:: relayed info :: Colleagues are warmly invited to CKP's March seminar programme. See schedule and abstracts below. All the events below are at the Canterbury campus. Centre for Cognition, Kinesthetics and Performance, March Seminars Friday March 15th, Jarman Studio 2, 5 till 6.30 Jo Machon: The (Syn)aesthetics of Lundahl & Seitl’s Rotating in a Room of Moving Images Framed by the ideas and questions proffered in Josephine's forthcoming book, 'Immersive Theatres - intimacy and immediacy in contemporary performance', this informal presentation will consider the (syn)aesthetics of immersive performance. (Syn)aesthetics describes both a style of performance and a mode of analysis for that performance, drawing upon neuroscientific research to define its own terms of analysis. It adopts and adapts specific terminology from neurocognitive research into the condition of synaesthesia and uses the sensual language of the science to help explain and describe the way in which we appreciate certain types of visceral performance, of which the immersive form is exemplary. (Syn)aesthetics draws attention to qualities of experience undergone that can lead to a richly layered 'sense-making' of the work, both in the moment and subsequent to the event. To illustrate elements of immersive practice and clarify aspects of (syn)aesthetics the discussion will focus on Lundahl & Seitl's 'Rotating in a Room of Moving Images'; applying a (syn)aesthetic analysis of the work Josephine will examine how intimate and (im)mediate embodied encounters enable a 'felt' appreciation of the concepts at the heart of this work. Josephine Machon is the Senior Research Fellow in Contemporary Performance at Middlesex University, London. Her book on 'Immersive Theatres', which profiles the work of Lundahl & Seitl amongst other innovators of the form, will be published in May with Palgrave Macmillan. A chapter exploring ideas introduced in this seminar will be published with Methuen in Nicola Shaughnessy's edited collection, Affective Performance and Cognitive Science: Body, Brain and Being'. Josephine is the author of Immersive Theatres: intimacy and immediacy in Contemporary Performance' (2013) and (Syn)aesthetics: Redefining Visceral Performance (2009, 2011). She is also co-editor of the Palgrave Macmillan Series in Performance and Technology which includes the edited collections Performance and Technology: Practices of Virtual Embodiment and Interactivity (2006), Sensualities/Textualities and Technologies: Writings of the Body in 21st Century Performance (2010) and Identity, Performance and Technology (2012). Wednesday March 20th, 5-7, Jarman 6, 5 till 6.30 Virginia Pitts (Department of Film, Kent School of Arts) and Soo Hee Lee (Kent Business School) Kinesthetics and Collective Creativity Virginia Pitts: ‘Writing From the Body: Kinesthetics and Entrainment in Collaborative Screenplay Development’ The predominant industry mode of screenplay development involves writers sitting alone at a computer to produce numerous drafts in periodic consultation with producers, directors and script editors. The exception to this rule is the process of devising screenplays through guided actors’ improvisations. However, in thedevelopment of my film, Beat(2010), a dialogue between dramatic and choreographic improvisations was established and a process of “kinesthetic writing” evolved as a result. US-based script consultant, Joan Scheckel, employs comparable processes to develop narrative feature films collaboratively. Based on her own film practice, interviews with Joan Scheckel, and scholarship in disciplines ranging from the arts and humanities through cognitive psychology to neuroscience, this paper employs the praxical knowledge and inductive theorising germane to practice-based research to investigate how musicality, movement and dance can be utilized in the collaborative development of narrative screenplays, and proposes that the embodiedness of human understanding evident in processes of entrainment such as kinesthetic empathy and mirroring may be harnessed to enliven scriptwriting and function more generally as a modus vivendi. Dr. Virginia Pitts Virginia's screen production work spans drama, documentary, screendance and various hybrid forms for both film and television. Threading through her work is an exploration of how the sensoryqualities of film can be harnessed to communicate with audiences. In particular, Virginia’s films explore the potential for kinesthetic empathy and haptic visuality to trigger emotional and intellectual responses via the senses. Recent scholarly research explores various forms of inter-subjective relations and the permeability of borders between mainstream and experimental or marginal cinemas. Virginia is currently developing the rhythmic structure of her next screenplay in collaboration with a composer. ‘Digital Dance Archives: An Interactive Design Experience for Collaboration and Creation’ Soo Hee Lee s.h.lee@xxxxxxxxxx Abstract: Archiving dance, in comparison to visual arts, literature or music, has always been more challenging, triggering huge intellectual debate and unease. Due to its immaterial nature, dance as the ‘art of presence’ makes archiving a demanding task, but also an urgent one in the fear of inevitable disappearance. Traditional dance documentation, as creating a score in order to reconstruct a dance work is often considered as limited, failing to reflect the ‘liveness’ of any performance. In contrast to informative and historical approaches to dance archives, choreographers such as Wayne McGregor, Emio Greco and William Forsythe have embraced digital media and interdisciplinary perspectives placing ‘living archive’ at the heart of the creative process. ‘Living archive’ as a dance archive enhanced by digital technologies is now a medium that communicates experience and enables interdisciplinary collaboration between choreographers, dancers, philosophers, cognitive scientists and human-computer interaction experts. Scholars, such as Scott deLahunta, replace mere archival information with the notion of ‘resources’ that consolidate knowledge, past and present experiences, while channelling interdisciplinary team working within which debates and critiques leads to new approaches of creating dance. This talk stresses the role of digital media in archiving, which are able to enhance documentation of creative process, while paving the way to rethink, reinvent and reflect on dance practices toward new techniques, methods and approaches. As dance archives become an integral part and medium of dance creation, they are evident to what Bolter and Gromala define as ‘remediation’. In particular, they are underpinned by ‘transparent remediation’, inserting past dance experiences, while capturing and archiving the outcome of present collaboration. In contrast to previous forms of dance archiving, they enable creative exploration and experimentation as an interactive process with digital media that leads to the discovery of new movements and ultimately new dances, a process called ‘reflective remediation’. In conclusion, this talk will examine to what extent interdisciplinarity influences dance archiving and thus dance studies and research: do choreographers need to leave certain skills behind –what Richard Sennett calls ‘de-skilling’– in order to develop new skills, or does interdisciplinarity broaden and push the boundaries of performance art in order to reinvent, rethink and ultimately remediate itself based on new resources that enable new perspectives to arise. Ultimately, dance archives are discussed as by-products of this interdisciplinary creative process that fuel creativity and maintain memory not just as a score, but as an interactive design experience that occurs in a given place and time. Soo Hee Lee is Professor in Organization Studies at Kent Business School, University of Kent. He is also an adjunct professor at the GraduateSchool of Culture Technology, KAIST and a visiting professor of the Creative Design Institute, Sungkyunkwan University. He is the Director of the Creative City Forum and a Fellow of the 21st Century Foundation. He has published on science and technology policy, arts policy, design management,innovation, comparative institutions, and international business. More recently his research has explored digital convergence, remediation and collective creativity in architecture, fashion, food and contemporary dance. Wednesday March 27th, 4Bridging Art & Science: little pictures and bigger ones, 4.14 (University of Kent, Canterbury Campus SW101) Philip Barnard Scientific Advisor, Wayne McGregor Random Dance and Visiting Scientist, MRC Cognition and Brain Sciences Unit. Joint Session between Centre for Cognitive Neuroscience and Cognitive Systems (http://www.kent.ac.uk/psychology/research/ccncs/) and the Centre for Cognition and Kinesthetics and Performance (http://www.kent.ac.uk/ckp/) Relationships between art and science have always been intricate – philosophers, scientists and cognitive archaeologists have wondered at, and debated the nature and origins of human innovation and creativity. Scientists have used their kind of systematic and hard data about perception, thought, language, meaning, emotion and social interactions to elucidate the workings of the creative arts and how they affect the minds of individuals and groups. Equally artists have been inspired by, and can draw upon all sorts of different technologies and scientific ideas in the process of making an artwork. This talk will summarise and draw upon a decade-long collaboration between the Choreographer Wayne McGregor and cognitive science and cognitive neuroscience. It will show examples of little pictures – pieces of evidence about the thinking of choreographers and dancers – particularly on the roles of variation in the use of imagery. It will also set these littlepictures in the context of three classes of “bigger” pictures that address the inferential problems of linking ideas about brains, minds and behaviours, how bridges are built and used between sources of inspiration and artworks and how the processes of artistic innovation in the generation of a specific artwork unfold over time. It will conclude by providing two examples of how understandings these bigger pictures can support the augmentation of artistic processes, not only for the artistic elite but also in the classroom. ALL WELCOME Dr Nicola Shaughnessy Professor of Performance Director of the Centre for Cognition, Kinesthetics and Performance School of Arts Jarman Building University of Kent Canterbury CT2 7UG 01227 764000 (switchboard)/01227 827516 (direct line) http://www.kent.ac.uk/arts/staff-profiles/profiles/main/shaughnessy_n.html http://www.c4ckp.org/ www.imaginingautism.org http://www.amazon.co.uk/Applying-Performance-Socially-Affective-Practice/dp/0230241336