The Virtual Camera and the Notational Drawing
RESCALING THE BODY: THE PERFORMER AS THE MAKER AND THE PERFORMER AS THE AUDIENCE
The virtual camera functions as ‘joint-marking’ where the human body, scales itself up or down cognitively, in relation to the ‘object of its thought’. In that case, Architecture becomes another body with which the human body collaborates cognitively and virtually.
‘Marking’ is defined in three categories. These are: marking for the self, where dancers use their body to memorise a dance sequence, marking for other dancers, where dancers use their bodies to communicate and encode part of a phrase for others and finally, joint marking, where two or three dancers come together to mark and run a phrase.
The archived data from the virtual camera is being analysed with the help of a 3d program that tracks specific parts of his body, including the head, the hands, the core and the legs. The resulting sketch, is layered on top of the building’s parts where the action refers to. The same process was followed for the rest of the building’s facades as pictures demonstrate.
Physical Thinking is an applied process of synthesis and assimilation of ideas that can be revealed through the ‘lived experience’ of dwelling and occupying a thought. It is a direct expression of an embodied action and state of mind. It is indeed a different way of ‘seeing’ as it refers to and describes the world as it appears in perception. Physical Thinking enables us to examine, describe or even erase an object in its absence. In that way our relationship to space is not one of a merely disembodied subject to a distant object but rather that of a ‘being’ that exists in space mediated by our thought.
With the third camera, the virtual body is able to access parts of the site where a physical body would be impossible to reach and still describe them kinaesthetically.
Occupying Momentum, studies the perception of the body as an drawing tool. The body draws and sculpts space both with its eyes, and gestures, projecting its thoughts and observations mentally, physically, and materially, respectively. It becomes a gestural semiotic system for describing and making a thought tangible, while overcoming the so far immobilised condition of the thought that was so far expressed on a 2D drawing.
The body acquires both the role of the performer, the maker and the observer of itself.
The issue of scale is seen in Wayne McGregor’s work where they use a data stream of pixelated data, sound or image, to inform their movement vocabulary. “How can you pixelate or atomise that sound and then go inside it to create a different kind of space in a different world?” (McGregor, 2013) The performer’s imagination adjust to the site by rescaling it according to the size of his body. That is suggestive of an architecture that is proportionally closer to the human body. It also suggests an architecture that is treated as a composition according to the inhabitants’ body measurements, staying away from any application of fixed numerical metric data, in the same way that the choreographers stay away from existing choreographic norms.