breathe imperative thinking through that position ing - i s w e have b e e n in a f alse consciousness, and we need to re-frame, construct a new consciousness, by de-constructing the unconscious knowledge. And I believe that coul d be thr ough making performances, that uses the audience as part of the experience. W e a r e b o r n f r o m a m o t h e r â€™s w o m b , and we need to come back to this spatial awareness, we cant act as if we donâ€™t rely on the presence of o n e t o a n o t h e r. H o w e v e r, t h e r e a r e many problems ly ing down how we conceive pleasure, and this has to b e c r u m b l e d a w a y. An entity enters a white space. It is a room without corner s, in a t ime w ithout limit s. SheWho can touch the sk y built this infinite space to look inside and not be seen by outside. to create a play ful language between nature and culture; where one is free to be any thing they desire, without the manipulation of pleasure-based material culture; through making a sound language, and creating space with
chapter 1: Being an egg & Being a bird story Forming the â€˜in between languageâ€™ is a dream of a feminist and a realm where the designer needs to act. I want to be an observer to the culture, by becoming a bird and thinking through birdsâ€™ mind - however, it is not possible due to the dynamics of the world. Our awareness of the self-derives from the relationship to the other bodies (species) and things 2 (objects, language) Being human should be related with bridges to one another, the bridge between nature and culture. chapter 2: Rituals to come back to Nature (the womb) Liberating the consciousness by thinking of a new form of reality, the in-between bridge, with sounds from nature, animals, machines that creates this ambient sound escape. Sound mapping by using the body as a medium, psycho-geography, meditating to reach the future state of being.
chapter 3: Emptying the boat (the body) Since we are living in a complex world, it is hard to untangle the nature from the culture, and yet we need to give time to understand the problems within the species - where they are going to be more and more connected through the technology. By forming spaces of meditation, inspired by the living spaces of animals, I want to draw an attention back to being with animals. And why we should be thinking through that positioning - is we have been in a false consciousness, and we need to re-frame, construct a new consciousness, by de-constructing the unconscious knowledge. And I believe that could be through making performances, that uses the audience as part of the experience. We are born from a motherâ€™s womb, and we need to come back to this spatial awareness, we cant act as if we donâ€™t rely on the presence of one to another. However, there are many problems lying down how we conceive pleasure, and this has to be crumbled away.
The simplicity of being - deriving from intuition and sensation - is constantly attacked by materialism, which comes through the constant flow of information: therefore, our perception of reality is changing. Humankind is in the century of being both connected and isolated from our own selves through the agenda of technology. Since our understanding of interaction is increasingly formed through the mediated internet, it occupies a space in our bodies and minds. Slowing down during the experience and the fast forward narrative of the 4 everyday life is getting harder, and our being connected to illusions of power via the constant information flow is becoming the faith of our century, which does not give us space to breathe. We are in a position where technology is part of the mundane, however, it is hard to be simply human while also being connected to something much bigger. The projects I undertook at Goldsmiths College (Bird’s nest meditation and Bird’s eye view) questioned the future of the field of meditation and spirituality. I believe that design can be a part of the exploration of the emptiness within our bodily space, in order to slow down the constant pace of modern living, by bringing the designer’s skills of knowing, naiveté and experience through fresh eyes - in order to imagine what we could achieve in the future, and experience the mundane in a peculiar way, by forming slow-paced rituals to engage with the self, and ease our collective loneliness.
Research question: What could be designed in order to explore the emptiness within the physical part of humans - the body - in order to slow down the current pace of the being?
There is an intrinsic connection between The Divine Human, by Luce Irigaray and A Cyborg Manifesto, by Donna J. Haraway. They both explore the idea of extending and thinking about the body beyond the binary categories of gender. In A Cyborg Manifesto, thinking of the transgression between human and animal is to explore fluidity between bodily forms, while The Divine-human, attaches spirituality and feminist thinking together, and draws upon a spatial understanding of feminism. Both of them are 6 commenting against dogmas, that we have to think through before thinking of the next connected stage of humanism. Thinking about the primordial question of how to be, is better understood by exploring how other beings manifest themselves to us. Divinity in humankind has been lost, the separation in genders, the internalisation of the language that we have to learn to become human. Working on the thing between the thing between consciousness and matter could be a way to understand divinity, and becoming cyborg is going further than the bodily forms. Using the ideas of Irigaray and Haraway, my visual practice is experimenting with symbols from every day, in order to comment on future states of being. The unconscious reasoning is a way to bring out the details of senses, the bodily space that I sometimes misread during the fast-forward pace of the culture.
As we are becoming post-humans, we carry the uncertain qualities from this pace, that makes us constantly think, and the tranquillity of the mind is challenged as a result. Marcus Coates uses meditation as part of his practice of unconscious reasoning, to go deeper into the stage of activating the unconscious knowledge by interacting with his spirit animals, an interesting realm that is not experienced in the mundane. Investigating that behaviour through performances is what I would like to explore further. In Dasein for Design, â€˜thinking through the body becomes an important part of how we conceive of design : it is not an act of thinking and then making but rather it is thinking through makingâ€™ (Wendt, 2015) therefore thinking about the potentiality of the body where it holds our consciousness, and visualising through performance making, is to think about future spaces - this lead to my idea meditati- 7 on nests. Bringing spirituality to our future state of being is necessary in order to reunite humanity, and thinking with animals is a way to simplify and slow down the current pace, as we are not able to see the problems of globalisation nor think about what it is that separates us from the divine. In order to link culture to nature, we could re-frame the existing structures we have and build upon them. Doing so, biomorphic structures; human-designed structures that is aspired from natural materials might be a way to link nature to culture, and a possible way to think about a utopian future with the fluidity of beings; human, animal, machines.
This journey started with learning, thinking through unconscious reasoning - which is a way of thinking recommended by Marcus Coates - took me to collect the sounds around different parts of the city of London. This process leads to the making of non-narrated scripts of sound explorations which became a meditative and intuitive practice for me to engage my sensation to the mundane. These sounds are similar to sounds someone might encounter in a dream state - as it is an improvised making process without a timeline/script. On the other hand in order to re-think about everyday rituals and how to engage symbols from nature to the city life, I have collected photographs, drawings, of birds and plants from Kew Gardens, Barbican Conservatory, Walthamstow Wetlands and also shadowing the birds to be a bird, which lead me to begin the birds eye view project, a metap8 horical representation of the link between ‘divine human’ and ‘cyborg manifesto’ (by Luce Irigaray, Donna Horroway) that could be further analysed as my understanding of the concept. This process was to engage feminism as a powerful way to my visual practice and to think about the in-between language, giving deeper meanings to the 2D image. At that stage I was looking at biomorphic structures and simple architectural language such as forms, patterns, hierarchy, repetitions in the nature, and making triangular shaped meditation nests (for humble humans), which is inspired by Andy Goldsworthy’ s practice of using materials from nature to create sculptures in order to feel part of the nature. This way of using materials enabled me to see the society in a surreal, abstract manner and pushed my excitement further to make performances, in order to think about spaces/objects to slow down.
The possibilities of design existing within communities could be questioned deeper by thinking through design fiction, following the patterns in behaviour, in which could be an everyday practice in order to deal with the boredom of the mundane - therefore I have made a calendar to represent this urge to challenge that includes collages - which is the pat of the form of this dissertation (in the middle section) - from Communitasâ€™ Aerneut Mik, who combines video, performance and sculpture to emphasis on bodily presence, movement and rhythm - â€™relations between bodies, between bodies and objects, and between bodies and spaceâ€™. (MA CULTURE, 2018) Performances of Rebecca Horn and Marina Abramovic engaged me to think through making performances, and as Rebecca Horn did in her early works, using film as a medium to share. 9 I will be reviewing my practice and using theories in order to support my project in 3 chapters; metamorphosis of an egg to a bird, rituals to come back to nature, and emptying the boat. The first chapter is about discussing being human/woman and thinking about the in-between language, and a step to think about the possibilities of the body. In the second chapter, will use the body in a more active way and engaging senses through sound making practice, and forming the in-between language through sounds. In the last chapter, will be talking about the space level - using the in-between sounds as part of the performances which aims to slow down through adding possibilities to existing structures. My purpose is to think of ways of slowing down and become more intuitive to the self in the fast forward reality that is overwhelming to process by being human through the lens of these projects.
As humans we are producing rapid change in our external lives, in order to make us connected to the illusions of the culture that should be linked to nature, however following our intuition becomes harder, due to the fear of disconnection from an imaginary space/empty set that is haptic by disregarding the body. Thinking about the philosophy behind this imaginary space, and considering our existence as a humble human, we are losing touch with our body in the transition of daily life into an imagined realm 10 through the desire of being part of an empty space by using and making tools that have been designed that vaguely represents our desires behind being human, but clearly that pushes us into our own materialised ‘utopia boxes’. In a way, by using the internet we can be part of our own desired space, that has been coded by us, but we are not thinking of the bodily effects. Before thinking of the perfect society with the rapid change in technology, we need to inhale and exhale the problem between the sexes, that subdivides the information flow. In my project, The bird’s eye view, I derived from the ideas from Luce Irigaray’s ‘divine-human’ for the discussion of utopia with the thinking of a language between nature and culture, and to communicate technology to empower the sensuality and intuition of the body, within the experiment of human-animality.1
question of animal was a really subset of a much broader challenge - post-humanism
an egg to a bird
A person who explored the animal reality is Thomas Thwaites, as the goatman and he started with these questions to his journey ’Who am I, why am I here and where do I go? (Thwaites, 2016) Likewise, I have these wonderings due to a daily dose of existential questions which is around the in-between time of the day; 15:00 to 17:00. Therefore my focus is thinking and experimenting with the possibilities in the body, in order to explore the intuition, the sensation of having a body, and reflecting that through performance making. So in this chapter I will be exploring the link between human-animal, culturally structured nature by using the unconscious reasoning as a method. What could I be in this world as an ‘egg’ and could I metamorphose into a ‘bird’ in order to be free from the agendas relating to the objectification of the female body.
Yoko Ono says: ‘It is almost like you are ignoring or abusing half of the world and their energy’ (Yoko Ono- Michele Robecchi, 2016) As a woman, I am under 12 the effect of the material culture and making means interacting with a masculine exteriority/shape which translates into nature of sound. As a matter of fact, in our unconscious, we can differentiate what is more feminine, or masculine, due to the language we learned and made us ourselves - that makes us think about ourselves in a certain way. Moreover, masculine shapes the culture, and the female is shaped by it. However ‘there is nothing about being female that naturally binds woman’ cyborg manifesto. In the meantime, there is no clear definition of being human, but ways to become human, and learning to be a certain gender, similar to being in a utopia box, we are under a certain form of power illusion and our knowledge becomes accessible through hierarchical pattern. Therefore, both genders are not able to access the possibilities to be with the divinity, that might give clear the path to be more fluid as a cyborg.
Thinking of the functionality of an egg, it is a protest tool that is accessible in any household. It also symbolises the birth-giving, the eggs of a female in a metaphorical way. A woman has the ability to give birth, which gives a metaphysical quality to their very own being, hence highlighting the connection to nature. This quality has been exploited, in a way, the innocence of nature has been undermined by the control of the bodily boundaries which is lying in our information systems. The exploration of the eggshell represents (exterior) masculine gaze represented by the culture and the culturally shaped (interior) woman. Irigaray suggests ‘She lives much more in an interviewing of relations with nature, he, in contrast, builds his own world, his tools, objects, laws, gods, and order created by him’ On the other hand, Nietzsche argues for the being of human; as we have changed our minds, and become 13 more modest that made us stop driving from spirit and divinity. (Gross and Vallely, 2012)In a similar way, Irigaray suggests that ‘the religious aspect of our becoming has not been envisioned enough as a way to achieve a greater perfection of humanity.’ Moreover, she goes further by defining the divine in a spiritual sense, and the way she defines the problem in our being is due to separation in genders ‘losing the path of the one and the other’ (Irigaray, 2004) Even pointing out the factor of gender could sound as essentialist category of identity, and defining it through the spirit and divinity could explore a way to perfection human being. What would be the definition of the in between, not the external, nor internal - the ‘thing’ between consciousness and body, matter? Moreover, is it possible to reflect that area, the relationship between nature(women) and culture(man) through a language for this space, in a spiritual manner to reach the divine-human?
The In between
‘Form, pattern, and order are essential aspects of existence, but in themselves, they are attributes of death. To make life, to ensure progress, to create interest and vividness, it is necessary to break form, to distort pattern, to change the nature of civilisation.’ (Read, 1978) The cacophony in the city is seen through repetitions of noises in order to create a chaotic pattern, an order, and instead turning that into visual 14 poems - it is a way for me to understand city as a verbal activity, which is a way to understand the in between, understanding the thing, the connection between my self, and the world. This process is a trial to define a female language within the city. As Irigaray suggests, a female should find her own voice in order to ‘see things’. Thinking about forming a relationship between one and another, in order to envision a voice for the female - we should avoid the familiarity, what we have learned in order to become human, due to the parental economy. The father figure creates the problem in mother-daughter relationships, which is due to not having space to the being of the female voice, within the culture. ’Things are in some small sense imbued with me, are combined with me. familiarity has made us more forgetful, and we don’t understand the relationship between things and people. ‘ (Gross and Vallely, 2012)
breathe impreative 16
Material: The Egg Shell Concrete
The eggshell concrete became a symbolic part in a 17 visual poem in order to change the structure behind where Iâ€™m currently living, a student hall, SE13 7SD, which has no clear desire behind being a temporary space for a student. Thinking about the systems we as humans form, it has never been right, none of the patterns, nothing more than responding the emptiness of man. As nature is able to form the balanced/perfect form by changing, breaking, distorting form continuously - infinitely - where matter has their own freedom, individuality it could be considered as the happy place. By using eggshell concrete, in the poem of â€˜the birth of an unknown eggâ€™ structure of the student hall that I am living is changed and it becomes an imaginary realm of space that has been designed with using materials from nature. This process is a poetic, a beginning step to think about possibilities within the spaces, the infrastructures that we inhabit, that could be designed with bio-morphism.
The struggle within the definition of the language for the in between, and coming back to intuition, lead me to think about ways to metamorphose into a different bodily form in order to imagine with the qualities of existing in a body space. The exploration of the transgression between human-animal is part of the argument in the cyborg manifesto by Donna Haraway, and it is a useful discussion for the topic of utopia, where the beings are free to be what they desire. Being a cyborg is becoming free form the subdivided structures of information such as gender, language. To explore this realm further, I used the unconscious reasoning methods by Marcus Coates, he argues connecting to spirit animal to reach the unconscious qualities of the mind. Also, he finds this natural process because of anthropomorphism, which also links with the way we selfishly treat machines. ‘We’re naturally anthropomorphi18 sing creatures. We see faces in anything – clouds, rocks. We want to see the reflection of ourselves in everything. That’s a lot of what we use nature for. We even call the sea, “the cruel sea” or say, “mother earth” (Green, 2018) Similar way, we give are creating an extension of ourselves in machines and disregarding the body. In a way, documenting yourself through social media platforms which extends your being to form of information and it becomes ‘immortal’ (e-flux, 57) ‘Our machines are disturbingly lively and we ourselves frighteningly inert’ (Haraway, 2018) As an example, Alain de Botton accepts that he shares information about himself on his computer that his wife will not be interested in, therefore we are sharing such an intimate part. On the other side, this constant sharing of the daily living with the others is rather exhausting - looking at birds, they only communicate two times a day, which makes the communication a lot clearer, and slower. What could be a slower way to communicate
with ourselves, and others, friend circle, and between the genders? â€˜Since our bodies are re-crafted by info-technologies these tools embody and enforce new social relations for the woman world-wideâ€™ and the question of who controls these bodily boundaries is the man. However by thinking through being a cyborg, one has the freedom to be anything they would like to be, animal, machine, human. We still have a lot to learn from animals, rather than thinking through masculinity. In contrast to Coates, and Haraway, Martin Heidegger suggests that there is no essence, cognisance in animality to understand the dasein, sentience and could rather understand our own concrete lives since animals do not manifest being as humans do, so he does not find any existential quality in being with animals. (Gross 19 and Vallely, 2012) I find Heidegger here dismissive in the sense that he disregards their differences in using their bodies as a space to be, and the way they manifest themselves to us (how we see them) is through symbolic voices does not mean that they are not sentient of time and space. Our being should not disregard the existential qualities humankind shared with animals (speciesism), as we are rather designing a synthetic way of interaction with animals, by locating them into places that are designed by humans: pet shops, zoos. Seeing the fact that we are anthropomorphising our devices with human voices, (as an example; Iphone, Siri), we need to think about the bodily boundaries that has been created by the illusion of power.
This short film is a way to sketch the ideas of divine-human, cyborg manifesto, and the SheWho poem (Le Guin, 2006) into a visual form with concrete letters. I use performance as a path to experience the ‘knowing’ of the state of becoming a bird, and the exploration of the bird’s eye through the extension of drone which creates a metaphorical understanding of the third eye to navigate with the higher self. This is the short film is a question raised for the objectification of the female body, due to being shaped by the culture, and an attempt to escape, and fly as a bird in a poetical realm. I have also made the bird costume, which is a transparent shirt that extends with wings.
The beginning two scenes of the film, is a symbolic reference to the Bergman film ‘Persona’, and positioning woman into a position where she becomes inactive in the culture and thinking about this empty quality, the film itself is a very strong opposition to the cultural representations of woman as the leading actress is silent through the film. According to Irigaray ‘Advances in the emancipation and liberation of woman require that we rework the relationship between nature and culture and seek for ways we can best symbolise articulation between them for each sex and for the public and private alliance between them’ (Irigaray, 2004). Therefore, in what ways could I draw a line between being an egg (woman) and being a divine-human (bird), how could I go further from the boundaries of the public eye in order to 22 liberalise woman, and becoming divine human. The costume was an experiment to go beyond the categories of the bodily shape, by escaping being a bird. It is a trial to break the shell, the external surface, the woman who is shaped by the culture. The second two scenes represent the opening of the third eye chakra, by using a drone and reaching to the bird’s eye. A purely metaphorical connection, visually to see from the bird’s eye, and the opening of the third chakra requires a long process. Consciousness could be understood as a process, not as a thing, and breaking a behaviour pattern takes time. How could I engage technology to open sensuality is a question that is given in those scenes, but not yet answered, it is only a sketch.
The third two scenes are about the problem with the objectification of the female body; a 3d visual poem ‘she who fly’ and a sexual desire of a computer. In this part, I tried to visually represent the comparison between the being egg&bird and the male gaze,’She who’ poem represents going beyond being and egg and becoming a bird through words, the sounding of the poem is a performance of the mouth, by blowing and breathing. The second scene represents the problems within technology that divides divinity, and it is only a question raised on how they could be drawn as an argument to empower divine-human rather than objectification of the woman body. The final two scenes are opening the arms and using the space within the body in order to have wings. And thinking about yoga poses, some relate to animal names, and deriving from the qualities of being with. The bird costume symbolises the performance of mountain pose diving to forward fold. Therefore it is similar to how a bird would dive into the air, to float freely in the air. As humans, our shoulders could be identified as our wings but we are not noticing the possibilities within our bones, the possibilities within the primitive knowledge, that gives the sense of movement, the relationship to other bodies, and the self. We don’t even realise when to be passive and active due to the external pace, but as we form a better relationship for the in between, it will be easier to feel graceful within the body to reflect passivity or activity.2 between nature and grace.
breathe impreative 24
the birth of an unknown egg poem
sound making in garage band
chapter 2: Coming back to Nature
By looking at the urban maps of London, we could agree on the fact that London is very complex, organised, well connected by the transport structure, and has a lot of narrow streets with hidden mysteries of nature-culture differences. As we inhale the air of the city, it could be described as the jungle of the floating ideas in time and space for the post-human. There is an interrelation between the sounds of the city and the architecture, and even within the buildings, roads, bridges themselves they create sounds that belong to the inaudible understanding, that shapes unconscious. Moreover, that silence shapes my poetry, and I turn my poems into sounds is a form of meditative practice, a ritual, of thinking about the in between, and my connection to the city. This is a way of discovering 51 patterns, and rather than making models of them, I think through sound in my attempt to investigate what sound could be made from. In the sounds of the city, it is visible to see the oppression of woman, which has been naturalised, due to its naive form and we are manipulated into a false consciousness31. Since my explorations are about coming back to intuition and sensation, I have been making soundscapes that relate to the things around me and using the methodology of psychogeography to think about being divine-human (through the birdâ€™s eye view). I need to inhale the existing space in order to exhale the sound that it gives me in a different form.
3 Ambivalence toward the disrupted unities mediated by high-tech culture requires not sorting consciousness into categories of clear-sighted critique grounding a solid political epistemology & manipulated false consciousness.
As we hold a primitive unconscious within us, when we look at the flat surface of the mirror (Irigaray,2004) it is sometimes not easy to overcome the anxiety and loneliness we feel. In order to understand the self, it could be a way to freedom that is needed - ambiguity. One can only come to a conclusion of understanding the self by solitude, by losing things that possess us to be some sort of shape. However, because of the excess texting and communicating with others, we are having less time with ourselves - we constantly want to be entertained with a distraction, that will take us away from getting bored. On the other hand, how could I reduce this feeling of disconnection that is more prominent in the city life, that we try to ease with social media? This summer, I found a second-hand poetry book called Intimates by Helen Farrish and found a left poem from someone that I felt so close to 52 despite not knowing them. I am not sure about his age, but guess that he was a middle-aged man who wanted to escape from his wife and kids for a little while: not because he does not love them, but just to explore this distance and uncertainty of being. Similarly, I have this feeling in me that wants to go against what I desire. By getting lost, you gain the freedom to do what you like to do.
In order to explore the uncertainty of being, I have tried the Grinsberg method4, a therapy which combines reflexology and talking to the practitioner, to let go of the emotions, and energies that have been blocking my body. In between the sessions I have collected sounds as Luce Irigaray suggests in order to transform myself vertically and horizontally, to create a link between female (nature) and male (culture). Therefore reflecting the performance of being without the boundaries of space, being limitless, by the practice of making non-narrated sounds. Similarly, Thomas Thwaites has seen a shaman in Wales, in his chapter about the soul, which I interpret as going beyond the familiar patterns of behaviour, in order to progress with his journey of becoming a goat. Also, I have attended a Grotowski Movement5 workshop located in Shoreditch church, a method for actors to achie53 ve authentic self-hood, and to break from mundane behaviour. I also practised yoga asanas in the daily routine.
Nature-culture of the sound
In the key writings of Irigaray, she suggests spiritual traditions1 for our age - and sound making is a way for me to practice spirituality for the modern, forgetful human in order to create the in between sound. I was already trying to connect with spirituality through my daily yoga practice. Due to boredom, I began making and collecting sounds, attempting to explore the horizontal and vertical and to define a spatial definition for the in-between through the lens of the feminine. The nature-culture of the city is masculine, thinking through ‘I’ without thinking of how ‘I’ relates to others, by not relating to nature. By doing yoga, and exploring the genderless form through stretching the body into the understanding of a limitless space, one can explore the energy that goes through it. Making sounds opens my throat chakra, that lead me to a way to explore beyond the culture of silenced 58 women, and creating a link with nature’s energy to the culture by making non-narrative sounds to redefine an in-between space. The danger for a woman is ‘using or reusing that to which man has already given form(s) particularly of herself/selves, working that which has already been worked and losing herself in… the already worked morphology which man reflects back to her.’ (Irigaray, 2004) By making art, women can face the masculine exteriority, and male could be lost himself, by using what has been explored already. Man is not exploring the nature of a woman, the femininity within them, underestimating the power of emotional intelligence. Therefore escaping from defining the female within them, because of the structures we have been defined by unconsciously and it is necessary to re-frame the conscious life in order to be liberated from this form of being. 6 in order to re-unite, and come back to divine elements.
In the future, we might disconnect being with ourselves, the emptiness within. If it was meant to be a letter, it would be ’O’, the circular shaped space within us. The emptiness is not the focus of living but losing the attachments that push us to be certain forms. The need to escape from things that we structure for ourselves and that creates the need for escapism. What if we could realise the potential within us, and this is through defining spiritual tasks, as Irigaray suggests, by simply following the natural instincts of going for walks, listening to nature. ’The ocean of our ancestors is reproduced in the watery womb of our mother… the relentless masses of water pushed past the first sonar ear’ (Sounding Situated Knowledges: Echo in Archaeoacoustics, n.d.) Thinking of nature, unconsciously we have the urge to culturally describe certain symbols and shapes as female or masculine. According to parallax magazine, the sounding thinking issue, ‘knowledge can be produced through sound and listening’. Therefore, would it be possible to re-think about the nature-culture through making sounds? The ambient sounds generally from botanical gardens, exhibitions, and from my room, which represents my perspective to the outside world. I explain them with these keywords ‘ambient, dreamy, feminist, meditation, noise, narrative unconscious, London’. These sounds are similar to a collage making process, how I combine distorted patterns of sound to create repetitions of meditative, feminist sound textures that are learnt from being within nature, to re-frame the culture.
‘with every new experience, your organism engages in inference to fit what’s happening into a familiar pattern’ (Aeon, 2018) As humans, we tend to act upon the behaviour pattern that is familiar to us. Moreover, when things around us seem out of place, one might get unbalanced. Yoga practice opens the door for opening the closed chakras, which happens over time - that shows consciousness is more than a thing but it is a process. During yoga practice inhaling and exhaling air have primary importance, yoga means breath, and it should be taken beyond the mat. By letting more air inside of the body one can empty the chakras which are the main points of energy that might get blocked in everyday life, and therefore realising the potential within the body. According to Merleau Ponty: ‘body is the general medium for having a world’ (Maude, 2009) Hence, making of the bird costume is to think about a fu60 ture state of being, by using the body as a medium. The problem with language - the openness of the mouth, is not enough to work for the in between, the thing in between consciousness and matter. On the other hand, it does not allow one to describe a language for the self, but things that are learnt in the culture, which shapes ones being into a particular shape, gender. Going beyond these barriers of language, shapes is only with understanding them with one’s creation of own language, through the dualism between nature and culture. This could be with the sounds that resemble chakras of the body, which is a part of the sound practice in Grotowski methods. I practised these sounds during my visits to parks, and there is an example of my practice in one of the records, which is the last song of the flash disc.
â€œGetting lost was not a matter of geography so much as identity, a passionate desire, even an urgent need, to become no one and anyone, to shake off the shackles that remind you who you are, who others think you are.â€? (Solnit, 2005)
Getting lost in the moment does not have to be through movement, it could be by simply sitting or lying down, behaviour that anyone can perform. Coming back to intuition and sensation is through the medium of the body. There is more than what lies in the mirror to understand the spatial being, and sound makes one drift into another personâ€™s presence, experience of a female sound culture. How certain space makes us feel, is called psychogeography, e.g. some big names, key people. google, slot definition in and this way of collecting sounds could be seen as a way to explore and map the city. A play- 61 ful way to reach the intuition, and it became a part of the meditation nests (chapter 3).
Chapter 3: Emptying the boat
Technology shapes the constant of our experience in a way that is not consciously experienced. (Wendt, 2015) Meditation practice is in order to feel connected, where we feel isolated from the divine, similar to becoming a cloud, which could be senseless in a technological sense. Thinking of the near 62 future, the internet of things will be defining the city itself, we will be connected as part of a cloud with our information, although this connectedness, might turn us to nothing more than senseless, immortal vegetables. Heidegger, (in Wendt, 2015) draws attention to designing the objects better due to their relationship to us, in a way they define us. According to him, the next way of understanding humanity is through technology. While defining this change for our being, we should be thinking of the possibilities that could exist within the formation of this space that is not haptic, disregarding the body and mind. During this transition, the human mind might be struggling with the effects of the constant information flow, and thinking of meditation spaces could be a possibility to connect ourselves to the near future, in order not to forget the powerful habits of the mind, and balance unconscious and conscious living.
outdoor meditation spaces
stave hill ecological park 63
An argument against my proposition is, one can practice meditation anywhere, so there is not an actual need to have meditation spaces that could be linked to wifi benches, or even mundane benches in parks. â€˜ the object removes itself from the equation something else is experienced through objectâ€™ (Wendt, 2015); we could be thinking of the experience - formation of a connected space holistically by thinking through the performance of this space, The sounds I have made (chapter 2) are used as a part of this practice, the audience is part of the theatrical experience of meditation space, which takes one on a non-narrated journey through sound. It is the sounds of nature, being present with the mind, drifting with the possibilities of the body.
Thinking through making performances of the acts of meditation is in order to have the idea, behavi64 our of that space. We are not aware of what could happen if we were to practice spirituality as part of our modern living, however, it could save us from being connected to the forms of behaviours that have been consciously shaping us in the environment that turn us in to beings without existential qualities, of thinking. It is a way to imagine the possibilities of performance.
indoor meditation space, with sound
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Published on Mar 7, 2018