ECOLOGIES OF MEDIA, ECOLOGIES OF MINDTOWARDS A DIALECTICS OF EMBODIMENT

Dr Christophe Collard

Corps en scène: l’acteur face aux écrans [prise 2]Université Sorbonne Nouvelle – Paris III (FR)3-5 June 2015

23-10-2022 1Herhaling titel van presentatie

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(MOTTO)

“Those are the machines and you are coming out of the machine.”

(John Jesurun, Deep Sleep)

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JOHN JESURUN (°1951)

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“Let the audience be the camera”

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DUKE ELLINGTON (1899-1974)

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“I have always considered my music as being beyond categories”

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BONNIE MARRANCA (1996)

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Organicist conception of contemporary theatre that “inquires into the relationship of mind and spirit” via aegis of performers’ biological ‘liveness’

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GREGORY BATESON (1972/1987)

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‘ecology of mind’

Alternative way of thinking/creating that eschews distinctions in favor of convergences

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JOHN JESURUN (°1951)

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“an ongoing process of detours, pitfalls, and disco-veries in interpretation and perception of a mediated world”

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(MOTTO) - REDUX

“Those are the machines and you are coming out of the machine.”

(John Jesurun, Deep Sleep)

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PETER BOENISCH ON THEATRE (2006)

“a semiotic practice, which incorpor-ates, spatializes, and disseminates in sensorial terms (thus: performs) the contents and cognitive strategies of other media by creating multiple channels, and a multi-media semiotic and sensorial environment”

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THEATRE AS MEDIUM

23-10-2022 10ISIS 2015

Represents a heuristic platform to study the the associations and reciprocities it generates as produced by an interface that facilitates co-presence and reflexivity across physical, technical, and referential boundaries.

‘live’ body in performance as a cultural and biological biotope

Super Vision – The Builders Association with dbox (2005)

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JOHN JESURUN (2012)

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“As a director, I find that the performers are wiling to go as far as language and technology will take them. And as a writer, I am willing to go as far as the performance and technology will take the language. Regardless of the creative outcome, this is a true sharing of intentions and possibilities”

“engaging rather than seducing”

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FIREFALL (PHASE I, 2006; PHASE II, 2009)

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“re-morphed, re-transmuted into positive, useful objects”

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JOHN JESURUN (1996)

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“A lot of things bother some people with my work. ‘You can’t have this conversation, it means so much and it only lasts two seconds.’ But slowly, as you get into the movement of the whole, it’s like watching a plant grow. When you listen to the conversation and the actors are standing there, fine, but once you start switching and add all kinds of conflicting angles, lights – it even focuses more on the words. It sets up conflicting things and makes the audience think, also, about what is actually happening on stage”

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PHILIP AUSLANDER (2012)

23-10-2022 14ISIS 2015

“the experience of liveness is not limited to performer-audience interactions but refers to a sense of always being connected to other people, of continuous technologically mediated temporal co-presence with others known and unknown”

IMPLICATION: theatre generates sense of reflexivity that is nothing if not dialectical (cf. Sarkis, 1997)

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CONCLUSION: EMBODIED COGNITION

o Consciousness produced through body/mind interface

o Fuelled by actions, perceptions, nature, culture, and environmental interactions

o “basis for dynamic interactions with the tools it helps bring into being” (Hayles, 2012)

o “supposedly modern tension between the humanistic body and the dehumanized machine is, in reality, a fiction” (Salter, 2010)

Intermedial stage as generative platform for new ‘ecology of mind’

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ACKNOWLEDGEMENTS

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This research has been funded by the Interuniversity Attraction Poles Programme initiated by the Belgian Science Policy Office

Literature and Media Innovation: The Question of Genre Transformations