anyalewin
commented
6 years ago It doesn’t matter if it is long for the web does it? Can you fix Bataille.
Thanks!
From: danewatkins notifications@github.com Reply-To: danewatkins/sar reply@reply.github.com Date: Monday, 12 March 2018 at 09:39 To: danewatkins/sar sar@noreply.github.com Cc: Anya Lewin anya.lewin@plymouth.ac.uk, Author author@noreply.github.com Subject: Re: [danewatkins/sar] Abstract for Alex-Murray Leslie (#38)
That is very long and who is Bataile?
On 12 Mar 2018 09:12, "anyalewin" notifications@github.com wrote:
The feet play the role of support structures or even infrastructure for the rest of the body, especially for the hands. The hands, the head and the eyes are the glorified organs of vision, manipulation, tactility and calculation and the feet are a kind of infrastructural support that philosophers never bothered to speak about that much – with notable exceptions such as Bataile, who believes in order to undo the division of labour as proposed by Charles Darwin one would have to effectively want to challenge, suspend, reverse, invert or maybe undo that division of labour, which brings up colonised questions, the feet are colonised by the body, the feet are the colonial subject, the feet are being colonised by the body, so in that sense this research aims to decolonise that hierarchy that has formatted the body as this and elevated the hand at the expense of the feet.
We can use our feet for more than just walking around and some people actually develop extraordinary dexterity with their feet, not only using them to do everyday tasks, but even activities like painting or playing an instrument. Through training, it is possible for the feet to carry out complex creative tasks, beyond their normal everyday job as 'stepping machines’ (Ingold 2003). I agree that a more grounded approach to the way we move as humans can open up new terrain in the area of embodied foot-based skills.
Martin Heidegger proposed that objects may be experienced in two different ways as ‘ready to hand’ and ‘present at hand’ (Heidegger 1962). When an object is ‘ready to hand’ it performs like a seamless extension of our bodily motions. When an object is ‘present at hand’ we perceive it as independent of our bodies, as an agent to be acted upon and with, rather than through. The computer enhanced foot prototypes discussed in this research cannot be physically separated from the foot in performance, the two are tightly, and consistently coupled to carry out theatrical tasks. i therefore suggest the possibility of a knowledge connected to the very experiences that are ‘present at foot'. The theme of 'knowledge at foot’ and objects being ‘ready to foot' relates to situations where the feet are the location of the generation of new knowledge via practice based research and the creation of artefacts (i term Anthropotechnological foot-prototypes and computer enhanced footwear).
Shoes in many cases deform feet. It is this unfree state of the feet that this research challenges through finding unexpected ways to use our feet in newly designed computer enhanced footwear. These foot devices use new technologies coupled with sensors and FM sound synthesis, and therefore afford new types of bodily extensions for creative expression. Through the praxis, I explore and demonstrate the expressive role of the feet in lens-based performance art and their potential impact on the way we perform when enhanced with technology to produce a multi-sensory experience. This approach places the computer enhanced foot-wear in critical dialogue with contemporary technologies for shaping corporeal experience and reimagining foot-centric technologies, to inform unexpected outcomes and communicative ideas through internal bodily awareness. In relation to this research, therefore it is an essential element of the computer enhanced footwear and use of technology that it is from a social perspective taking into account the theory of ‘humanistic intelligence’ (Mann 2001) rather than an ‘artificial intelligence’. I explore the development of foot based skills in the area of audio-visual performance and the related creation of audio-visual instruments created to costume and decolonise the feet.
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danewatkins
Ready to Foot: Decolonising the feet through Demaking High Heeled shoes for audiovisual theatrical performance and a new location of knowledge
The feet play the role of support structures or even infrastructure for the rest of the body, especially for the hands. The hands, the head and the eyes are the glorified organs of vision, manipulation, tactility and calculation and the feet are a kind of infrastructural support that philosophers never bothered to speak about that much – with notable exceptions such as Bataille, who believes in order to undo the division of labour as proposed by Charles Darwin one would have to effectively want to challenge, suspend, reverse, invert or maybe undo that division of labour, which brings up colonised questions, the feet are colonised by the body, the feet are the colonial subject, the feet are being colonised by the body, so in that sense this research aims to decolonise that hierarchy that has formatted the body as this and elevated the hand at the expense of the feet.
We can use our feet for more than just walking around and some people actually develop extraordinary dexterity with their feet, not only using them to do everyday tasks, but even activities like painting or playing an instrument. Through training, it is possible for the feet to carry out complex creative tasks, beyond their normal everyday job as 'stepping machines’ (Ingold 2003). I agree that a more grounded approach to the way we move as humans can open up new terrain in the area of embodied foot-based skills.
Martin Heidegger proposed that objects may be experienced in two different ways as ‘ready to hand’ and ‘present at hand’ (Heidegger 1962). When an object is ‘ready to hand’ it performs like a seamless extension of our bodily motions. When an object is ‘present at hand’ we perceive it as independent of our bodies, as an agent to be acted upon and with, rather than through. The computer enhanced foot prototypes discussed in this research cannot be physically separated from the foot in performance, the two are tightly, and consistently coupled to carry out theatrical tasks. i therefore suggest the possibility of a knowledge connected to the very experiences that are ‘present at foot'. The theme of 'knowledge at foot’ and objects being ‘ready to foot' relates to situations where the feet are the location of the generation of new knowledge via practice based research and the creation of artefacts (i term Anthropotechnological foot-prototypes and computer enhanced footwear).
Shoes in many cases deform feet. It is this unfree state of the feet that this research challenges through finding unexpected ways to use our feet in newly designed computer enhanced footwear. These foot devices use new technologies coupled with sensors and FM sound synthesis, and therefore afford new types of bodily extensions for creative expression. Through the praxis, I explore and demonstrate the expressive role of the feet in lens-based performance art and their potential impact on the way we perform when enhanced with technology to produce a multi-sensory experience. This approach places the computer enhanced foot-wear in critical dialogue with contemporary technologies for shaping corporeal experience and reimagining foot-centric technologies, to inform unexpected outcomes and communicative ideas through internal bodily awareness. In relation to this research, therefore it is an essential element of the computer enhanced footwear and use of technology that it is from a social perspective taking into account the theory of ‘humanistic intelligence’ (Mann 2001) rather than an ‘artificial intelligence’. I explore the development of foot based skills in the area of audio-visual performance and the related creation of audio-visual instruments created to costume and decolonise the feet.