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Research & Projects

The Third Culture

Electromagnetism is a fundamental force that deals with the interaction of electric charges and currents. In the context of living organisms, our bodies generate electric currents through various physiological processes, like nerve signals and (in relation to dancers) muscle contractions. These electric currents create the electromagnetic field.

The interactions between these electromagnetic fields play a role in various biological functions. For example, the brain's neural activity generates electrical signals, and these signals produce electromagnetic fields that can be detected and measured, and create causal response.

 

Electromagnetism isn't just a concept in physics, it's an integral part of the dynamic interplay within and between living organisms. Understanding the concept is the foundation of The Third Culture. Dancers in this work respond to the energetic output of the other, without direct tactile response, and subsequent movement is based on the movement of the other.

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Quantum Mechanics & Movement
Second Installment - Indeterminate & Entangled. 

In its historical context, the rejection of the Cartesian concept of subject/object duality, as seen in Niels Bohr's model of atomic indeterminacy, challenges the notion of matter defined solely by observation, known as "object reality." Through dance and choreography, my research is on the fundamental question of identity posed by Bohr and further developed by contemporary feminist/queer theorist and physicist Karen Barad. I utilize my understanding of quantum mechanics and the indeterminate nature of subatomic particles, specifically the electron, to provoke movement, explore movement boundaries, and examine performative concepts.

According to Barad, "electrons are compelling companions as they're not easily swayed by linear history, nation, or family... they traverse spacetime" (2014). I perceive a parallel between the electron's reshaping of identity, as demonstrated in the Quantum Eraser Experiment, and the expressive potential of the dancing body.

In its second iteration, I researched identity shaped by my understanding of Quantum Mechanics influenced by the practitioners listed above. 

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Painting Dance: Return to Source

This research investigates the process of transference guided by the Quantum Physics principle of Quantum Tunneling. Painting Dance captures the ephemeral nature of movement and creates a two-dimensional blueprint of the movement and spaces that exist only in the moment. In this fusion of ephemerality and artistic expression, dance serves as a vessel to explore the essence of existence, and capturing movement becomes an artful translation of the ephemeral. The dancer's body becomes both a canvas and a conduit, translating the intangible into the tangible, resonating with audiences on a visceral level, and offering a window into the dancer's movements that transcend time.

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Quantum Mechanics & Movement
First Installment - The Particle Dance

Quantum Mechanics is a physics theory that investigates the activities of subatomic particles. These behaviors can seem paradoxical when compared to our experiences as five-sensory beings. This phase of initial research explores Quantum Mechanics through dance, exploring the interplay between micro behaviors and their impact on the macro level. In doing so, the research investigates the implications of Quantum Physics on the dancing body and the choreographic process.

In its first iteration, I researched the Observer Effect, Quantum Entanglement, and Quantum Tunneling to craft choreography and build the performance environment. 

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Moving from the Inside Out

Moving from the Inside Out is a process focused on two key questions: how to originate movement from a single point within the body and how to develop choreography along specific medial pathways. Despite my consistent practice, the resulting movements differ from my usual explorations of exterior space. I've grappled with the challenge of prioritizing the intricacies of manipulating anterior/interior space rather than my usual emphasis on the kinesthetic sphere. The process involves assembling movement phrases based on video responses to these questions. During reconstruction, I've noticed a tendency to recreate the archived body's shape rather than the conditions that inspired it. By removing mirrors from the environment, I've been able to reinvigorate the movement. This approach, focusing on embodied knowledge, is a crucial step towards investigating intercorporeal exchanges and informing relationships in shared spaces.

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