PERCEPTIVE ONTOLOGIES / DANCING AFFORDANCES
This practice was developed as a model for inquiry into the nature of human, sensory perceptions; examining their fluidity and relationality from a phenomenological position. Perceptions are addressed primarily through their apparition to an individual as qualia (term defined below). Methodologies for attending to, conceiving of and qualitatively shifting sensory experience(s) are explored, enquiring into the conditions they are contingent upon.
The practice is driven by questions for which experiential, and at large ineffable, answers may be produced. What is my ‘default’ organisation and conception of my sensory modalities? How else can they exist? What are my perceptions contingent upon? Through what methods can I cause my experience of a particular stimuli to qualitatively shift? How can I expand the range of my qualia/perceptive capacities?
Through ongoing practice, one may develop an embodied ontology of ones sensory perceptions and perceptual processes. This phenomenological ontology is proposed as a subject’s study of what their perception contains, the features or qualities that make content distinct and the interrelations of these contents. Although this study does not directly address propositional attitudes, it is interesting to also consider how it will inherently shift - or provide new reference for - one’s conceptions surrounding truth.
Perceptive Ontologies exists through intersections, mediations and coalescings between the fields of dance, perceptive science, phenomenology, artistic research, choreography, somatic practice and ontology. It exists within all of these fields, believing the boundaries are flexible, permeable and may be traversed without transgression or trespass.
Qualia (plural of quale): the private, subjective qualities of conscious experience, the properties of sensory perceptions and how they appear to an individual. Qualia are our experience of consciousness; our experience of sensation; our experience of phenomena; the basis for our rendering and conception of ourselves and the world. They are solely the experiential - what it is like - part of a perception and not the biological processes that are facilitative. Meaning they can only be encountered through direct experience and can not be accessed through memory, imagination or as a common understanding between individuals.
A multi-faceted research project exploring...
WHAT DOES DANCE DO...?
What affordances can be manifested uniquely through dancing?
How can we engage a broad public in the (a)live and slippery, complex web-of-mess-and-specificity that is at the heart of experimental embodied practice?
Can scores and perceptual tricks create portals
into the particular
affordances of dance?
Offering a taste of its entangled riches,
transformative powers, experiential plurality,
embodied ethics and poetic proposals.
A property of an object, process or environment which relates to its potential utility or affect.
A chair provides surfaces for your body to rest into, affording you support, comfort, a changed relation to gravity and the ability to sit in positions that would otherwise be impossible.
Potential affordances will vary across different chairs and different bodies, depending also upon the setting that each chair/person is in.
Relax heavily into your seat
& breathe deeply
Feel your body touching the chair
& the chair touching your body
SKIN & BREATH
as entry points
YOU INHABIT THINGS
THINGS INHABIT YOU
press your body into different
to understand your density &
Fill Up & Feel Out
WHO & WHAT
are you moving for?
moving to find the joy
of coming to know
as care taking
or taking care of...