Abstract
In this research article, I argue that Deep Flow is an embodied materiality that may be experienced by exploring performative phenomenologies, entwining two different sets of research practice: phenomenological methodologies and artistic practice. In Deep Flow the practitioner entangles phenomenological methodologies, methods and research practices performatively such as embodied dance practice, the felt senses, drawings, verbal feedback and their analyses in relation to biometric data, from an embodied heart rate monitor. By looking inwardly, the practitioner experiences embodied phenomena and reveals these experiences in artistic practices in relation to the worlding in which they find themselves. These outcomes are considered as being differing materialities, flowing and converging through relational and phenomenological practice, Deep Flow and through this they become embodied by the practitioner, where new forms of embodied materialities emerge. I argue that in my practice, this is an experiential state, Deep Flow, where all human and non-human elements of the dance practice flow and course through the practitioner as an embodied materiality.
Highlights
Deep Flow is an embodied materiality that may be experienced by entwining two sets of dance research: phenomenological dance research and artistic practice
Memories and emotions emerge and flood your mind’s eye; your body sometimes feels like it is melting into the world around you and you are moving in a thick viscous environment
Memories and emotions emerge in your mind’s eye; your body sometimes feels like it is melting into the world around you, and you are moving in a thick viscous environment
Summary
Deep Flow is an embodied materiality that may be experienced by entwining two sets of dance research: phenomenological dance research and artistic practice. The data from a heart rate monitor (HRM) embodied by the dancer during Deep Flow, is analysed and interpreted in relation to the qualitative data, that are the verbal descriptions, and drawings This applied phenomenological approach thereby focuses on the validity of first-person lived experience as the starting point for the construction of knowledge and challenges ocularcentric and technologically informed dance practices that make use of wearable biosensor technology or interactive software.. Memories and emotions emerge in your mind’s eye; your body sometimes feels like it is melting into the world around you, and you are moving in a thick viscous environment This fosters a state of calm and flowing relations between subjectivity, the felt-sense, the sensorimotor system, the ANS, the fascia, the kinaesthetic, proprioceptive, and sensorimotor systems. The more you practice the more you increase your HRV and sense of well-being
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