notes

This page is read only. You can view the source, but not change it. Ask your administrator if you think this is wrong.
===== Indirect communication =====

I find face to face conversation, especially in meetings so intense, it feels too concentrated, like trying to force too much water down a set of pipes knowing that some are going to bust under the pressure. 

I decided to put less energy into nodding, eye contact and agreeing in a meeting with the youth arts team at the hospital. It felt risky, I didn't want to do it too long in case they thought I was zoning out, but while I did it I felt more in the room.

Stood waiting for my cuppa to brew, sensing the psychic music being sent between the glass and the cup and the plastic chopping board, myself, the kitchen top and the grimy tiled wall.

Maybe these thoughts I'm making aren't self contained representations of ideas, complete in themselves - but mediums for me and others to work into and  communicate through, to capture thoughts and feelings that otherwise stray off the main channel of communication between eyes and mouths.

How do I make it so digital thought forms can be affected, pushed, pulled, twisted, ripped, stretched, moved and  distorted between people? 

Invisible ways of thinking, feeling and remembering are passing through us all the time. I need to stop worrying so much about how I cajole them towards other people, trying to control the situation with words and facial expressions.

The thing I'm making in ar are just a substrate to trace their movement.

Don't try to depict the thought as a unified object, describe how it manifests as distortions of various media, voice, surface pattern, video clip, 3d form, motion, material …

Learning from body work and embodied movement practices, but exploring to sense the psychic and emotional energy living between our bodies and the material fabric of rooms, especially those that stay close to walls, moving around small objects and those gliding through vast open spaces, as well as those that pass through our bodies.

Working with my frustration that while we can feel embodied and visible contact in communication through touch, or through the manipulation of physical materials, we can't have that same sense of contact with each others thoughts and feelings.  Wanting to touch or feel those difficult thoughts in the room. The ones I can't see because I repress, exclude, other or just aren't unaware enough to see.

We can talk about them but there is something about the underlying form of language and conversation that makes it so hard to describe complex non linear dynamic processes.

Using bodies and physical materials to represent formless, invisible things like thoughts. Using the negotiation around the composition and behaviour of thoughts as the point of contact.

The creation of the artwork is supposed to give you the opportunity to speak from different parts of your world, to bring small parts of places, people, things from your life, such as a way a friend narrows their eyes, an atmosphere created by wallpaper & lighting in the lounge of Holgate working mens club, the rhythm of dialogue in Seinfeld, the way the singer from Erasure moved his hips, and then to talk as that part, move as it, make a sound as it, communicate in some other way as it. Then to see how all these parts of our worlds communicate with and affect each other, most of the time without us even realising.

Use particle systems to map out the negative space between bodies, furniture, walls and psychological boundaries.

**Co creation process**
Telling the group which kinds of thoughts & feelings are in the space & asking them to explore through movement based activities where the energies, barriers, conflicts & blockages are in the situation.

Presenting a draft scene with thoughts moving, making sounds and showing things & using that to stimulate responses.