PhD | Visual Arts | Edith Cowan University | 2005**
ABSTRACT
This practice-based thesis (comprising of an exegesis, exhibition, performances and their documentation) traces a myriad of cognitive and sub cognitive processes that converge towards a complex practice referred to as ‘Aquabatics’. In broad terms, Aquabatics describes the research nexus of occupational diving and contemporary performance. The purpose of this body of research has been to explore underwater performance, behaviour and boarders, in order to both devise new works of live art and to develop new methodologies and approaches to art-making. Aquabatics, as a performance strategy, seeks to critique, contest and explore the liminal natures of human performance, and the role and context of live artists, in contemporary life.
This exegesis attempts to underscore the complex process of semiosis and the dissemination of experiential knowledge in, and through, human performance activities, behaviours and biotech fission engagements with, in, and related to, an underwater environment. Part One discusses the nature and condition of Aquabatics in terms of biological, ecological, technological, metaphysical, political and societal factors. Throughout, these natures are described as an active tool to suggest treatments for looking at, and understanding the acts/actions/activisms themselves and their possible functions to point towards liminality. The more complex issue of the inherent aqueous nature in/of/for performance is proposed as the vital link connecting Aquabatics to existing cultural texts and contexts. The multi-medial texts function to make sense of the aesthetic and utilitarian performance described by examining the intersections of performance praxis, theorem and the functional operations of occupational diving through a series of original live(d) engagements, hypothesis and proposals in Part Two.
In undertaking and discussing these works, I propose that I enter into a zone of irreducibility; a permanently spirally vortex of forms, dissolving and evolving into an absent-present state of existence as the performer/ inhabitant/ pilot of this research. By documenting and re-membering this process herein, the notion of ‘performance’ along with liberty, identity, culture, art and politics also regularly collapses in meaning, status, form and function. Finally, considering Aquabatics, pre and post performance, offers insight into the spatial and temporal factors, beliefs and actions leading to, and arising from, this research. It introduces a new episteme that transgresses traditional transgressions and proposes a liminal juncture of research, and performance behaviours that constitutes an awareness of where, at depth, underwater, the self collapses into its priori opposite.
PRÉCIS OF CONTENTS
Like extending the breath, the notion of walking with water or Aquabatics has a rich cultural lineage that is imbibing and defining of life and living systems. The Prologue introduces this living syzygy between the body and water inherent in Aquabatics as new works of Live art. The theoretical framework is described as liquid and consequently the rationale for the exegesis is explained as one that traverses a multitude of ‘borrowed’ pedagogies to contextualise a knowledge system of newly proposed faculties.
In brief, Part One (Theorem) proposes the states and conditions of Aquabatics including the functional relationship of being Aquabatic and levels of existence as new works of Live art. Over seven short synopses I introduce Aquabatics in relation to BETMAPS (Biological, Ecological, Technological, Metaphysical, Aquatic, Political and Societal) systems to reveal the design objectives and considerations behind developing Aquabatic inquiry at this time in history. The intention of the format is firstly to describe the particular manifestations of conditions and states that may construct a sense of Aquabatics (noun), followed by an exploration of Aquabatics (verb): the practice of being specific to this knowledge.
Each chapter is introduced in a brief synopsis as follows:
Walking with water demands that a relationship exists between the human body and a body of water. I assert that the functional relationship with the environment is one of intra-haptic embodiment and thus energies are equally co-extensive between the two systems or bodies.
By considering the effects of the unconscious language of posture in relation to developing new works of Live art underwater, I propose that the altered body image - caused by the apparent lack of gravity on the spine - redefines the unconscious language of posture and motor function. I describe this performance, and its potential, in biological, utilitarian and ‘diving’ terms.
PART 1 – 02: ECOLOGICAL “Between saturation and bare existence”
PART 1 – 03: TECHNOLOGICAL “Hybrid life support systems”
By describing the breath, breathing, and the technologies and choreographies of sustaining a performative life underwater, I begin to identify a technological lineage. I raise the issue of respiratory function in relation to hyperbaric and pneumatic performance and possibilities they propose towards an understanding of the critical biotech fission. I also consider how to contravene Virilio’s dispersions of ‘pitiless art’.
PART 1 – 04: METAPHYSICAL “Pneumato: breathing, breath, spirit”
To begin, I suggest that our imaginings of the site for Aquabatics are well ingrained in our corporeal memories, psyches and cultural histories. I also identify inverse states and conditions by discussing the art & science of survival in extreme conditions, where levels of existence are reflective of an absence of the body and the absence of a body of water. I qualify ‘Pneumatoses’ and make connections with religious rites of passage, spiritual interventions with water, hydrotherapy rituals, sea change epistemologies and Freeology.
PART 1 – 05: AQUEOUS “The liminal non-return valve”
I ponder what it might mean to be aqueous ‘at depth’ via nitrogen narcosis, meditation and through performance catharses. The epiphenomenon or ‘rapture of the deep’ is the unreserved abandonment of anthropocentric perspective and a complete surrender to other natures. Its temporality is like the safety of a non-return valve on a diving helmet; it prevents you from being sucked back up to the surface should your air supply cease.
I also use this as a platform to compare ‘deconstruction’ and ‘reconstruction’ described in zero gravitational choreography explorations. This links to important orientation and cognitive function displacement/ alteration. Then, considering the function of the life support interface, I question Heidegger on ‘releasement’ and ‘disengagement’ in positive pressure environments and the laws of levity and gravity.
PART 1 -06: POLITICAL “Becoming an Aquabat”
The architecture of Aquabatics (noun and verb) is fundamentally suspended and provisional. I discuss the contemporary political aquabat in relation to liminality, becoming (marine) animal and the principal of the homo sacer. I also consider what it means to be human, ‘post human’ or indeed ‘sub human’ between land and sea; life and death; inhalation and exhalation.
PART 1 – 07: SOCIETAL “Duty and Care between Lent and the Carnivale”
This research process emerged from my questioning of the societal positions of power and states of being. I was most interested in designing performance interventions to contest these positions to a point where the margin of lateral control and liberty become hard to distinguish and/or merge. I question the art of escape and the ethics of the performance activisms by considering the intensive care and audience/performer responsibility. I also discuss Aquabatics as new works of Live art as a strategy towards liquid architectures and a contest between Lent and the Carnival.
EPILOGUE “Visions for a Sub Culture of the Future”
The purpose of this work has been to explore the theorem and praxis of performance in submerged environments. The challenge has been to devise new works of Live art and develop new approaches to live(d) practice. Throughout this research, I consider 'the performer' inclusive of the human body and the body of water and suggest resignation of self-sovereignty to concentrate the body of water. I attempt to describe the paradoxical subversion of the two non-worlds of the body and environment as a precarious nodal point between the art and science of saturation and bare life. The sensibility and integrity of Aquabatic performance is further described as a conduit for Pneumatoses therefore 'transgressing transgression' in performance towards what I would term ‘aqueous trans-illumination’. I employ the model of Schauberger’s creative formation nodal point – represented as a black hole or point of creation –as an alternative visual model to describe the Aquabatic potentiality and the actualized experience.
The Epilogue gives a brief and overarching synopsis of the research findings to date and, where appropriate, I also references parallel performance states, conditions and theories both empathetic and contrary to the principals investigated. I conclude by proposing new research projects in terms of the BETMAPS system that broadly identifies key considerations for future Aquabatics and make specific recommendations for future projects and research avenues.
PART TWO: PRAXIS
Part Two (Praxis) examines a selection of seven Aquabatic performances and several associated collaborative research laboratories (including one still in creative development stage). These works are presented as a collection of individual meditations and critiques. They consider the development of a body of knowledge and the points of intersection and differentiation within the field of Live arts. These discussions begin to describe the ideas of the research modality, the context critical for optimum performance and also propose these recommendations for future research.
A synopsis of each chapter in Part Two follows:
PART 2 – 01: SECOND NATURE: SECOND SKIN
The National Review of Live art, Glasgow 2003
What performance potentials harbor, and penetrate, deep into our bodies? I explore the natures of underwater performance in three stanzas and locations. Firstly, I fashion wings designed by Leonardo da Vinci to human scale and ‘fly’ underwater. Then I ‘fight’ hauling an anchor from the ocean floor using a 30m rope tied to waist and drag it towards a whaler’s tunnel on shore. Finally, I continue the ‘fight’ dragging the anchor live before audience in Glasgow. I recite Carter on love, death and oceans to trail/ surrender/ consume myself in front of the projection of the previous works.
PART 2 – 02: TRANS>PORT
The Space Between Conference, Victoria Quay Fremantle, 2004
What transpires between an audience and a performer divided by glass and water? I submerge myself in a 12m x 2m x 1m Aqua Super tank filled with 17,000lts of brackish and heated to 16 degrees. I improvise five John Cage performance instructions including ‘Water Walk’ and ‘Water Music’. The audience views the work live tank-side and via broadcast to an internal screen system, and projection adjacent to the harbour waters.
PART 2 - 03: HYDROPHILIA
BEAP04 Biennale of Electronic Arts Perth, PICA 2004
MAF05 Multi media Arts Festival, Bangkok Thailand 2005
Is it possible to encounter subspace through land-based ritual? I perform wearing a prototype SSBA “Oyster” diving helmet filled with 30lt of saline. Air is drawn from the surface via an umbilical. The sinuses are flooded. Controlled epiglottal function prevents drowning. The performance continues under commercial diver supervision and protocols exploring fields of consciousness and pneumatoses for 111minutes.
PART 2 - 04: UNDER CURRENT
The National Review of Live art, Midland 2002
Perth Institute of Contemporary Arts, Perth 2003
The Greenroom Theatre, Manchester 2004
The Bonnington Gallery, Nottingham 2004
What does it mean to perform under pressure and with self-containment? The body is suction-sealed inside a 45cm transparent dome containing 16minutes of air. The body ‘members states and conditions from subspace towards an aqueous alterity manifested through a movement trajectory. The performance concludes when either a) the air depletes, b) poisoning occurs, c) 25 minutes passes. Emergency oxygen and a first aid attendant should be present. Post-dive recuperation and body monitoring is employed.
PART 2 - 05: INTERDEPEND (Pell & Coutts)
Time_Place_Space3, AIT Arts, Adelaide 2004
(Air traffic) King Street Arts Centre, Perth 2005
Can two bodies combine respiratory function to perform as one lung? A prototype duo-bio re-breather is fabricated. Biological respiration from both bodies is routed with a bridging technological agent to extract carbon from dual expiration. Filtered air/ oxygen recycle. We investigate duty of care performance operations of closed-circuits and invite the audience to establish breathing patterns with us.
PART 2 - 06: REVOLUTION
Bathers Bay, Fremantle 2005
Considering the ‘fluid’ margins of lateral self control, can the recalcitrant female performer ‘get in the ring’ and perform a revolutionary act embracing the cycles of the ocean and solo propulsion to pervert the natures of media-performance audience expectations? The body rotates a 2m diameter Germanic wheel across the ocean shoreline and then propels me into the waves and out to sea, dunking my head and limbs repeatedly…
PART 2 - 07: ODYSSEY
The Western Australian Maritime Museum, Victoria Quay 2005
What liberties and anxieties are revealed in the breath and a body of water? A soft oxygen-therapy hood is fitted and filled with saline then sealed completely submerging the aural-nasal prosthesis, ears and eyes. A hand-made bio-shaped re-breather is attached. The technological integrity and psycho-physiological function of closed-circuit respiration, and life-support is tested live.
APPENDIX CONTENTS
PART 2 - 11: SUB CULTURE (Extended Research)
BeapWorks, The John Curtin Gallery, Perth 2006
Space Soon, The Roundhouse, London 2006
Can I inhabit and perform in subspace for 5days in a saline-filled tank as an outer space analogue performance? The intention is to investigate CARE (cultural awareness responsible enforcement) between the biological, physical and aesthetical systems that describe aspects of performance and behaviours in a saturated bioreactor. ‘Sub Culture’ analogues outer space occupation and life-support operation.
PART 2 - 12: LIFEBOAT (Assoc. Project only)
ISEA04, Silja Liner “Opera” Finland, Estonia, Sweden 2004
Kontejner Mi2 Touch Me , Croatia 2005
Can we ‘culture’ new forms of life and living systems? Furthermore, can we analyze our own Meta culture? The objective of this project is to create a complex performance system focused on living systems. By establishing an operational biological laboratory and psychological profiling station within a self-contained offshore platform lifeboat, we ‘processed’ visitors and collected generative data both real and transformative.
PART 2 – 13: ASSOCIATED RESEARCH
>> Commercial Diving Accreditation
>> Research Residencies & Workshops
>> Associated Performance Development
PART 2 – 15: PRODUCTION CREDITS
BIBLIOGRAPHY
**USE OF THESIS
The following excerpts constituted partial completion of a Doctor of Philosophy: Visual arts titled "Aquabatics as new works of Live art" submitted to Edith Cowan University in 2005. ECU holds the rights to the written thesis however, the literary, intellectual and artistic rights of Sarah Jane Pell must also be respected. If any passage - written or otherwise- from this thesis is quoted or closely paraphrased or mimicked in a paper, performance or new media art work prepared by the user, the source of the original passage or documentation must be acknowledged in the work. If the user desires to publish a paper, performance or artwork containing passages copied or closely paraphrased from this thesis, which passages would in total constitute an infringing copy for the purposes of the Copyright Act, they must first obtain the written permission of the author/ artist to do so.
