Embodied Archive I
Embodied Archive I is the exploration perform in New York City. To further explore this practice, I’m interested to see how the insights gathered in order cities might impact the sense-motion (parentheses)
New York City is a place with a very diverse cultural hub where a range of different customs and way of perceiving gets combined. The subway and city parks are the spaces in which everyone meets regardless their formal (or not) training or identity. For this reason, I was interested on how observation (beyond visual) of the city might affect the sense-motion (parentheses). I was not looking or trying to get an specific end, but rather just wander around and see what could happen (or not).
Embodied Archive I
The sense-motion platform proposes to consider the idea of Andre Lepecki’s “will to archive” and Bruno Latour’s suggestion for enacting of “new realities” as a form for embodied living and discovering different modes for belonging to space. The adoption of the “will to archive” stems from the desire to implement and incorporate different embodied, kinesthetic, somatic dance, improvisational, and sensorial approaches to the practice of sense-motion as a way to enact “new realities.” Lepecki proposes the “will to archive” as a “will to re-enact a privileged mode to effectuate or actualize a work’s immanent field of inventiveness and creativity.” I propose to use this idea as a form to understand how the different approaches of attunement to one’s body serve as an adaptation to the environment and discovering unfamiliar spaces within it, fostering diverse modes for action and perception. These modes of acting and perceiving aim to contribute to defamiliarize ordinary ways of knowing and relating to oneself and its surroundings and enacting the development of “new realities” generating an embodied living’ common but diverse world.
Lepecki’s “will to archive” and Latour’s suggestion for enactments for “new realities” serve as a tool to interpret how diverse bodies archive knowledge and how to implement that as a way to relate with other bodies in daily life. The sense-motion platform perform sensory ethnographic research in order to identify how the modes of knowing/relating and acting/perceiving are present in the environment. The sensory experimentations are made visible through an improvised film that serves as an Embodied Archive. The footage was filmed with an endoscope, binoculars, and a regular camera attached to different parts of the body layering different mode of observation into one body. This is an ongoing sensory ethnographic study aims to understand the sensorial contact between the self and the environment (consciously or unconsciously), not only by physical touch but also through intangible contact sensations.
These sensory explorations implement a free drawing practice and consider somatic dance, improvisational, and sensorial form to foster distinct modes of action and perception. These practices serve as a tool to act and perceive upon “new realities” and proposes my approach to ‘archive’ in the body. This Embodied Archive film attempts to sensory represent how an ‘archive’ of the body might look like.
Latour, Bruno. “How to Talk About the Body? The Normative Dimension of Science Studies.” Body & Society 10, no. 2–3 (June 2004): 205–29. https://doi.org/10.1177/1357034X04042943.
Lepecki, André. “The Body as Archive: Will to Re-Enact and the Afterlives of Dances.” Dance Research Journal 42, no. 2 (Winter 2010): 28–48.