Closer: Performance, Technologies, Phenomenology by Susan Kozel

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By Susan Kozel

In nearer, Susan Kozel attracts on concert perform, electronic applied sciences, and the philosophical procedure of phenomenology. informed in dance and philosophy, Kozel areas the human physique on the heart of explorations of interactive interfaces, responsive structures, and affective computing, asking what may be came across as we turn into in the direction of our computers—as they turn into extensions of our methods of considering, relocating, and touching.

Performance, Kozel argues, can act as a catalyst for figuring out wider social and cultural makes use of of electronic know-how. Taking this one step extra, performative acts of sharing the physique via our electronic units foster a collaborative building of latest actual states, degrees of awake understanding, or even ethics. We reencounter ourselves and others via our interactive computers. What we want now are conceptual and methodological frameworks to mirror this.

Kozel deals a well timed remodeling of the phenomenology of French thinker Maurice Merleau-Ponty. this system, in accordance with a admire for lived event, starts off by way of hearing the senses and noting insights that arrive in the middle of dance, or effortlessly in the middle of lifestyles. the mix of functionality and phenomenology provided by way of nearer yields entwinements among event and mirrored image that make clear, problematize, or restructure scholarly techniques to human our bodies utilizing electronic technologies.

After outlining her technique and method and clarifying the foremost options of functionality, applied sciences, and virtuality, Kozel applies phenomenological technique to the adventure of designing and appearing in a number of computational platforms: telematics, movement seize, responsive architectures, and wearable computing.

The transformative strength of the alchemy among our bodies and applied sciences is the basis of nearer. With cautious layout, destiny generations of responsive platforms and cellular units can extend our social, actual, and emotional exchanges.

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Hardly a language, more a matrix of shifting patterns, consolidating and compressing meaning in fractions of a second, and blending it inseparably with its distinctive emotional hue, which itself is rather like a colour. A sickly yellow. Even with a poet’s gift of compression, it could take hundreds of words and many minutes to describe” (2 0 0 6 , 8 1 ). ” Kearney, writing on Merleau-Ponty, qualifies this belonging to the world at the basis of phenomenological intentionality as not just primordial but as mysterious: the body is “a mysterious and expressive mode of belonging to the world through our perceptions, gestures, sexuality and speech.

T. collective used a range of devices and projections. What was lacking were methodological precedents. I was less concerned with formal, historical, or critical accounts of what previous artists did than I was with the implications for corporeality, intersubjectivity, and ethics, the transformations of time, space, and motion as understood through the flesh of the experience. This was not always documented. In true chiasmic fashion, I let Merleau-Ponty’s thought go and it rebounded on me, with the alluring twist of the Mobius strip.

On a more challenging level, the bracketing of existing conceptions of the world brings us face to face with the ill-defined zone of the pre-conceptual, or pre-reflective: phenomenology attempts to make explicit what is implicit in our day-to-day life (Critchley 2 0 02 a , 7). Obviously there is a logical problem in trying to use reflective practices to obtain access to the pre-reflective, but this is what phenomenology is all about. The tensions are clear and need to be stated up front: Can a process of thought reveal the pre-thought?

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