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chithese: Theatre of Organs



Embodied projections within a choreographed space

argument

“The new status of the object no longer refers its condition to a spatial mold – in other words, to a relation of form-matter, but to a temporary modulation that implies as much the beginnings of a continuous variation of matter as a continuous development of form” (Deleuze 1993: 19)

Architecture is obsessed with a surface driven performance and an articulation within the realms of the two dimensional choreography. This work argues that, through the use of a field generated density in space and quintessentially volume as a projection medium, choreography becomes a spatial viscous matter that generates spatial qualities rather than illustrating it. The choreographed space (inszenierung) is here designed through the event, transforming the object into the objectile as described by deleuze, an in-between state in the dissolved nothingness of space and time. The performance of embodiment informs this liminality and ultimately creates an embodied projection within a choreographed space.

Embodied projection

Starting point to an exploration into the idea of the transformative capacities of an event and the concept of an embodied choreographed projection is the process and technique behind Magnetic Resonance Images. The process of this non-invasive medical examination technique includes the transformation of a surface described body into a construct of volumetric densities defined by magnetic field constants. The body is transformed into a moldable field of densities (voxels) oscillating into form which in return becomes a projection field rather than a surface. Within this transformation and interpretation process of a virtual form, a first step is the process of distilling spatial fragments from the various density gradients of a field generated MRI. This led to the articulation of the authors body into a spatial continuum – a virtual body. An active and conscious positioning to this spatial construct was achieved by the translation and evolution of the fragments and their physical manifestation into a prototyped organ made of photo-sensitive resin. This became consequently a spatial screen, a 3d projection surface constituting a first iteration in the process to choreograph a space by the means of an articulation of projection embodiment.

One could argue further that by working within scale and through the ontology of the process, the human body condition resonates through an understanding of field and density rather than a neutrality of the surface. Through this process the last residues of surface and ultimately sliced space are a series of secondary organs made of acrylic sheets that allow reflection and refraction of light within the space.

Die Verortung – Choreographed space

The entire installation is hung within a small space of 4 by 2 meters with a hight of 4 meters. The site or becomes very important as through the use of the 1:1 human scale of the choreography, the choice of a closed space and the hanging of the body, as well as the use of projectors in a second iteration of projection, every change to the environment becomes direct part of the installation and hence of the space itself. The choreography of the installation is hence dependent on the viewer in that the original space (Verortung) includes an entropic thermodynamic element to ever so slightly pulsate and distort this ecology – choreography of embodied space.resume

Through two iterations this work argues that space could be seen as a dynamic reactive construct, a 3-dimensional projection field in which the viewer is a part of an embodied choreography. The first iteration uses the MRI event to dissolves the surface driven understanding of body in favor for a continuous moldable form – the second projection allows the reinstatement of a theatrical inszenierung and ultimately allows a conscious positioning within this theater of organs. Surface becomes obsolete in favor of spatial embodied projection and the reiteration of the second body projection within the original embodied projection creates a tentative 4 dimensional quality – a simulacrum.