By Susan Kozel
In nearer, Susan Kozel attracts on concert perform, electronic applied sciences, and the philosophical process of phenomenology. informed in dance and philosophy, Kozel locations the human physique on the middle of explorations of interactive interfaces, responsive structures, and affective computing, asking what might be came across as we develop into in the direction of our computers—as they turn into extensions of our methods of considering, relocating, and touching.
Performance, Kozel argues, can act as a catalyst for figuring out wider social and cultural makes use of of electronic expertise. Taking this one step additional, performative acts of sharing the physique via our electronic units foster a collaborative development of latest actual states, degrees of awake understanding, or even ethics. We reencounter ourselves and others via our interactive computers. What we want now are conceptual and methodological frameworks to mirror this.
Kozel deals a well timed remodeling of the phenomenology of French thinker Maurice Merleau-Ponty. this technique, in keeping with a admire for lived event, starts off by way of hearing the senses and noting insights that arrive in the course of dance, or simply in the course of lifestyles. the combo of functionality and phenomenology provided through nearer yields entwinements among adventure and mirrored image that make clear, problematize, or restructure scholarly ways to human our bodies utilizing electronic technologies.
After outlining her strategy and technique and clarifying the major suggestions of functionality, applied sciences, and virtuality, Kozel applies phenomenological solution to the adventure of designing and acting in more than a few computational structures: telematics, movement trap, responsive architectures, and wearable computing.
The transformative strength of the alchemy among our bodies and applied sciences is the root of nearer. With cautious layout, destiny generations of responsive structures and cellular units can extend our social, actual, and emotional exchanges.
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Additional info for Closer: Performance, Technologies, Phenomenology
This paradoxical relationship between reﬂection and the pre-reﬂective is fundamental to knowledge. As Merleau-Ponty indicates, “It is by a secret and constant appeal to this impossible-possible that reﬂection can maintain the illusion of being a return to oneself and of establishing itself in immanence, and our power to re-enter ourselves is exactly measured by a power to leave ourselves, which is neither older nor more recent than it, which is exactly synonymous with it” (1 9 6 8 , 34). Another way of expressing this conceptual movement is through gesture: this philosophical impulse is like reaching beyond ourselves conceptually, perceptually, and existentially, but then returning to ourselves.
FIG. 1 8 When our existing conceptual paradigms no longer do justice to our range of experiences, there is the choice to abandon entirely the process of reﬂection, just to be, without the need to understand and reﬂect, or to attempt to ﬁnd other paths of reﬂection. I share the belief with so many philosophers and psychologists that we are fundamentally reﬂective creatures, and that it is, on some level, impossible for us not to reﬂect. If this is the case, then we may as well do so intelligently and with some panache.
Reﬂection,” Varela and his coauthors write, “is not just on experience, reﬂection is a form of experience itself” (Varela, Thompson, and Rosch, 1993 , 27 ). Thought impacts experience just as experience impacts thought. Or perhaps they caress each other. A startling expansion of traditional research ﬁelds has occurred over the past decade and, with it, increasing respect for inter-, multi-, or transdisciplinarity both within academia and beyond. Areas that have been involved in creative permutations include biology, psychology, philosophy, performance, mathematics, media, literature, cybernetics, visual art, music, architecture, and FIG.
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