Performance-Research

“Expression Corporelle” – genevieve leloup
“a science experiment embodiment dance; a questioning, or the advancement of hypotheses resting on data, empirical and embodied, further explored using the sensing intuitive responsive body.” – k la spruce

 

Participatory Performance-Research: And Maybe, In the End, My Intuition Does Not Even Belong To Me.
In And Maybe In the End... I investigate intuition through personal, scientific and philosophical lenses, presented in the language of improvisational dance, woven with data, quotes and open questions. Created for audiences of five or fewer, after each performance, research is conducted with individual audience members.

 
With this research I am interested in what learning: how to better interpret, to understand implicit information/intuition with greater nuance. In learning more about the information that is expressed or carried on without words or speech, what can be learned about human experience and sense-making?

Through phenomenologically based interviews, we “…explore human experience…we investigate conscious activity in so far as it perceives itself unfolding…at once habitual and pre-reflective. (Varela, Depraz, Vermersch.) What does the audience experience in their chest during performance? What are the sensations present as they take in this information about intuition? What do they experience in their gut as this improvised dance unfolds?

Rather than asking participants to fill out forms or to tell a story of what they remember, these interviews seek to bring the interviewee back, to re-live a specific moment, several times – in order to cull out traces of sensation, in order to find what knowledge is reachable.

In doing this type of performance-research a reciprocity exists with the audience: paying-attention and being-paid-attention-to; those interviewed are afforded a new perspective on their own way of being in the world. Too, “the style and values of the research community itself” are transformed (Varela.) The project pushes the notion of how art practice might relate to rigorous research, expanding ideas of appropriate terrain for learning. AND – if lucky – an ounce more of light may be shed on understanding implicit knowledge and human experience in general.

At further stages, this methodology aims to relate to scientific third person research in a looping back and forth; that one might inform the other in a pragmatic manner. That is, my hope is that these interviews might function as a spring board for scientific collaborations in such areas as Microbiome study, cognitive science, cardiology or neuroscience.

Interview documentation – forthcoming.
Studio Movement Work – Video.

 

 

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