[-empyre-] hyperpresence...

[Gianni]

Interesting points. Thank you. Brings to mind the sort of 'presence' that is aimed for in Buddhist meditation practice where the focus is on the breath. At times you can notice which lung - left or right - is the dominant one. 
It's about noticing minute changes. 

Gianni
gana at iinet.net.au

On 13/10/2011, at 4:19 AM, claudia robles <post at claudearobles.de> wrote:

> reading Gordana’s notes, I found so many thoughts and questions close to my own, that I decided to pick some of them and continue thinking on that…
>  
> ‘the reflection and expended consciousness through movement.’’
> 
> YES!!!   That’s exactly what I found in Butoh… and it also is what I have been           working/researching/thinking in the last time:
>  
> during our workday, we don’t perceive our body, much less its physiological signals (such as heartbeat, brainwaves, etc…   ); normally we don’t hear our heartbeat, or the blood flowing through our body…
>  
> how to push the audience to a deep mental state so that they can experience a type of hyper-presence such as the one that can be experienced during Butoh performance, or in a "shamanic ritual’  … 
> 
> (with regard to Gordana’s question: ‘’ ritual? Does it have the capacity to be developed into a contemporary, digital           technology enabled ritual? Can it provide us with complex experiences that ritual enables?’’
>   
> 
> 
> In my piece INsideOUT e.g, I try to adopte different mental states during the performance, (a kind of trance) and I have my own personal way to get there…   the point for me now is how I can achieve that, in order that the audience perceives that type of experience too… how can I, as an artist, push the audience to experience, their own bodies and the environment during such a performance  
>  
>   
> A shamanic ritual…  I am still thinking about it…
> 
>  
> During a workshop, is feasible to induce participants to this hyperpresence through butoh and other techniques like slow motion, stillness or hyperventilation (just to mention some of them) but I still consider a problem to achieve this during an interactive installation or during a theater/dance piece for example.  In the interactive installations case e.g, even if the space is created to produce feedback with the visitors…  the visitors are normally not so active or participative as desired.. . I am not really sure if the visitors really take enough time during the exhibition to be involved in the situation…
>  
> People are normally in stress, they visit the exhibitions in a rush, hectic…  do they really change their           rhythm when they come to an interactive installation??  Or do they just try to understand how the interaction works and then they go away…??   Do people really take the time?? Do they really reduce the speed of their own rhythm when they come in?
>    
> I am curious about Gordana’s experience           with the visitors of her work..
> 
>  “based on the computational model of the function of the human immune system designed to induce meditative, contemplative experience….’’  …
>   
> best,
> 
> Claudia
> 
> 
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