also having the confidence to speak in front of others.

 

The process has made me aware of the shift in expectations of artists since I was at college. We were not expected to engage verbally. So this section is turning in to  a learning curve in what I am begining to think of as  ‘finding a voice.’

 

The chat on Monday was interesting and stimulating. 

 

A question that arose from it  was why dance? Why did I use that as a reference?

The easy answer that i gave was that the body awareness that I have comes from some dance practice and that practice informed me of my choices as an artist. 

 

To take that further, choreographers such as Butcher use the body as a tool in an interdisciplinary way cutting across what is traditionally thought of as dance or fine art and blur the definition or are in the process of creating a new one. 

 

This is a similar or possible parallel  development which is ongoing in our lives today as we become more reliant on the virtual world and technology.

 

This development in technology allows for a new development in ourselves.

 

This marks a shift in my own perceptions since starting this MA.

 

That what is occurring is not an  erosion but change.

 

In an attempt to try to understand this further I  plan to use previously booked sessions at the local community center and dance City Newcastle, to start photographing and video-ing body movement.

 

I began with this small video incorporating photographic stills of static feet that I took at the beginning of the week.

 

 

A reference put forward by Jonathan on Monday was for the dance company Troika Ranch.

 

http://www.troikaranch.org/

 

In their piece ‘Yearbody’ Troika Ranch use 365 stills from a dance. The treatment of the stills showing them for 1/10 seconds has meant that the connecting movements are lost yet the dance remains.

 

http://www.troikaranch.org/yearbodyanim.html

 

 

 

 

u2 w7

June 7, 2008