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Enacting Embodiment and Blue Muffins

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I, a dance of my imagining draws upon topics of embodiment, imperfection and lack of art, political art, implicatedness, boredom and being stupid. Questions of abstraction and records of thought hinge on discussions of disembodied movement, technology and performance. Key choreographic works include Blue Muffins; Bill T. Jones, GHOSTCATCHING; Troika Ranch, and Interactive Installations. Key sources include Susan Kozel's (2007); Antonio Damasio's (2012); and Francisco Varela's (1991). The essay explains movement and stillness as bodily enactments that can be arrested and recorded in arts technologies. Such records become part of why we care to make art, and how we make it matter.

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Enacting Embodiment and Blue Muffins
Intellect , 207 (2023); https://doi.org/10.1386/9781789387193_12
/content/books/9781789387193.c11
/content/books/9781789387193.c11
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References

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References

  1. Csikszentmihalyi, Mihaly. ( 1990), Flow: The Psychology of Optimal Experience, New York:: Harper and Row;.
     [Google Scholar]
  2. Damasio, Antonio. ( 1999), The Feeling of What Happens: Body and Emotion in the Making of Consciousness, New York:: Harcourt Brace and Co;.
     [Google Scholar]
  3. Damasio, Antonio. ( 2003), Looking for Spinoza: Joy, Sorrow, and the Feeling Brain, New York:: Harcourt Inc;.
     [Google Scholar]
  4. Damasio, Antonio. ( 2012), Self Comes to Mind: Constructing the Conscious Brain, New York:: Vintage Books, Random House Inc;.
     [Google Scholar]
  5. Fink, Eugen. ( 1995), Sixth Cartesian Meditation: The Idea of a Transcendental Theory of Method, with Textual Notations by Edmund Husserl (trans. R. Bruzina.), Bloomington:: Indiana University Press;.
     [Google Scholar]
  6. Fraleigh, Sondra. ( 2010a), BUTOH: Metamorphic Dance and Global Alchemy, Urbana:: University of Illinois Press;.
     [Google Scholar]
  7. Fraleigh, Sondra. ( 2010b), ‘Soma strokes and second chances’, exhibition essay, Digital Incarnate: The Body, Identity, and Interactive Media (curated by Alycia Scott and Sara Slawnik), Columbia College Chicago, 8 February–2 April.
  8. Heidegger, Martin. ( 1971), ‘The origin of the work of art’, in Heidegger, Poetry, Language, Thought (trans. and intro. A. Hofstadter), New York:: Harper and Row;, pp. 15–86.
     [Google Scholar]
  9. Heidegger, Martin. ( 1999), Contributions to Philosophy (From Enowning) (trans. P. Emad and K. Maly), Bloomington:: Indiana University Press;.
     [Google Scholar]
  10. Husserl, Edmund. ([ 1900–01] 1970), Logical Investigations (trans. J. N. Findlay.), , 1st. ed., London:: Routledge & Kegan Paul;.
     [Google Scholar]
  11. Kozel, Susan. ( 2007), Closer: Performance, Technologies, Phenomenology, Cambridge:: MIT Press;.
     [Google Scholar]
  12. LaMothe, Kimerer. ( 2015), Why We Dance: A Philosophy of Bodily Becoming, New York:: Columbia University Press;.
     [Google Scholar]
  13. Merleau-Ponty, Maurice. ( 1962), Phenomenology of Perception (trans. C. Smith.), London:: Routledge & Kegan Paul;.
     [Google Scholar]
  14. Merleau-Ponty, Maurice. ( 1964), Signs (trans. R. C. McLeary.), Chicago:: Northwestern University Press;.224
     [Google Scholar]
  15. Mumma, Gordon. ( 2015), Cybersonic Arts: Adventures in New Music (ed. F. Michelle.), Champaign:: University of Illinois Press;.
     [Google Scholar]
  16. Varela, Francisco J.,, Thompson, E., and Rosch, E.. ( 1991), The Embodied Mind: Cognitive Science and Human Experience, Cambridge:: MIT Press;.
     [Google Scholar]
  17. Warburton, Edwaard C.. ( 2011), ‘ Of meanings and movements: Re-languaging embodiment in dance, phenomenology, and cognition. ’, Dance Research Journal, 43:2, Winter, pp. 65–83.
     [Google Scholar]

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