Using a dramatic representation, the idea of Performative dance and literature as collage can be seen as acting out, a representation or aspects of the sensible world, in particular spontaneous human actions both life and digitally made as dance and written performative meanings in addition to digitally represented sound, voice… contained by an installation space. Performative dance and literature as collage describes a performative proclamation as referring to itself in the process of its own making. As such, it does not describe or report, but introduces the possibility of producing meaning that identifies an alternative to established convention.

Performative dance and literature as collage operates within a given framework as a semiotic signal, which demonstrates particular meaning as it enacts what it configures. Performative dance and literature as collage kind of points to the dependence on convention as both confirming itself in traditional description, but it also provides an opportunity to shift the frame, to shift dominant conventions. In this comparison, a performative dance and literature as collage is a sphere of influence that is particularly suited to performative effects that become the condition and occasion of further action. If one considers the temporal nature of the performative act in thinking back and thinking forward - responding to symbols made, taking out and adding and anticipating possibilities, one can see that the positive dynamic is one transparency of process.

As a deconstructive process, it refers via addition, to what is absent as well as present to a particular description. Performative dance and literature as collage articulates this process of constructive addition as part of a constructive performance that necessitates the engagement with other senses than sight - touch and smell and sound. The empowerment underlying in Performative dance as collage is the physical execution itself. Performative dance and literature as collage both expose a factual narration of the physical content beneath and visually expresses a performance that determines itself though its own behavior.

Our understanding of space and time and their relation to a creative act such as Performative dance and literature as collage reacts of course to a succession of disturbances. It suggests performative dance and literature as collage as active and imaginative performance rather than a tool of neutral translation - as projection transcending time and place and as a place of expressive construction. It reminds us that performative dance is at first performative and only after a reflection - a product, and switches emphasis from the dominance of original production toward a consideration of dance as a situation of conception rather than one of translation, or possibly both.

Performative dance and literature as collage is revealed to be particularly tuned to demonstrating process and idea simultaneously in the process of its own performance and is for the most part open to choreographic interpretation. The topic of dance, sound, voice etcetera and performance suggests a number of areas for further enquiry: the physicality of process, the function of addition and subtraction, dance and written words as an interactive dynamic and as the arrangement of conception.

Starting points of investigations might be:

• Discuss the interaction of spectator and performer in performative dance, discussed through a dance specific.
• Spatial and written representation of bodies - which topics are developed when writing with reference to the body and its addition in space?
• Embodiment and performance of metaphors - in which way do body metaphors and tropes go beyond a textual understanding and help to understand the literary text as performative?
• Body in theatrical performances / body art performances

Founded on the etymological correlation of body movements and text - there is in relative terms no objective, unmetaphorical as well as nontextual perceptive of the moving body. Nevertheless, from avantgarde aesthetics, as well as from poststructuralist1 along with feminist theories2 we recognize in relative terms that body descriptions can be constructed as any other imagery without reference to the natural body and that gender is a performative category.

Consequently, more or less, any aesthetic work based on the human body, whether in the arts or in the sciences, can in relative terms be understood as an embodiment of life as text, and it trims down the body to a performative representation space, to a modifiable, adjustable, and textual based figuration, open to performances/presentations of diverse categorys.

There is much knowledge on subject of body and gender, political bodies and space3, as well as the representation and alteration of the human body in literature, the sciences, and the arts. The planned performance wants to address other theories of literary figuration, performativity, theatricality, and cultural rituals to allow an investigation of body images inbetween textual and performative space . For instance, how are environmental and opinionated spaces constructed by the figuration and disfiguration of body movements as acts of collective memories, written testimonies... etcetera?  Performance is an act of interference, a process of confrontation, a form of criticism, a way of enlightening action. Performance is converted into s public pedagogy when it uses the performative - to forefront the meeting point of politics, institutional sites, and embodied understanding/experience.

 1 Derrida developed a strategy of reading texts called "deconstruction." Deconstructive reading attempts to uncover and undo tensions within a text showing how basic ideas and concepts fail to ever express only one meaning.

Body performance makes apparent the ways in which bodies are stages for social theatrics - kind of hosts of cultural assumptions. Any particular performance proposes that these social theatrics might be scripted in a different approach, differently dramatized, differently realized etcetera. How does body performance seek to dislodge and destabilize intellectual assumptions?

We attempt to use interdisciplinary focus on the proposition that the unique transportability of performance – across the range from ritual to physical dance, from role playing to live art –the body in action, the body in a process of change, of performers and audience alike. We could state that a particular body is competent of multiple inscriptions – environmental, political, imaginary, familial, scientific, social, etcetera. A body is also the site of multiple presences – the breath, sensation, perceptions, emotions, thoughts - etcetera..

This particular Performance occurs at the interstice of a body the voice and a given surroundings, and the action that is occurring there is a body engaging and negotiating a process of change with that environment – in the course of narrative, image, sound, text, place, etcetera.

A central concern in this performance is the progress of maintaining the story telling through the medium of movement and text in addition to when change takes place within the dynamic body - the mind. Our intention is to focus on the complexity and implications of what is happening between bodies in space at that moment by exploring in stages the role of witness, movement in dialogue, guiding through movement and moving with specific questions, that occurs in time and space in this particular surroundings. Within digital choreography, as within virtual technology, there is a continuum between space and time. As a dancer, the innermost part of the body is in exceptional correlation with the limbs, and the spatiality linking all parts of the work, generates an art form which is the dance itself.

The dance, just as virtual technology is not just a series of construction. The phrase; "technology" often means the most advanced technologies available, but this is not necessarily so. The word "technology" comes from the Greek word tekhnologiā, (sys¬tematic treatment of an art or craft: tekhnē, skill + -logiā, -logy) . We are by these means able to examine technology as being the dialogue between art and scientific doctrine, in other words, the interaction between creativity and the tools we use to extend the skills of our senses.

Dance, as choreographed or as aperformativeform, includes some relationship to the apparatus of the culture that executes it. Whether it is twined with music and or text and for that reason with the instruments that generate that music/text, or makes highly structured use of outfit, or depends on dramatic sets and new technology to create its world; choreographed dance, as an art form, is definitely not separate from the technology that surrounds it.

The analysis of human motion requires the study of actual human movement as well as physical structure. One of the elementary necessities for managing action within an environment is the capability to perceive the arrangement/understanding of objects/moving figures and surfaces. Computer's ability to construct moving images from motionless key poses makes it an idyllic instrument for animation and motion analysis. Still images including stages of an action can be transformed into a constant movement. A constructive interaction between a spectator and the environment and objects within the environment, implies acknowledge of what proceedings are possible and appropriate in any given situation. Gibson (1979) defined actionable properties between the world and an actor as the opportunities for action for the observer provided by an environment, and proposed that observers perceive these affordances4 rather than abstract physical properties of objects and environments.

Recent decades have produced major advances in understanding of visual motion perception. Many such advances have come from complementary approaches to analyze motion: psychophysical, computational and neurophysiologic. It is known now that the detection and analysis of motion are achieved by a cascade of neural operations, starting with the registration of local motion signals within restricted regions of the visual field, and continuing with the integration of those local motion signals into more global descriptions of the direction and speed of object motion. Visual motion can be construed as an event that unfolds over space and time.

Distilled to the simplest case, motion involves a continuous change in the spatial position of a single object over time. Intuitively, one might expect that the ease with which this kind of simple event can be seen would depend on the magnitude of the displacement over time and the rate at which that displacement occurred. And there is truth to this intuition. Consider, for example, the movement of a clock’s minute hand. You cannot see the clock hand’s gradual progression, but intuitively we know that it has moved because its position has changed over time.

Motion perception, however, need not involve any kind of intuitive process; motion is a direct experience, uniquely specified by the visual system (Nakayama, 1981; Thorson, Lange, & Biederman-Thorson, 1969). But how sensitive is the system that generates this experience? What is the lower limit for detection of motion? Measurements with a single moving object show that for a sensation of motion to be experienced the object must traverse at least 1 minarc. (This distance approximately the edge-to-edge lateral separation between adjacent alphanumeric characters on this page viewed at arm’s length.) This value varies, however, depending on the object’s duration, velocity and luminance, as well as with the region of the retina stimulated

 

In this project we have in relative terms considered in which way performances/performative movements are represented and memorialized in images and text. In this performative work, we would like to take a different angle to consider, not the desire to capture the performance, but performance as a stimulant of other creative activity. Historically, the physical emotional responses to performances (and to the surrounding culture) have stimulated other works of art and even the creation of new genres.

Performance is not merely a reproducing instrument for expressing ideas, but rather is itself the shaper of ideas. The most basic definition of performance is "action." This action could be verbal and/or physical. While not a prerequisite for an action to be a performance, performative actions are often presented to an audience and involve heightened aesthetic sensibilities.

The Addresser sends a message to the addressee. To be operative the message requires a context referred to... sizeable by the addressee, and either verbal or capable of being verbalized; a code fully, or at least partially, common to the addresser and addressee (or in other words, to the encoder and decoder of the message); and, finally, a contact, a physical channel and psychological connection between the addresser and the addressee, enabling both of them to enter and stay in communication

In relative terms it is impossible to understand or to represent human actions without taking into consideration the spatial characteristics of the action signs that are involved. How and in what ways a movement-writer's perceptions of the spatial dimensions are radically changed is skillfully explained by these authors for the benefit of those who do not read or write movement. Movement literacy is important, however, for reasons beyond the dance and movement world itself.