Media-designer & sound artist Bence Samu of the Hungarian duo binaura and I are working on a video-setup which visualizes the spatial patters of my movements. Bence maintains that a human presence is always infinitely more sensitive, I'd say it's a shared thing: the apparatus that is designed for a single function may be at times much more sensitive than what I can perceive at a moment, but it is my presence with the witnesses of the event that gives sense & meaning to evaluate what is happening.While it is wonderful to be in a project where I function via German, English and at finally again also Hungarian, it is an inspiring environment. All the artists working here have a very quiet but vibrant energy, which I find very stimulating.
I am developing a dance score for the final showing August 22nd. For now I am thinking of several phase where I transform from daily movements (with the audience) over movements from the state of looking from the corner of my eye, into geometric figures and into internal movements. It seems that I am ready to work from a purely kinetically oriented dance (as happened in "Bivak Gloria" in Antwerp 2007) to adding a personal-social level. Also, the question of how to successfully move through the geometric figures is very exciting, without losing myself into stiff figures or imitations of what I once learned in the Rotterdam Dance Academy.
The exhibition in which we work centers on the phenomenon of people trying to communicate with beings from other dimensions, especially the dead, by means of electromagnetic devices. not an easy task for average-enlightened Western-Europeans, it is a scary topic, loss of control threatens, it is much safer to ridicule any such attempts, and forsake the holy aspect in it (and not lessen this word into quotation marks around it)One of my aims is to lessen the fear of the unknown, which I find to be a key issue here in this process. How do we actually maintain whatever control we have, but are able to open ourselves for new experiences beyond what we already know. How does one manage to overcome indifference?
It terms of development, what I am working on means a move from available tension to sensitive energy. In order to achieve this I will have to satisfy the level of available tension, be able to play with tension more maturely than what I've been able to do so far, even more refined, more under my control, and more inclusive of the option of geometric spatial patterns and hard-edge moves.Yesterday I saw a British video-documentary about Steve Reich and decided that after using music and visual arts and language as my main frame of reference for methodology, it could be very interesting to devise a frame of reference from kinesthesy & dance (again)
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