By Susan Kozel
In nearer, Susan Kozel attracts on concert perform, electronic applied sciences, and the philosophical technique of phenomenology. informed in dance and philosophy, Kozel locations the human physique on the middle of explorations of interactive interfaces, responsive structures, and affective computing, asking what might be came across as we turn into in the direction of our computers—as they turn into extensions of our methods of pondering, relocating, and touching.
Performance, Kozel argues, can act as a catalyst for knowing wider social and cultural makes use of of electronic expertise. 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 unsleeping wisdom, or even ethics. We reencounter ourselves and others via our interactive desktops. What we want now are conceptual and methodological frameworks to mirror this.
Kozel bargains a well timed transforming of the phenomenology of French thinker Maurice Merleau-Ponty. this technique, according to a appreciate for lived adventure, starts by way of hearing the senses and noting insights that arrive in the middle of dance, or with ease in the course of lifestyles. the combo of functionality and phenomenology provided by means of nearer yields entwinements among event and mirrored image that make clear, problematize, or restructure scholarly ways to human our bodies utilizing electronic technologies.
After outlining her strategy and method and clarifying the major strategies of functionality, applied sciences, and virtuality, Kozel applies phenomenological approach to the adventure of designing and acting in various computational structures: telematics, movement catch, responsive architectures, and wearable computing.
The transformative strength of the alchemy among our bodies and applied sciences is the root 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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Extra info for Closer: Performance, Technologies, Phenomenology
Important implications regarding language and rationality cannot be avoided, such as whether, in attempting to reach this loosely integrated experiential state, we are assuming that we reach a pre-rational or even pre-linguistic zone; and, if so, whether we can possibly reconcile reaching this zone through a philosophical and fundamentally rational process, which generally unfolds through language. 2 . The understanding of phenomenology crafted in this book proposes that the goal cannot be to reveal fully, or to dwell, in any stable way within a primordial, pre-linguistic, pre-conceptual state.
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. As I continued to make art, think, and teach, sensitive to the tremendous changes in the world, an expansion of phenomenology became for me, as it was for Husserl, an “unavoidable necessity,” and a creative and political imperative.
Our bodies extend beyond ourselves through the operation of our senses and as such the boundary of the body, skin, is not a boundary at all. We are porous beings, and we are a part of ﬂesh as well as being ﬂesh. “All ﬂesh, even that of the world, radiates beyond itself” (Merleau-Ponty 1 9 6 4a , 1 8 6 ). Flesh is a notoriously difﬁcult concept to pin down in Merleau-Ponty; it slides into the discussion in different guises. 6 34 mind, is not substance. ). , 1 47 ). In other words, ﬂesh is pre-dualistic.