Bodies in Motion: Dis-place-ment, or Multiple Senses of Place-Making
Mimesis, Alterity, and an Expanded Notion of Self
Amanda Concha-Holmes (University of Florida)
Mimesis or the idea of sameness through replication and alterity or the notion of difference or otherness interrogate boundaries of the self. In ensemble contact improvisation, the notion of the self becomes understood as a dynamic and emergent register through breath, response patterns, and tactile listening that allows embodied movers to follow the unknown and build a world of remarkable synchronicity among joined minds, bodies and places. This presentation explores the world becoming a world at those precise moments of sensory communication that bonds, interprets and acts upon somatic information, creating a sense of emplacement.
Response-Ability Requires Building New Attentional Tools
Nita Little & Katherine Cook (Institute for the Study of Somatic Communication)
Fascia, Looking at Space Inbetween: Practice-Based Research in Movement
Kerstin Kussmaul (University of Auckland)
Fascia is tangible, concrete and narrates a story about relationship – how we interact and sense the space and the world around us.
Mechanical Models, Bio-Tensegrity Models and Displacement: How Models Matter
Kevin O’Connor (UC Davis)
Just as scientists are “continually reconfigured by their instruments and data within responsive media,” (Myers and Dumit 2011), dancers are reconfigured by the way they imagine their anatomy, called ideokinesis, which determines their responsivity within ensemble organizations. As a dance researcher, I investigate displacement in the realm of the affective entanglements that transpire from shaping and being shaped by emerging scientific models of the body (Dumit and O-Connor 2016). This research examines how models shape a dancers’ experiences of attentional practices within ensemble dance making.
Mastery and a Distribution of Displacements: Perspectives and the Exemplar
William F. Stafford Jr. (UC Berkeley)
This video tracks the perspectives of three practitioners of Xing Yi as taught in the Yizong school of Chinese internal arts, on a demonstration of the first of five line forms, performed by Luo Dexiu, head of the Yizong school. How does an exemplar gather and distribute perspectives of those seeking to develop a skill through imitation? What is the relationship among perspectives on the same exemplar? How do we understand the fact and figuration of repetition? Offered here is an attempt to address these questions, as well as its own perspective on the exemplar.
Practicing with Attention as Research: Dancing with Concepts
Joe Dumit (UC Davis)
Discussion of the presentations for the panel. Exploring the ideas that any practice is a specific type of attention. Practicing is not just doing something, but all doings are also attendings, and as practing changes us, each practice is a way of becoming, developing, and therefore each practicing is forming a life, each is its own form of life, and its own way of worlding.
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