Location: Porgy & Bess
Not getting absorbed in difference, not getting absorbed in otherness. Recognising ourselves as agents who, if they choose not to remain in the close confines of their disciplines, expand their perception, the spectrum they have at their disposal beyond these boundaries, in which they can move, can be. Which effects will we then unfold? What shows when material-discursive practices are not oriented along hierarchies, demarcations, and exclusion?
We entered into exploring the in-between of movement and moment, of taking a path and backpedalling, undisturbed attention, advance and repose.
A continuation of the statement “Video is political in the deepest personal sense”(Torcelli 1996), and a redefinition of alternative spaces. An invitation to expand one’s perception. To fathom realities. Perceiving the punctum. An effect, thus Roland Barthes (1981), that indicates an indescribable element. An element that irrates us, touches us and hints at the possibility of going far beyond association. Here we encounter the atopical, placelessness as the sign of a kind of positioning outside hegemonial thinking conditions.
Images, so Vilém Flusser (1989), “mostly point out something in space-time ‘out there’ which they are supposed to make conceivable to us as abstractions (as reductions of the four space-time dimensions to the two planar ones).” During contemplation, we can let our gaze wander, moving with our intention in connotative symbol complexes, establishing relationships, breaking up before and after. A meaning forms in which linearity no longer plays a part, the logic of cause and effect is suspended. They make the world imaginable, their character is magical. Linear writing further promotes abstraction and corresponds with representational thinking, and therefore with a different consciousness. In this way the past can be deciphered as a long struggle between image and text, magic and term.
Further themes emerged.
Walking, we connect ourselves with the experience of 5 million years of upright walk. We can sense our outside and inside, feel that which we are used to calling identity, in a different manner through the conscious perception of our body in motion. A common space of walking and thinking developed. A caleidoscope of connotations opened up. By allowing ambiguity and complexity, a mode unfolded which, in opposition to that which separates, put the focus via phenomena on relations.
Through movement, we perceive space and at the same time we shape it. In walking, in thinking. By moving through them, says Michel de Certeau, we create spaces. In reflecting about the talking of steps trailing away, he presents the play of steps as the shaping of spaces. “Whereas in the active-passive commonsense model, time and space are located as stable signifiers into which the body enters, within a relational space and time are qualitatively transformed by the movement of the body. The body does not move into space and time, it creates space and time: there is no space and time before movement” (Manning 2007, xiii), so Erin Manning.
Sakina Teyna, Singer
Composer, pianist and performance artist.
Works in the fields of intermedia, installation, electronic music, net.art, radio art, video and artistic photography.