evolution piece

Evolution

Prehistoric art features runners. By this point we were already bi-pedal, so we had returned to the land, from the sea, we had returned to the trees. But our art seems to start with running, not climbing. Not swimming.

In what way does science use these pictorial references?

There were trees and there was water (Morgan).

If we were watching to learn how not to fall, how does this relate to water?



Watching the body, why is it relevant? 

We learn through mirror-neurons how not to fall (Grimes). Those of us who learn best survive.

Genetics studies (Dobbs, Orchid Children) finds that rebel genes are selected for. Those who make leaps, evolve.

Perhaps we no longer select for these physical learning traits but we have seen that these physical creatives also take other leaps, they are rebels, the ones who are selected for and will evolve. In which case, is the physical aspect still essential or an evolutionary red-herring?


I would like to make a work using this inspiration. Perhaps a mirroring of water and air.

balance: movement meditation

The shifting of balance from one point to another - reaching always towards a point where one might be stable but never, reaching it, reaching for impossibility. Enjoying the constant movement, relax. To tense up to reach and try to hold stasis is to fall. Always falling - to walk is to fall forward. To walk on the floor with the same consideration as if on a rope creates the paradoxical possibility of falling off the floor and being caught by the same.

The illusion, constant movement. Never static. never stable.

How to work with these ideas?

Remove myself. (screenwash) re-do. better. different. clearer.

Remove the rope. (ariel) but still too close to 'look how clever/dangerous' the need for intense focus is sidelined by the 'sensational' visual of danger.

Work with film yes... the body's eyes. (screen wash) (so many ways...) forehead, palm, palm, sternum, hips. Live? Monitors? Durational? five images overlaid? five images on one screen? Long exposure photography? Traces? But what of the true sensation of walking with the back? The neck?

Work live? (cathedral) How to show the focus, the shifting but removing the 'circus' from the skill. How to work with meditative sensibility but without it becoming 'meditation themed circus'? Remove the circus from the skill, remove the imagery from the meditation. Reduce it to its most constituent parts - balance.