Borderless Bodies is a provocation I use not only to describe the perception of my bodies porosity of ‘presence’ and ‘affect’ in the dance between real time technology systems and their/my potential to transform the movement of my intuitive thoughts; as a continuous, complex, multidimensional synaesthitic gesture; AND at the same time BORDERLESS BODIES is intended to provoke a way of understanding the potential of dance as MASSIVE.
As massive and as slippery as an eel. As an itch gets under our skins, it can get in, enter sly ways through periphery doors of perception, sneak infectiously through gaps, through pores like spawn it mushrooms, mutate between bodies, through buildings and stages, super imposing other ways it molds time, operates on culture, in culture, a mirror with no edges prismatically, does not sit in the dark waiting, but perforates spaces, sheds light to make thought fit.
“If we were to look down upon ourselves from some other planetary perspective, we would see social political spaces as flows of information, networks and ecologies that cannot be contained behind borders.”
If we were to look down upon ourselves from some other planetary perspective, we would see that our social political spaces would not make much sense because we would see them as flows of information, networks and ecologies that cannot be contained behind borders… how we use technology, in a techno-scientifically driven world, would be to ensure that emotive, sensing, poetic experience still exists.1
Dancing is a complex transmission, that like our body is not contained within borders. Sensing the potential of the difference between bodies, people, culture, states, as we understand more about what moves our world and in turn what moves us to move; the affects and impacts of our choreographic scores, to make visible or to sense the invisible, the liminal, is a MASSIVE dance. And our bodies moving, thinking moving, become a hinge between experience and embodied future knowledge.
Antonio Damasio, a professor of neuroscience used a specific moment he experienced in the theatre that ‘performed’ (as dancers do) to further his thoughts on what it is to embody a moment in time to sense new knowledge.
“I have always been intrigued by the specific moment, as we sit waiting in the audience, the door to the stage opens and a performer steps into the light; or to take the other perspective, the moment when a performer who waits in semidarkness sees the same door open, revealing the lights, the stage, and the audience…” 2
…Years later he reflected on the ‘moving qualities of this moment’ and he realized that it came from. “Its embodiment of a passage through a threshold that separates a protected but limiting shelter from the possibility and risk of a world beyond and ahead.” And he sensed it as a powerful metaphor for consciousness.
- Hellen Sky 2006: Between Body and Cosmos Hellen Sky, Paul Bourke, Centre for Super Computing and Astrophyisics. Swinburne University Melbourne, Art Catalogue, Zendai Museum for Modern Art Shanghai. A. Ivanova, ed. Novamedia Art. Melbourne, Australia ↩
- Damasi. A. The feeling of what happens, body emotion and the making of consciousness page 3 Vintage, Random House, UK 2000 ↩