CENTERING THE CENTER
DATE
Oct.2023 - Aug. 2024 (Coming to Singapore in August 2024)
TEAM MENBER
DR CAREN CARINO - Dean, Faculty of Interdisciplinary Practices(NAFA) / Dancer / Artistic Director
DR JOYCE TEO - Associate Dean, School of Arts Management (NAFA) /Director of music / Musician
DR. S. CHANDRASEKARAN - Performance artist / Senior Lecturer of UAS & LASALLE
XINGYUE GUO (CYNTHIA) , interactive and kinetic installation artist (UCL)
XIAOMIN LI , interactive designer / Lecturer of SZTU ( TU Delft)
CONCEPT
This is a two-hour interactive performance divided into two parts. In the first part, dancers and artists will form a kinetic union through the entanglement of hair braids, characterised by the spatial six-point orientation of the human anatomy, where there is an invisible seventh point. This point is located at the intersection of the body's central axis, the "centre-to-centre", forming an interaction between static and dynamic (active and passive). It signifies the connection between the "I" and the organic life form in terms of movement and static. In the second part, cybernetics is used to explore if one person (inorganic mechanical life) impacts on another person (real body) through technology, will it eventually lead to the death of the real body? The inorganic mechanical beings are controlled by the viewer's brainwave apparatus, pulling the artist's hair, which implies an interaction between the 'I' and the other I (inorganic mechanical beings).
FIRST PART CONCEPT
In human anatomy, characterized by its six-point orientation in space, there exists an invisible seventh point. This point lies at the intersection of axes in the center of the body, which I refer to as the "Centering of the Center."
During the performance*, dancers will be dancing around the artist, who maintains a passive stance, in a circumambulatory motion. Thus, creating an interplay between stillness and movement (active and passive). This circumambulatory movement* around the artist implies our inherent connection to life surrounding us.
The artist will be connected to the dancers by braided hair ropes extending from his head, forming a physical link between them. This use of hair as a medium for connection signifies the relationship between human nature and organic materiality, as well as indicating subtle connections that extend beyond mere physical bonds.
Overall, the interdisciplinary performance aims to convey the interconnectedness of embodied existence and our roles within the larger cycles of life, death, and regeneration. This exploration also prompts deep reflections on the human condition, influenced by technology.
* The concept of circumambulatory motion is commonly employed in sacred sites to symbolize a connection with life, encompassing both the spiritual and physical realms.
SECOND PART CONCEPT
Death of “I” (நான் /我) -post human body is a multi-media performative project that questions the control of the human body using performance, machine, and a brain wave detection device. This is created using a cybernetic model to address the post-human body.
if a human impinges upon another human (real body) through technology, does it eventually lead to the death of the real body? A new frontier to explore in the post-humanist age.
To re-examine the body in a new way, the project draws audiences to reflect on how they can control a human body through their interaction with technological devices. During the performance, the artist (real body) is in a constant state of physical suffering caused by a machine. The audience is invited to release the pain that is inflicted upon the artist through the mechanical arms of the machine.
To alleviate the pain, the audience wears a brain wave detector to deactivate the machine. Therefore, the display of conscious empathy from the audience eradicates the pain of the artist that is inflicted by the machine.
Here, we like to imply that suffering created by the machine can be eradicated through conscious empathy. By consciously expressing empathy, one is grounded back to reality by witnessing the physical suffering of the real body.
In this project, an attempt was made to use the data obtained on the changing emotions of the audience, and the changing emotions of the artists, in order to come to the conclusion that if we lose our empathy in the post-humanitarian era, our real bodies will face death.
Interaction Logic
The brainwave detector collects and reads the viewer's brainwave data and translates these real thoughts and feelings into machine movements and digital media images in real time. The audience's perception of the artist's pain will directly change the way the machine moves and the digital media images change. This interaction evokes our thoughts about the connection between consciousness, body and machine. It also makes the viewer think about their mind, their body and how they interact with the technology.
Audience participation
When the audience sees the artist hurt by the machine, we track their brainwave reactions. These reactions then adjust the machine's speed, making it slower and reducing the artist's pain. Meanwhile, the audience can view their brainwave patterns on a display, showing them how their thoughts influence the machine's actions.
Brainwave data collection: Use the brainwave detector to look at the audience's brainwave data, focusing on parts (attention level/theta wave) that show emotions and understanding.
Controlling the machine: When the brainwave detector sees strong feelings from the audience, it will tell the machine to slow down. This will reduce the artist's pain.
Feedback and interaction: The audience can see their brainwave data visualisation on a screen/projection. This shows them how their emotions change the machine's actions and reduce the artist's pain. This direct feedback helps the audience feel more connected to the performance.
DESIGN
Structures designed to attach performers' hair to dancers' props
Brainwave instrumentation will intervene to control the movement of the device
Synchronised digital visual output to enhance the visual perception of the brainwave control.
Interact Testing
Brainwave detector data control power test
Continuously test different bands of EEG waves (δ-wave,
θ-wave, α-wave, β-wave) and select the appropriate band for data acquisition testing
Testing digital visual content to synchronise the state of the dancer and the mechanism via the position of the TouchOSC gyroscope.
Completes installation and tests operation of brainwave instruments. Good progress so far.
Continue data collection and create real-time digital visualisations based on the data.
