By Susan Kozel
In nearer, Susan Kozel attracts on concert perform, electronic applied sciences, and the philosophical procedure of phenomenology. knowledgeable in dance and philosophy, Kozel locations the human physique on the middle of explorations of interactive interfaces, responsive structures, and affective computing, asking what will be came across as we develop into toward our computers—as they develop into extensions of our methods of considering, relocating, and touching.
Performance, Kozel argues, can act as a catalyst for realizing wider social and cultural makes use of of electronic expertise. Taking this one step additional, performative acts of sharing the physique via our electronic units foster a collaborative building of latest actual states, degrees of awake expertise, or even ethics. We reencounter ourselves and others via our interactive computers. 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 system, in accordance with a appreciate for lived adventure, starts off through hearing the senses and noting insights that arrive in the course of dance, or effortlessly in the course of existence. the combo of functionality and phenomenology provided through nearer yields entwinements among event and mirrored image that make clear, problematize, or restructure scholarly methods to human our bodies utilizing electronic technologies.
After outlining her method and technique and clarifying the main innovations of functionality, applied sciences, and virtuality, Kozel applies phenomenological option to the adventure of designing and appearing in a variety of computational structures: telematics, movement catch, responsive architectures, and wearable computing.
The transformative power of the alchemy among our bodies and applied sciences is the basis 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 resources for Closer: Performance, Technologies, Phenomenology
Connective tissue has proven to be a highly provocative living substance and poetic device providing physical, social, systemic, and philosophical relevance to the consideration of lived experience. Additionally it offers insight into the functioning of networks, relevant to human-to-human and computer-mediated human communication. Connective tissue spreads throughout the body in a three-dimensional web without interruption, from head to foot. It surrounds and infuses all our organs and bones, down to the cellular level.
As Valéry states, “To regain control of ourselves in the midst of the moving bodies, the circulation of their contours, the jumble of knots, the paths, the falls, the whirlpools, the confusion of velocities, we must have recourse to our grand capacity for forgetting” (cited in Crary 2 003 , 299). ” Citing Jean Lescure to elaborate his point, he writes, “Knowing must therefore be accompanied by an equal capacity to forget knowing. Non-knowing is not a form of ignorance but a difﬁcult transcendence of knowledge.
This approach derives from an earlier project in which I developed a phenomenology of dance (Kozel 1994 ). Unexpectedly, the attempt to give voice to the lived experience of dancing bodies moving in space and time resulted in assembling a set of concepts that can shed light on the experience of the body engaged with technologies. In systems-design parlance, the extrapolation of Merleau-Ponty’s late philosophy for dance offers conceptual affordances for understanding wider existential, social, and ontological implications of bodies living and working with responsive technological systems.