research in progress
Overall, I would define my practice as the creation of participatory, socially engaged event-based performances and site-specific projects that use sound as a medium that has considerable connective, transgressive and healing capacities. Loosely located within Digital Performance and Performance-as-Research categories, my research focus has expanded its emphasis from my initial research on ‘pulse-taking’ as an art-as-research method for connecting art, science, eastern and western cultures (which I have posted about earlier in this blog), into the broader and more culturally active theme of the ‘interface’ itself. This only happened after I realised I have been persistently writing about the interface through critically examining what is currently being termed ‘interactive’ art, and the contemporary interfaces between artist, audience, gender and technology.
My creative practice forms a comparative study that investigates notion of the posthuman through contrasting the use of human touch with ‘interactive’ technologies. Touch in my work is not used in generalised or emotive senses, but is instead informed by my clinical and performance art backgrounds and seeks to interrogate the social, political and material cultures engaged in the development of human-computer interfaces and its relationship with the body, with ‘users’ and audiences. Through placing touch that uses the ancient asian healing art of divining and mapping the phenomenal landscape of human cosmology alongside of our contemporary computational mapping and mediation of physical phenomena and the social body, my study aims to assess digital and analogue interfaces and their capacities to positively and negatively mediate self and other, art and science, human and post-human.