{"id":46,"date":"2023-06-17T09:36:18","date_gmt":"2023-06-17T09:36:18","guid":{"rendered":"https:\/\/www.provocations.online\/researchembodiment\/?page_id=46"},"modified":"2023-07-14T10:05:07","modified_gmt":"2023-07-14T10:05:07","slug":"panel-dsp-2023","status":"publish","type":"page","link":"https:\/\/www.provocations.online\/researchembodiment\/panel-dsp-2023\/","title":{"rendered":"panel @ DSP 2023"},"content":{"rendered":"\n<h5 class=\"wp-block-heading\"><strong>PROVOCATIONS ROUNDTABLE: <\/strong><br><strong>HOW is your research&nbsp;<em>embodied?<\/em><\/strong><\/h5>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">@ the <a rel=\"noreferrer noopener\" href=\"provocationsproject@gmail.com\" target=\"_blank\">Dance &amp; Somatic Practices Conference 2023<\/a> in Coventry, UK<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\"><strong>FRIDAY JULY 14, 14:30 &#8211; 16:30<\/strong><br>Hybrid, online &amp; on-site. <br>To join via Zoom, email: <a rel=\"noreferrer noopener\" href=\"mailto:provocationsproject@gmail.com\" target=\"_blank\">provocationsproject@gmail.com<\/a> <\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\"><strong>CONVENORS:<\/strong>&nbsp;Teoma Naccarato, John MacCallum, Jessica Rajko<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\"><strong>PANELISTS:<\/strong>&nbsp;Simon Ellis, Lindsay T. Gianoukas, Carolyn Deby, Zrinka Uzbinecz, Nicole Michalla, Jane Chan, Muindi Fanuel Muindi, Sha Xin Wei<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>ABSTRACT:<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">Following an Open Call for Provocations in response to the question:&nbsp;<em>how is your research embodied?<\/em>, this Roundtable Discussion brings together &#8216;provocateurs&#8217; to explore the effects of embodiment within and between disciplinary cultures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">The notion of \u2018embodiment\u2019 is integral to contemporary discourse about human interactions with technology across the arts, sciences, and humanities. In the fields of dance and somatic practices, the notion of embodiment is often employed to foreground the unique expertise of artists\/scholars engaged in body- and movement-based research, and further, to transmit this knowledge to other domains. At the intersection of dance with computer science and cognitive science, the notion of embodied cognition is key to positioning the material body as a site of thought, concept, and language formation.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">Increasingly, articulations of embodiment reach beyond the individual human subject as source, to consider relational agency in meaning-making processes. In posthumanist and new materialist theory, the thing-we-call-a-body is always already both biological and artificial, constituted via ongoing circulation beneath and beyond the skin. Pervasive computational and biomedical interventions into human bodies and identities point to the distributed nature of embodiment, blurring lines between self\/other and human\/nonhuman in the production of knowledge. Further, bridging phenomenological perspectives with broader social and cultural concerns, the growing use of hybrid terms such as \u2018ecosomatics\u2019 and \u2018somatechnics\u2019 speaks to the need for transdisciplinary exchange.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">Insisting on embodiment, however, suggests that there is something other \u2013 namely, disembodiment. Rather than reinforcing this well-worn binary, we seek to foreground multiplicity-within interpretations of embodiment, and to probe the perceived effects of embodiment in relation to disciplinary motives, methods, and modes of articulation.&nbsp; We pose this question in the context of the Dance and Somatic Practices Conference, because the stakes of asserting embodied knowledge are particularly high for this community. By drawing in experts from across disciplines, the aim is to explore generative differences in understandings of embodiment, and more specifically, embodied research.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Provocations by the panelists:<\/h2>\n\n\n\n<p class=\"has-small-font-size wp-block-paragraph\">*the provocations are presented in a random order each time you refresh the screen!<\/p>\n\n\n<style>.wp-show-posts-columns#wpsp-88 {margin-left: -2em; }.wp-show-posts-columns#wpsp-88 .wp-show-posts-inner {margin: 0 0 2em 2em; }<\/style><section id=\"wpsp-88\" class=\" wp-show-posts\" style=\"\"><article class=\" wp-show-posts-single wpsp-clearfix post-223 post type-post status-publish format-standard hentry category-dsp-2023 category-panelist-dsp-2023 category-provocation\" itemtype=\"http:\/\/schema.org\/CreativeWork\" itemscope><div class=\"wp-show-posts-inner\" style=\"\">\t\t\t\t\t\t<div class=\"wp-show-posts-entry-content\" itemprop=\"text\">\n\t\t\t\t\t\t\t\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"568\" src=\"https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-1024x568.jpeg\" alt=\"\" class=\"wp-image-224\" srcset=\"https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-1024x568.jpeg 1024w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-300x166.jpeg 300w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-768x426.jpeg 768w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-1536x852.jpeg 1536w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-2048x1136.jpeg 2048w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-500x277.jpeg 500w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-800x444.jpeg 800w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-1280x710.jpeg 1280w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Trientale_boreale0-oana-suteu-khintirian-1920x1065.jpeg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Laying on the forest ground, arm stretched to reach the trigger of the camera, I am facing a spring starflower. Where does my body end and where does the world begin? The shutter closes and opens rhythmically creating a timelapse. Is it collecting fragments of time, or is it fragments of movement? Whose time? Whose movement? The lens is a tunnel through which the river of light adorning the ephemeral petals of the Lysmachia borealis travels to me. What I can see by recomposing the time is a dance engaging flower, sun and flies, a dance some call heliotropism. The flower will live another day. Yesterday it was too young to chase the rays and welcome the visiting flies, tomorrow it will be too old, so by sunset it will swirl on a breeze, giving the fruit its place under the sun. Death, birth? Next spring another flower will dance with the sun, for the plant\u2019s veriditas lays in its root, deep buried in the earth. One day my body too will be laying in the ground, eyes closed, but until then it will most likely retain its organs, unlike the plant I am stretching my gaze towards. How is my research embodied, or should I say which embodiment better corresponds to it?<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">&#8211; Oana Suteu Khintirian<\/h4>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\t\t\t\t\t\t<\/div><!-- .entry-content -->\n\t\t\t\t\t<\/div><!-- wp-show-posts-inner --><div class=\"wpsp-clear\"><\/div><\/article><article class=\" wp-show-posts-single wpsp-clearfix post-70 post type-post status-publish format-standard hentry category-dsp-2023 category-panelist-dsp-2023 category-provocation\" itemtype=\"http:\/\/schema.org\/CreativeWork\" itemscope><div class=\"wp-show-posts-inner\" style=\"\">\t\t\t\t\t\t<div class=\"wp-show-posts-entry-content\" itemprop=\"text\">\n\t\t\t\t\t\t\t\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Uzbinec After affect   Zrinka Uzbinec\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/pkXyridomCw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The title of the video is After-affect. The video is part of my practice research PhD at C-DaRE, Coventry University. The research is titled Cute Crash: Cutting Through Violence with Choreography and Cuteness, and investigates conjunctions of cuteness\/violence through the lens of choreography.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">&#8211; Zrinka Uzbinec<\/h4>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\t\t\t\t\t\t<\/div><!-- .entry-content -->\n\t\t\t\t\t<\/div><!-- wp-show-posts-inner --><div class=\"wpsp-clear\"><\/div><\/article><article class=\" wp-show-posts-single wpsp-clearfix post-59 post type-post status-publish format-standard hentry category-dsp-2023 category-panelist-dsp-2023 category-provocation\" itemtype=\"http:\/\/schema.org\/CreativeWork\" itemscope><div class=\"wp-show-posts-inner\" style=\"\">\t\t\t\t\t\t<div class=\"wp-show-posts-entry-content\" itemprop=\"text\">\n\t\t\t\t\t\t\t\n<p class=\"wp-block-paragraph\"> If all knowledge is embodied, and all practices that generate and enact knowledge are embodied, then I think the question becomes, &#8216;How are different research practices and processes embodied differently or uniquely?&#8217; That is, are there types of embodiment that are different by kind or degree? My hunch is that research that explicitly calls itself embodied is done so by a subject giving the body some kind of status as a special kind of object (but an object nevertheless). But who is this subject laying claim to the body as object if indeed their research is embodied? There is a grammatical &#8216;trick&#8217; that goes like this: The phrases &#8220;I am a body&#8221;, &#8220;I have a body&#8221; or even &#8220;I know my body&#8221; can become: &#8220;body being&#8221;, &#8220;body having&#8221;, &#8220;body known&#8221; or even &#8220;body being known&#8221;. If there is body being known, then known by what? Radically embodied research would mean that there is nothing to be found at this point.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">-Simon Ellis<\/h4>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\t\t\t\t\t\t<\/div><!-- .entry-content -->\n\t\t\t\t\t<\/div><!-- wp-show-posts-inner --><div class=\"wpsp-clear\"><\/div><\/article><article class=\" wp-show-posts-single wpsp-clearfix post-111 post type-post status-publish format-standard hentry category-dsp-2023 category-panelist-dsp-2023 category-provocation\" itemtype=\"http:\/\/schema.org\/CreativeWork\" itemscope><div class=\"wp-show-posts-inner\" style=\"\">\t\t\t\t\t\t<div class=\"wp-show-posts-entry-content\" itemprop=\"text\">\n\t\t\t\t\t\t\t\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"540\" src=\"https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Measure-w_-Care-Muindi-Fanuel-Muindi.jpeg\" alt=\"\" class=\"wp-image-112\" srcset=\"https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Measure-w_-Care-Muindi-Fanuel-Muindi.jpeg 960w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Measure-w_-Care-Muindi-Fanuel-Muindi-300x169.jpeg 300w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Measure-w_-Care-Muindi-Fanuel-Muindi-768x432.jpeg 768w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Measure-w_-Care-Muindi-Fanuel-Muindi-500x281.jpeg 500w, https:\/\/www.provocations.online\/researchembodiment\/wp-content\/uploads\/2023\/07\/Measure-w_-Care-Muindi-Fanuel-Muindi-800x450.jpeg 800w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Learning to prepare dishes from my grandmother, I never referenced standard measures. My grandmother would say, \u201cyou need this much water\u201d, and I gauged measures using my sense of hearing, sight, touch, and taste: listening for how intensely and for how long she held the faucet open to get the measure of water she needed, looking at how much water filled the pan, holding the pan while the water was added and feeling the weight of it, tasting the dish, finding it a tad too liquid, and wishing that my grandmother added bit less water than she did&#8230; But if I were to write a cookbook full of my grandmother\u2019s recipes that people all over the planet might use, I would need to use the standard measures that many are familiar with. I would have to write, \u201cAdd 3 \u00bd cups of water.\u201d Yet, even then, non-standard and anexact measures are necessary, phrases like \u201clower the temperature to a simmer\u201d, \u201csalt to taste\u201d, \u201csaut\u00e9 till translucent\u201d, \u201cadd the whites of three large eggs\u201d, etc. The prevalence of standard measures, like the 8 fluid ounce cup, not only in recipe books but in all fields of human activity, is never a mere historical accident. The establishment of any and every standard measure is a remarkable social feat, involving either remarkable common efforts or remarkable impositions of systems of domination. When impositions of systems of domination are involved, the prevalence of a standard measure indexes more harm than good.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">&#8211; Muindi Fanuel Muindi<\/h4>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\t\t\t\t\t\t<\/div><!-- .entry-content -->\n\t\t\t\t\t<\/div><!-- wp-show-posts-inner --><div class=\"wpsp-clear\"><\/div><\/article><article class=\" wp-show-posts-single wpsp-clearfix post-143 post type-post status-publish format-standard hentry category-dsp-2023 category-panelist-dsp-2023 category-provocation\" itemtype=\"http:\/\/schema.org\/CreativeWork\" itemscope><div class=\"wp-show-posts-inner\" style=\"\">\t\t\t\t\t\t<div class=\"wp-show-posts-entry-content\" itemprop=\"text\">\n\t\t\t\t\t\t\t\n<p class=\"wp-block-paragraph\">In a striking passage, Merleau-Ponty writes about a patient who, when &#8220;asked to point to a part of his&nbsp;body, such as his nose, only succeeds if he is allowed to grasp it. If the patient is directed to interrupt the&nbsp;movement before it reaches its goal, or if he is only allowed to touch his nose with a wooden ruler, then&nbsp;the movement becomes impossible.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This suggests that \u2018grasping,&#8217; \u2018touching,&#8217; and &#8216;pointing,\u2019 are all corporeally different. &nbsp; He continues: &#8220;my&nbsp;body appears to me as a posture toward a certain task, actual or possible,\u201d which suggests there are&nbsp;different sorts of spatiality for the body, such as situational spatiality versus positional spatiality. &nbsp; And with&nbsp;the example of slapping one-self unerringly &nbsp;\u2014 and unthinkingly \u2014 where one\u2019s bitten by a mosquito,&nbsp;where the performance of the slap is not mediated by metrical observation and cognitive logic, we&nbsp;understand that the body \u201canchors itself\u201d in its objects and its activity situation. &nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">thought.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In a different vein, Madeline Gins, working with Shusaku Arakawa, in a wonderful speculative experiential book,&nbsp;<em>Architecture Body<\/em>, suggests embodied experiments that put into question whether it makes sense to ask:&nbsp;\u201cWhere does my body end and the world begin?\u201d In particular Arakawa and Gins conjure architectural-spatial experiments to sense&nbsp;and comprehend what they call &#8220;perceptual landing spots.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Taken together, such observations and experiments show that while my body clearly conditions how I&nbsp;move, make sense of my transfinitely multiple relations to self, other, and ambient, no physical sensor&nbsp;based on relative or absolute geometry begins to measure what is in play with my embodied experience,&nbsp;and embodied enactive engagement with my ambient.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Despite this, how can we co-articulate sense in non-predetermined ways with others and with our ambient hybrid analog-algorithmically-augmented environments?<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Hopskip Palpability\" src=\"https:\/\/player.vimeo.com\/video\/10820127?dnt=1&amp;app_id=122963\" width=\"320\" height=\"240\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Navid Navab - Jerome DeLapierre - Michael Montanaro                               Ice Cracking, Einstein&#039;s dreams, 2013\" src=\"https:\/\/player.vimeo.com\/video\/76984794?dnt=1&amp;app_id=122963\" width=\"660\" height=\"371\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">&#8211; Sha Xin Wei<\/h4>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\t\t\t\t\t\t<\/div><!-- .entry-content -->\n\t\t\t\t\t<\/div><!-- wp-show-posts-inner --><div class=\"wpsp-clear\"><\/div><\/article><article class=\" wp-show-posts-single wpsp-clearfix post-95 post type-post status-publish format-standard hentry category-dsp-2023 category-panelist-dsp-2023 category-provocation\" itemtype=\"http:\/\/schema.org\/CreativeWork\" itemscope><div class=\"wp-show-posts-inner\" style=\"\">\t\t\t\t\t\t<div class=\"wp-show-posts-entry-content\" itemprop=\"text\">\n\t\t\t\t\t\t\t\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Cassino Beach June 2020   Skin and Bones   Lindsay Gianoukas\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/ASMlF9UpHSM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Short video: research material by Lindsay Gianoukas, recorded in Cassino Beach, Praia do Cassino, RS, Brazil, in June 2020.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Raised on the seaside of southern Brazil, the wind was her first professor. It taught the inevitable aspects of human movement: gravity, displacement, change, velocities, resistance, etcetera. A curator of human expression and a philosopher of movement, the author develops her research by embodying and embracing the environment. Beyond identities, the research methods are transnational, transcultural, translaguage, transexpression. Transitory and somatic. Listening is an exercise. The research about territories of expression has been continuously informed by the relations with elements of nature and the environments that surround the body. For instance, breathing is the ventilation of the body: air transit. Indispensable to vocal expression, breathing is the body\u2019s wind making. The skin is seriously perforated, a passage: impression and expression. Atmospheric pressure? The edge is a limit: separation. At the same time, a line of encounters. Border. Belonging. Being. Nature and cultural aspects overlap in human-animal expression. Similarities between habitats-home-nests, paws and feet, mouth and beak, eyes and eyes, bones \u2013 shells &#8211; skins, and death. Modes of connection inspired by the South American indigenous knowledge. Embodiment happens in the transpiration, transformation, and transknowledge between performance, philosophies, poetry: person and planet Earth. Training expressive bodies is then training to be alive, improving the abilities to perceive the world. As one can notice, the wind makes the sand or the leaves dance.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Vento em Cena\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/C2mq_3nP0M0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Gianuca, Lindsay. Performers\u2019 Skin: porous thinking and expressive flesh. Doctoral Thesis. PPGAC-UFRGS. Porto Alegre, 2020 (p.62)<br>The above scene is an excerpt from the play \u201cMachinic Manual of the Stage Bodies\u201d. Practice Research. Arts Centre &#8211; UFPEL. Pelotas, 2018. <br>Performers in \u201cthe wind\u201d scene: Francine Pereira, Germano Rusch, Lindsay Gianoukas, Mario Celso Pereira Jr. <br>Directed and choreographed by Lindsay Gianoukas<\/figcaption><\/figure>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">&#8211; Lindsay T. Gianuca<\/h4>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\t\t\t\t\t\t<\/div><!-- .entry-content -->\n\t\t\t\t\t<\/div><!-- wp-show-posts-inner --><div class=\"wpsp-clear\"><\/div><\/article><article class=\" wp-show-posts-single wpsp-clearfix post-63 post type-post status-publish format-standard hentry category-dsp-2023 category-panelist-dsp-2023 category-provocation\" itemtype=\"http:\/\/schema.org\/CreativeWork\" itemscope><div class=\"wp-show-posts-inner\" style=\"\">\t\t\t\t\t\t<div class=\"wp-show-posts-entry-content\" itemprop=\"text\">\n\t\t\t\t\t\t\t\n<p class=\"wp-block-paragraph\">My practice &amp; research <a rel=\"noreferrer noopener\" href=\"https:\/\/www.f-inggoodprovocation.com\" target=\"_blank\">F-ing Good Provocation<\/a> (FGP) is an anti-racist, anti-oppressive practice centring care, empathy and accountability within the landscape of movement and dance. A lifelong journey of education, relationship and solidarity building that requires all of us to be anti-racist, anti-oppressive daily in every space we enter, hold, pass through. Therefore, embodied through our everyday life and senses, whilst acknowledging change is constant. FGP is an embodiment of my response to a specific time (2020) in history, its social, economical, cultural contexts, implications and sentiments through holding spaces, conversations, listening, writing and doodling. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Our bodies hold experiences, emotions and labour within. One of the many effects are frustration, tiredness, fatigue, exhaustion, burn out physically, mentally and emotionally. These effects can be compounded and become chronic depending on the regularity and impact of incidents (trauma). Therefore, active self care is essential and specific to the individual. For me, centring joy is at the heart of my practice in order for it to be sustainable. For example, attending to plants, making sure I work no more than 20 days a month, scheduling osteopathy and other bodily treatments, saying \u2018no\u2019 to work, people and conditions that no longer nourish me.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I also wonder whether embodiment and disembodiment could be framed as a binary? I see it more as a spectrum. Whether one chooses to engage with comments and or feedback due to protected characteristics and or injustices, that is still an engagement. Choosing to disengage is an engagement.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"has-small-font-size wp-block-paragraph\"><a rel=\"noreferrer noopener\" href=\"https:\/\/www.f-inggoodprovocation.com\" target=\"_blank\"><strong>F-ing Good Provocation<\/strong><\/a> is a zine\/essay (project as well as a practice) that celebrates the 20 artists of East and Southeast Asian diaspora involved, who live, create and contribute to the vibrant arts landscape of the UK and beyond. It is multi-prong project and practice, focusing on anti-racist, anti-oppressive practice and centring care, empathy, accountability focusing on artists of the East and Southeast Asian diaspora in the UK. The first phase of the project was a scoping phase including hours of conversations during lockdown in 2020\/21 on race, racism, injustices and the 20 artists&#8217; lived\/living experiences. This zine encapsulates some of the difficult, honest yet essential conversations and hopes. F-ing Good Provocation continues to be a platform in making changes within the landscape of movement, dance and be<\/p>\n\n\n\n<p class=\"has-small-font-size wp-block-paragraph\">Title: F-ing Good Provocation <br>Lead artist: Jane Chan <br>Name of publisher: n\/a, self published <br>Type of publication: Essay <br>Themes: Anti-Racism | Dance | Social Justice | Global Majority Heritage <br>Price: \u00a38 (plus UK postal delivery ) &#8211; please get in touch chanjane.jc@gmail.com<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">&#8211; Jane Chan<\/h4>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\t\t\t\t\t\t<\/div><!-- .entry-content -->\n\t\t\t\t\t<\/div><!-- wp-show-posts-inner --><div class=\"wpsp-clear\"><\/div><\/article><article class=\" wp-show-posts-single wpsp-clearfix post-72 post type-post status-publish format-standard hentry category-dsp-2023 category-panelist-dsp-2023 category-provocation\" itemtype=\"http:\/\/schema.org\/CreativeWork\" itemscope><div class=\"wp-show-posts-inner\" style=\"\">\t\t\t\t\t\t<div class=\"wp-show-posts-entry-content\" itemprop=\"text\">\n\t\t\t\t\t\t\t\n<p class=\"wp-block-paragraph\">My challenge is to extensively complicate understandings of the \u2018distributed nature of embodiment, blurring lines between self\/other and human\/nonhuman in the production of knowledge\u2019 (as stated in the Open Call). Rather than discrete individuals, human bodies are composites of collaborating cells (human and nonhuman), with nonhuman populations (the microbiome) comprised of bacteria, fungi, viruses, and protozoa, clustered in highly local micro-communities all over and inside the body. These microbial nonhumans are essential to human bodily processes, including the brain, immune system, digestion, and more. Thus, humans are multispecies entities, coevolving in collaboration with their microbiome; the \u2018multispecies entity\u2019 is in effect an ecosystem of human and nonhuman cells known as a \u2018holobiont\u2019. Further, the microbiomes of environment \u2018bodies\u2019 share species overlap with the human holobiont, implying porosity between human bodies, animal bodies, soil bodies, ocean bodies, and so on. Any notion of distinct separation between \u2018bodies\u2019 should be understood rather as a series of porous zones of exchange. Hybridity of all bodies (including \u2018human\u2019 researchers) is a messy situation of blurred edges and inter-acting affects. Whose knowledge are we creating? How do we acknowledge and deepen relations with our own hybrid selves? What is a body? Should ecosomatics consider not only the body\u2019s relation to an external ecology but also relations within the multiplicity of the human holobiont? Could artists\/researchers working with somatic, body, and movement-based methodologies collaborate productively with scientists\/microbiologists to generate insights not available to either cohort on their own?<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">&#8211; Carolyn Deby<\/h4>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\t\t\t\t\t\t<\/div><!-- .entry-content -->\n\t\t\t\t\t<\/div><!-- wp-show-posts-inner --><div class=\"wpsp-clear\"><\/div><\/article><article class=\" wp-show-posts-single wpsp-clearfix post-93 post type-post status-publish format-standard hentry category-dsp-2023 category-panelist-dsp-2023 category-provocation\" itemtype=\"http:\/\/schema.org\/CreativeWork\" itemscope><div class=\"wp-show-posts-inner\" style=\"\">\t\t\t\t\t\t<div class=\"wp-show-posts-entry-content\" itemprop=\"text\">\n\t\t\t\t\t\t\t\n<p class=\"wp-block-paragraph\">Take your heart, follow its traces to the sole of your feet. Can you hear its beat when walking? The practice I have been developing along the last years wants to promote a sense of anatomo-sensorial consciousness as a bodily anchor of thought, reflection and transformation. In the socio-politic-environmental context we are living in, where the value of a human body and nature is (still) responding (and reduced) to an economic system that attempts against life in all its forms, I believe that turning the attention to our bodies in their most raw physical matter can help arouse questions on how we want to live and how can we actually make it happen. I see my practice as a surface where to host a critical dialog between my physical body and the social one, where the skin that separates us is flexible, elastic and permeable. I touch myself and sense my hand\u00b4s pressure. I touch myself and remember. I touch myself and desire. I pull my skin and observe that my shape can actually change. I look at the surface that holds my organs together to realize it is object\/ is subject to social representations. When I touch you I am also affected.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">&#8211; Nicolette Michalla<\/h4>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\t\t\t\t\t\t<\/div><!-- .entry-content -->\n\t\t\t\t\t<\/div><!-- wp-show-posts-inner --><div class=\"wpsp-clear\"><\/div><\/article><\/section><!-- .wp-show-posts -->\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"https:\/\/www.provocations.online\/researchembodiment\/provocations\/\" data-type=\"page\" data-id=\"40\">Read the full collection of provocations HERE!<\/a><\/h4>\n\n\n\n<h2 class=\"wp-block-heading\">Panelist Bios<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Jane Chan<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jane Chan is an independent dance artist who works at the intersection of making, performing, teaching, project managing, mentoring and change instigating. Jane performs regularly with Amina Khayyam Dance Company, lectures at London Contemporary Dance School, works in artist-advisory capacity with Sadler\u2019s Wells and Akademi respectively. Jane is also a mentor for independent dance professionals and for young people at Arts Emergency. Jane also has a facilitation and community practice: aimed to share the joy and benefits of movement to people of all ages and abilities including immigrant women groups, toddlers, children with different learning needs, older adults with and without dementia. Her work is autoethnographical and aims to question and reclaim cultural and social misrepresentation as well as dismantle, redistribute and reconstruct the power dynamics within the landscape of movement and dance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Carolyn Deby<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Carolyn is an artist-researcher, currently supported as a Visiting Scholar by University of Cambridge\u2019s Center for Research in the Arts, Social Science, and Humanities (CRASSH). She creates work intentionally under the collaborative umbrella of sirencrossing, examining the lived experience of humans and their sympoietic entanglement with nonhumans, Earth systems, and landscapes. Employing a practice-as-research method of site-specific \u2018audience experiences\u2019, she has sought to liven human awareness of their biological, ecological, social, and technological entanglement in multispecies and hybrid bio\/geo\/techno processes. Carolyn holds a PhD in Theater and Performance from the University of Warwick\u2019s School of Creative Arts, Performance, and Visual Culture.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Simon Ellis<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Simon Ellis is a choreographer and filmmaker. He was born in Aotearoa New Zealand, but now lives in the UK and works at the Centre for Dance Research (C-DaRE) at Coventry University. He thinks about the ways humans might value things that are not easily commodified, and likes to imagine a world filled with people who are sensitive to their own bodies, and the bodies of others.\u00a0<a href=\"https:\/\/eur01.safelinks.protection.outlook.com\/?url=http%3A%2F%2Fwww.skellis.net%2F&amp;data=05%7C01%7Cae0631%40coventry.ac.uk%7C1bfb5ea4329842a748a008db843712a3%7C4b18ab9a37654abeac7c0e0d398afd4f%7C0%7C0%7C638249144283490349%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&amp;sdata=2QiDJmw4DqMx%2Bo1IBJJMkpgEDrMNZogCUH381GLdzhM%3D&amp;reserved=0\">www.skellis.net<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Lindsay Gianoukas<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lindsay Gianoukas (Lindsay T. Gianuca&#8217;s stage name) is a philosopher of movement and curator of human expression. She has been a dancer, choreographer, theatre maker, lecturer, and researcher for over twenty years. Doctor in Performing Arts (PPGAC-UFRGS, Brazil, 2020), she has been developing research in dance, performing arts pedagogies, philosophies of difference, and creative processes. She is currently based in London, and her research includes the relationship between human expression and the environment. She investigates contemporary performance practices and is committed to unfolding concepts and decolonising perspectives<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Oana Suteu Khintirian<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With over twenty years of experience in filmmaking, from editing to writing and directing, Oana Suteu Khintirian is a well versed experimentalist and researcher who uses cinematic modes of thought to further human knowledge. Her research-creation projects encompass academic writing and creative work crossing path with the humanities and sciences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rooted in the artistic practice, but informed by khintirian\u2019s scientific and mathematical education, her creative and reflective work draw a tightly interwoven portrayal of a world animated by movement and governed by change.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Nicolette Michalla<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nicolette Michalla is a dance artist from Argentina living in Berlin since 2016. She is currently interested in generating spaces that allow experiencing and thinking the body, its (non)human interactions and affective dynamics. She holds a Master&#8217;s degree in Nutrition from the Buenos Aires University of Medicine, studies in Osteopathy and has been developing her body of work in the field of dance independently. Her practice wants to promote a sense of anatomo-sensorial consciousness as a bodily anchor of thought, reflection and transformation.&nbsp; <a href=\"https:\/\/linktr.ee\/nicolettemichalla\">https:\/\/linktr.ee\/nicolettemichalla<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Muindi Fanuel Muindi<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Muindi Fanuel Muindi is a performance artist, philosopher, and writer. As a performance artist, Muindi deploys \u201cdramatic devices\u201d&nbsp; to create \u201csensuous experiences\u201d that articulate philosophical and mathematical concepts and that undermine the assumption that discursive and algebraic symbols are &#8220;proofs&#8221; of knowledge. Muindi works at the Office of Global Affairs at the University of Washington, coordinating the World&#8217;s of Difference initiative on decolonial critiques and approaches to engaging in global research and learning.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Zrinka U\u017ebinec<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Zrinka U\u017ebinec (she\/they) dance and work with choreography crafting it with various mediums and diverse materials. They often choose to work in collaborations, taking a feminist approach and looking into the emancipatory potentials of the dancing body. After long-term (freelance) work within BADco. collective, Zrinka is currently in the second year of a PhD practice research at C-DaRE (Centre for Dance Research), Coventry University, exploring choreographic implications of the conjunction between cuteness and violence.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sha Xin Wei<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sha Xin Wei, PhD, is a Professor at the School of Arts, Media, + Engineering and the School of Complex Adaptive Systems, and directs Synthesis atelier for transversal art, philosophy, and technology in the Global Futures Lab at Arizona State University. He is an associate editor for AI &amp; Society, and serves on the Governing Board for Leonardo. Dr. Sha\u2019s core research concerns poiesis, play and process. His art and scholarly work range from gestual media, movement arts, and responsive environments through experiential design to critical studies and philosophy of technology. Sha\u2019s publications include Poeisis and Enchntment in Topological Matter and \u201cResistance is Fertile\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>PROVOCATIONS ROUNDTABLE: HOW is your research&nbsp;embodied? @ the Dance &amp; Somatic Practices Conference 2023 in Coventry, UK FRIDAY JULY 14, 14:30 &#8211; 16:30Hybrid, online &amp; on-site. To join via Zoom, email: provocationsproject@gmail.com CONVENORS:&nbsp;Teoma Naccarato, John MacCallum, Jessica Rajko PANELISTS:&nbsp;Simon Ellis, Lindsay T. Gianoukas, Carolyn Deby, Zrinka Uzbinecz, Nicole Michalla, Jane Chan, Muindi Fanuel Muindi, Sha &hellip; <a href=\"https:\/\/www.provocations.online\/researchembodiment\/2023\/07\/06\/nicolette-michalla\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Nicolette Michalla<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_vp_format_video_url":"","_vp_image_focal_point":[],"footnotes":""},"class_list":["post-46","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.provocations.online\/researchembodiment\/wp-json\/wp\/v2\/pages\/46","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.provocations.online\/researchembodiment\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.provocations.online\/researchembodiment\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.provocations.online\/researchembodiment\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.provocations.online\/researchembodiment\/wp-json\/wp\/v2\/comments?post=46"}],"version-history":[{"count":10,"href":"https:\/\/www.provocations.online\/researchembodiment\/wp-json\/wp\/v2\/pages\/46\/revisions"}],"predecessor-version":[{"id":234,"href":"https:\/\/www.provocations.online\/researchembodiment\/wp-json\/wp\/v2\/pages\/46\/revisions\/234"}],"wp:attachment":[{"href":"https:\/\/www.provocations.online\/researchembodiment\/wp-json\/wp\/v2\/media?parent=46"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}