While the ideal situation would have been to work on the project as a team, there is substantial work that I, as the lead Researcher-Creator, can push forward to ensure that the proposed project can be in good stead for targeted external funding. As a result, this proposal has been scaled down in a way that addresses the overarching vision of the investigation but with a focus on establishing and refining aspects related to movement-based-research. In order to build upon the projects momentum and bring the movement enquiry into balance with the technology being used, attention will be placed on refining physical techniques capable of developed relational interaction with the incorporated technology. I would use the time afforded by this grant to give voice to the expressed human experience in a way that embodies, in a physical way, future connections with gestural movement as referenced in the design of interactive systems. As an artist/researcher I am increasingly aware of the trans-sector capability of my work and the aim of this proposal is to ensure the development of an appropriate vehicle to further deepen my research. The vehicle in question would consist of flexible and responsive interactive platform capable of supporting, not just knowledge in the form of deliverables but the creative processes that drive my ongoing research/creation projects. The initial concept and resulting design of the platform in question is based on years of sustained dedication to unlocking new and more physically organic ways of conducting movement-based-research and expressing interdisciplinary outcomes. It is the result of a close examination and analysis of the communicative properties of the formal and informal integration of innovative forms of movement and expressive technologies within a physically motivated performative framework. To be successful I need to do this through movement itself -- through what I have come to call “thinking in movement.” And to do this, I need to be able to enact movement in flexible and reproducible ways. Flexible means that researchers like myself, and the interactive instruments we use, mustn’t pre-judge or pre-constrain, for example, how fast or in what way a movement happens. I need to study human movement as it assembles itself in real-time, in its own terms, vs. studying restricted, movements typical of laboratory tests, that already build in presumptions about what movement is. I also need to study reproducible movement so I can repeat the physical conditions precisely and regularly enough to compare events. Recent technological advances have shown that the synthesis of new methods of machine perception, gestural media and everyday human actions and interactions is more than capable of not only sustaining this type of research but can even influence an artist/researcher’s creative process over the course of not just one but several distinct investigations. These new “enlivened ecologies” will also help to support and advance my understanding of movement, and how people make sense of their environments and of each other via movement. In this type of fluid creative architecture, meaning, comes from the context established in the moment of performance together with the theatrical apparatus of expectation. While in the case of “Practices of Everyday Life” I use these “media instruments” in a perfomative way, the application of these technologies outside of the fine arts, is easy to envision. One example is 1CAMP group at TUM.
“Practices of everyday life” is a new type of lens for looking at the creative process within the framework of a technologically responsive and non-invasive environment capable of sustaining and enhancing how we interact with the world around us.
1 We have had conversations with TUM regarding a collaboration with doctors, scientists and the industry to design a new platform that is able to generate aesthetically pleasing yet appropriate and useful real-time acoustic feedback for doctors during surgical procedures. http://campar.in.tum.de/Chair/ResearchGroupCamp