Presence and Coherence

April 12th, 2006 Fred McVittie

From my notes:

Presence is a function of coherence. To be present is to maximally engaged in the specific activity to hand and to refrain from engaging in other, possibly conflicting activities.

Performance is an embodied activity in which the presence of the performer is articulated through the structured and organised use of the body. A corollary of this is that for a performance to appear coherent, convincing, attractive, intelligible, etc, the bodily actions of the performer must be similarly coherent. A performance in which the activity of the body is not coherent, but rather is fractured, disjointed, appearing to be engaged in multiple contradictory activities, is a performance that is itself experienced as incoherent and lacking in ‘presence’.

Non-conscious bodily activity is structured through the organisation of the proprioceptive sense, which allows for effective behaviour to be carried out holistically and appropriate to the demands of the particular environment. So, for example, the proprioceptive organisation which allows an effective swimming stroke to be executed (unconsciously and holistically) is different to that which allows for effective sprinting.

I can’t remember which panel this paper was part of, but it seems to link to the paper on Zhan Zhuang I reported on earlier.

Posted in Coherence, Conference Abstract, Performance, Presence, Proprioception | No Comments »

Attention Shoppers: Everybody Please Rise

April 13th, 2006 Fred McVittie

A spectator has the unique power to wield attention. The ability to capture and hold the attention of spectators is a desirable skill for any performer to have, and is part of a raft of skills and tools utilised by performers which collectively result in ’stage presence’.

In discussing attention, it is inevitable that a number of metaphors are revealed. On the one hand attention is something that is caught, that can be attracted, that can be riveted, that can be held or grabbed. If we are not careful attention can wander, it can drift off, it can be all over the place, in which case you may have to call attention to yourself. On the other hand attention is like currency, it has the economy of a limited resource, you can give it, lose it, steal it. You can divide it or give it fully, compete for it, you can pay attention to somebody, maybe in return for something.

From the point of view of cognitive linguistics, when we use these metaphors we are not simply making poetic allusions in place of more symbolically structured knowledge or transcendent reason. Rather in using these and related metaphors to describe the performance event we are relating the formal structure of thinking itself. From this perspective, almost all thinking is metaphorical and these metaphors (which ultimately are sourced from bodily experience) overlap and inter-relate to form what we think of as bodies of knowledge. This paper will use the cognitive linguistic approach developed by Lakoff and Johnson and others to excavate the metaphors and image schemas associated with attention in relation to performance. Particular attention (sic) will be given to the use of metaphors used in performer training as a possible means of empowering the performer and developing stage presence.

Posted in Attention, Cognitive Linguistics, Conference Abstract, Johnson, Mark, Lakoff, George, Performance, Presence, Schema | No Comments »

Performing Vitalism

April 20th, 2006 Fred McVittie

The activity of theatrical performance (acting, dance, live art etc.) is theorised primarily in terms of anthropology (Schechner, 1976, 1990, 1993) and cultural studies. These approaches are valuable and robust, although they do leave a void at the centre of the practice. What is absent is a comprehensive theorisation of the subjective ontology of the performer herself.

Having said this, there is a considerable body of vernacular knowledge, what might be called ‘folk theories’ of acting and other performative acts, a kind of ‘naive science’ of performance. An analysis of this knowledge, as embedded in the writings of actors, directors, teachers, critics, etc. demonstrates that these folk theories show a high degree of consistency and coherence, comparable to, but more convincing than, the coherence hypothesised by Pat Hayes (1979) regarding ‘naive physics’.

One significant component of this body of knowledge is an apparent shared belief in a power, essence, or life-force, paralleling the Vitalist theories of living systems which dominated human sciences up until the late 19th Century. Similar energy descriptions can also be found in non-Western philosophies and practices, variously referred to as prana, chi, ki, mana, etc. This mythological energy, whilst roundly dismissed in all rational theoretical discourses, is alive and well in the folk theory of performance. This paper will demonstrate the ubiquity of this energy concept in the particular domain of performer training techniques, and will demonstrate that the usage of this concept is part of a coherent, comprehensive, and practical discourse, albeit irrational.

Hayes, P. J. (1979). The Naive Physics Manifesto. Expert Systems in the Microelectronic Age. D. Michie. Edinburgh, Edinburgh University Press.

Schechner, R. (1993). The future of ritual: writings on culture and performance. London; New York, Routledge.

Schechner, R. and W. Appel (1990). By means of performance: intercultural studies of theatre and ritual. Cambridge; New York, Cambridge University Press.

Schechner, R. and M. Schuman (1976). Ritual, play, and performance: readings in the social sciences/theatre. New York, Seabury Press.

Posted in Conference Abstract, Energy, Essence, Exercises, Hayes, Pat, Naive Physics, Performance, Schechner, Richard | No Comments »

The Details of Excellence (workshop)

April 27th, 2006 Fred McVittie

Well I intended to go the the ‘Mind at Play’ workshop but ended up at this one by mistake. I’ll write up what happened later.

The difference between an exemplary performance by a person at the top of their field, and that of a person who, for want of a better word is simply ‘accomplished’ or ‘competent’ is extremely small. For example, the world record for the 100 metre sprint is currently held by Tim Montgomery at 9.78 seconds, while schoolboy Gareth Lamb of the Stockport Harriers won the Inter Boys’ championship final in 11.4 seconds over the same distance. A difference of just 1.62 seconds. The words spoken by Ian McKellen playing King Lear are exactly the same as those spoken by an amateur actor in a village hall production of the same play, and the differences in intonation, eye gaze direction, speed of gesture, length of pause, are again apparently minor. Two cars may have the same size engine and the same basic body shape, but small differences in ignition timing and fuel mixture can dramatically alter the accelleration rate and top speed. This workshop introduce participants to a series of strategies for accessing the fine grain of performance and thereby gain control over this vital percentage. It is available for performers at all levels and aims to improve focus and presence.

Posted in Conference Abstract, Performance, Sport, Story | 1 Comment »

Be. Here. Now.

April 28th, 2006 Fred McVittie

For the purposes of this paper, presence will be regarded as primarily a spatial concept. That is, the degree of presence demonstrated by an entity is found to be proportional to the degree to which that entity may be said to have a single distinct location in space. Following the logic of Egginton in ‘How the world became a stage’ (2003), this presence functions as a replacement for subjectivity as the authenticator of being. Therefore to have presence is ‘to be, there’. To occupy a point is space (not to be partially there, not to be elsewhere, to be in that place only.)

There are a number of (metaphorical) properties associated with this located being-in-space, some of which have a particular relevance for theatrical or other type of performance. If a person has presence then they demonstrate attraction, magnetism, they are compelling, motivating, they catch your attention (attention is something to be caught), they ‘have what it takes’, they are likely to be the ‘centre of attention’ and to ‘knock em dead’. It will be noted that there is a telling correlation between the concept of spatially authenticated presence and the abstract concept of a force or energy. The structure of this correlation of metaphors will be described and some revealing entailments introduced.

Egginton, W. (2003). How the world became a stage: presence, theatricality, and the question of modernity. Albany, NY, State University of New York Press.

Posted in Conference Abstract, Performance, Presence, Space, Theatre | No Comments »

Egocentricity and Performance

April 29th, 2006 Fred McVittie

It is a cliche that many, if not all successful actors, dancers, and performers of all stripes, are deeply self-centred. And whilst, like all cliches this is probably a sweeping generalisation it may have a germ of truth and necessary accuracy to it.

To be self-centred is to believe that one is standing at the centre of the universe, that the universe revolves around you, and that you are the most important thing, the focal point and raison d’etre, for the universe’s existence.

We all know that this isn’t literally true (except of course that it is literally true), but it may be that this positioning of the actor at the centre of the known universe is a contributing factor to their effectiveness as a performer. It may be that actors perform best when they harbour such beliefs about themselves and their position in the world. This paper will argue however, that there is a significant difference between the concepts of being ‘centred’, being ’self-centred’, and being ‘egocentric’.

Posted in Centre, Conference Abstract, Performance | No Comments »

Language and Being: Centred

May 10th, 2006 Fred McVittie

An aim of much artistic, performative practice, as well as spiritual practices which promise ‘enlightenment’, is to go beyond (or before) conceptualisation and fully experience what the senses offer, with minimum filtration and organisation by the rational mind. Artists know this principle in the maxim ‘draw what you see, not what you know’, and in the field of theology, Rahner refers to this as ‘unthematic experience’ and associates it with a non-objective contact with the divine. An important aspect of realising this aim is to fully occupy the space and time that one is in; avoiding distributing one’s consciousness by thinking of the past or the future, or smearing that consciousness across space by imagining oneself to be anywhere else but exactly here, precisely now. The common term for this full occupation of personal space and time is presence, or being centred.

A significant obstacle to overcome in any attempt to be centred is the inevitable decentering of oneself that happens in much language use. We refer to ‘ourselves’, as if those ’selves’ were some object that we possessed and that was in some way outside of us. We nominate ourselves as an object in our sentences, even when we use ‘I’. This usage, and the conception that goes along with it, inevitably places us at a remove from the centre of our own experience. We talk, and think, of ourselves from a position that is eccentric. If our aim is to claim the centre with all of the sensual subjective power that comes with that claim, then we need to watch our language.

The following exercises are highly recommended.

  • Exercise One: Avoid using the following words. I, me, myself.
  • Exercise Two: Shut the fuck up.

Posted in Centre, Enlightenment, Exercises, Performance, Presence, Rahner, Karl, Spirituality, Training | No Comments »

The Folk Science of Performance Theory

May 20th, 2006 Fred McVittie

The term ‘theory’ as it is used in the arts, and particularly in performance, is markedly different from the use of the term in the hard sciences (1). In art, theory has no predictive value, its claims are not subject to falsification by empirical testing, it makes no hypotheses, and relates to no empirically established, objectively verifiable physical laws. Theory in performance is a kind of ‘organised seeing’ (reflecting its origins in theoria) and constitutes an attempt to order the experience by the imposition of structures of meaning onto performed events. The explanations which emerge from much performance theory therefore constitute a kind of ‘folk science’, an explanatory system which exists in the absence of, or prior to, empirical testing, and which orders common (or uncommon) sense.

1. The scientific definition of the terms theory has been usefully aired and clarified in the recent Intelligent Design debates. c.f. Claudia Wallis. Evolution Wars. Time Magazine, 15 August,2005,page 32.

Posted in Art, Naive Physics, Performance, Seeing, Theory | No Comments »

Mirroring Metaphors of Liveness

June 14th, 2006 Fred McVittie

The metaphor of liveness has been used extensively to allow for an embodied understanding of a range of phenomena which would otherwise be conceptually incomprehensible. A sample of such metaphorical uses might include; live ammunition, live electrical cable, live political issues, liveness of a line of code in computer programming, etc. All of these phenomena have no sensory extension and do not figure in kinaesthetic image schema. They can therefore only figure in cognition by a process of metaphorical mapping. In all cases, some entailment of the liveness of a living being is mapped onto these abstract concepts, giving these concepts a structure and an embodied availability.

The widespread use of liveness as a metaphor has a strange effect on the original source of that metaphor, the live event or living being itself. It is almost impossible to experience a live event or being without the conceptualising of that event including some of the aspects of the target concept onto which that liveness is metaphorically mapped. When viewing the live event our understanding of that event is partly constructed in terms of live ammunition, live electrical cable, live issues etc. It is not only that electrical wires are understood in terms of living systems, but because of this mirroring back of the target concept, living systems are also understood partially in terms of electrical wires. Or rather, our understanding of live events and living beings now contains the physical signs and contexts of those other metaphorical applications. Performances are ‘explosive’, or ‘high voltage’.

Posted in Liveness, Metaphor, Performance | No Comments »

A Folk Physics of Presence

June 15th, 2006 Fred McVittie

Presence is a feature of performance, particularly theatre performance, which is notoriously difficult to define, and appallingly difficult to teach. As a quality it is instantly recognisable, yet seems to be additional to simple technique or skill. In fact presence is what distinguishes an excellent performance from a display of skill. In some ways presence is analogous to the condition in sport of being ‘in the zone’, in which the athlete has an unproblematic sense of mastery, which shows itself as peak performance on the field. It is an article of faith in many sports that at the peak of the profession skills and technique are a necessary but insufficient factor, what wins or loses is the mindset of the athlete on the day. It is the athlete that is in the zone, that is most ‘present’ that wins.

The challenge facing the teaching of presence is to identify the mindset of those who do have presence and reproduce it in a training regime.

Many actor training systems attempt this through physical and mental exercise routines which are intended to have certain specific effects on the actor. Some of these effects are simply physical, the actor becomes more supple, more in control of their posture and gestures etc. In addition, however, some of these training techniques seem to be intended to subtly alter the mindset of the performer, particularly the subjectively experienced relationship of the actor to the wider world in which they feel themselves to be lodged.

The body of knowledge, or ’science’, which articulates this subjective relationship between actor and world is not quite the same as the science of the objectively real world studied by the rational sciences. The physical laws that the actor must internalise (to the point where they become embodied common sense, much as gravity becomes embodied common sense to us all), are more akin to a kind of ‘naive’ or ‘folk physics’.

Posted in Acting, Exercises, Naive Physics, Performance, Presence, Training | No Comments »

Presence, Being, and Charisma

June 16th, 2006 Fred McVittie

It will be claimed that the concept of charisma is identified in one or more of four processes;

  • Celebrity recognisability - in which charisma is a function of the degree to which the possessor has gained public and/or media attention.
  • Supernatural power - in which the possessor is assumed to have some gift, energy, or magic that confers charisma upon them.
  • Actual authority - where the possessor of charisma also has access to material resources, knowledge, force, etc that is desirable.
  • Beauty/attractiveness - in which the possessor of charisma also possesses other, less mysterious, attractions.

The notion of presence within performance (and in non-theatrical contexts) will be related to these various processes of charisma production. It will be proposed that there are techniques to produce presence/charisma in performance in which the embodied signs of these processes are manifested.

Posted in Attention, Charisma, Energy, Performance, Presence | No Comments »

Axioms for an Imaginary Science of Performance

June 20th, 2006 Fred McVittie

An analysis of a range of techniques for the training of theatre performers reveals a high level of consistency and coherence in terminology. Although these techniques do not overtly claim to describe a world which differs from that of common sense or rational science, the paradigm and ’science’ of the physical world which is implied through this analysis is distinct in a number of ways. The axioms of an imaginary science of Performance might look something like this:

Space

  • Space is not empty, but consists of an etheric liquid through which objects move and energy is transferred.
  • Space is infinite and extends outward from the body of the performer in all directions.
  • The body of the performer is therefore always at the centre of space.
  • The central position occupied by the performer is also a fulcrum or axis around which the universe (space) is balanced
  • Whilst the space of the universe may move, the centre of the performer is motionless
  • Actions of the performer have an effect on the balance and properties of space.
  • The form of the performer’s body, e.g. its lateral symmetry and horizontal asymmetry, affect the regions of space extended from these areas of the body. The space to the left of the performer is different from the space to the right for example.
  • Part of the skill of optimal performance is the successful management of space.

Energy

  • The performer has access to energy resources which are both physical and psychic.
  • The energy controlled by the performer can affect the consistency and quality of the spatial ether.
  • The energy controlled by the performer can affect objects in space, including other performers or non-performing beings.
  • The energy controlled by the performer can be stored in or emitted from different parts of the performer’s body, or from locations outside of the performer’s body.
  • The quality of the energy used by the performer can be vary in a number of ways; intensity, mood etc.
  • The energy of the performer is a limited resource which can be depleted or replaced.
  • The energy of the performer is part of an energy economy which includes other performers, and the audience.
  • Part of the skill of optimal performance is the successful management of this energy.

Essence

  • The performer has an individual essence, possibly corresponding with a ‘soul’ or ‘purpose’.
  • The essence of the performer is the conduit for energy and the source for the application of will or intention.
  • The essence of the performer is separate from any internal representation they may have of self, body-image, physical image-schema, etc.
  • Part of the skill of optimal performance is the successful management of this essence.

Posted in Essence, Imagination, Metaphor, Performance, Poetics, Science, Theatre, Training | No Comments »

Out of Body: In Body. Being Present

June 24th, 2006 Fred McVittie

Presence, in the sense of theatrical attractiveness or charisma, is a phenomena which is the exact opposite of an OOBE or ‘out of body experience’ (see Metzinger). In the OOBE the sense of self is decoupled from the somatosensory body and instead relies solely on internal maps and models for orientation in space etc. In the condition of enhanced being that we refer to as theatrical presence the sense of self is very firmly lodged within the somatosensory body, (or rather, there is a near-total match between internal model and somatosensory body).


Posted in Charisma, Metzinger, Thomas, Out of body experience, Performance, Presence, Theatre | No Comments »

The Body as a Vehicle of Telepresence

June 25th, 2006 Fred McVittie

It has been demonstrated that the sense of being present within a virtually simulated environment, a phenomena usually referred to as telepresence, correlates with the ability to effectively carry out a task in that environment. That is, the more one feels present the better one performs.(1) Given this, it may be useful to consider the unaugmented human body not as integrated with psyche but rather as a vehicle for the psyche to occupy. In this understanding, the psyche becomes ‘telepresent’ through its immersion in the environment and sensorium of the body. A performer working with this conception of the relationship between mind and body should be able to better understand the need for presence, as well as being able to interpret exercises and information for the enhancement of that presence (a term which is often shrouded in mysticism) in terms of an immersive somatosensory experience. The radical Cartesian dualism that this implies is distinctly unfashionable (although it is an axiom of ‘human science’ and apparently a ‘human universal’) but may prove useful in explaining and potentially enhancing the sense of presence which, in theatrical performance contexts, correlates with the carrying out of tasks which increase charisma and the ability to attract attention.


1. Welch, Robert B. - How Can We Determine if the Sense of Presence Affects Task Performance?
Presence, October 1999, Vol. 8, No. 5, Pages 574-577

Posted in Charisma, Dualism, Exercises, Performance, Presence, Telepresence, Training, Welch, Robert B. | No Comments »

Human Science of Audiences

June 27th, 2006 Fred McVittie

Given that an audience for a performance event is, in all likelihood, human, it is inevitable that this audience bring with them to the event those aspect of being human which are often referred to as ‘human universals’ (Brown, D.E. 1991), concepts, habits, and practices which seem to exist in all cultures and are part of the being of human. This collection of universals, aggregated into what might be thought of as a theorems of a particularly human science, forms the common sense with which they/we interpret and realise that event. Some of these human science theories which apply to a performance might include the following:

  • The performance event is an abnormal state.
  • The performance event is contained in space and time.
  • Events occurring in the space and time of the performance are designed and/or intentional.
  • Events occurring in the space which are proximate in space and/or time are connected.
  • Any sufficiently complex entity in the space is capable of intentional action, particularly if that entity resembles a human being (anthropomorphism).

Posted in Brown, D. E., Performance, Theatre, Universals | No Comments »

Believing things that are not true

June 29th, 2006 Fred McVittie

In order to perform efficiently it may sometimes be necessary to behave as if one believes in things that are not objectively true, (but may nevertheless be subjectively ‘real’). For example, there is no good evidence for the existence of ‘the self’, in fact there is a good deal of evidence from psychology and neuroscience, as well as less scientifically from certain branches of cultural theory, that the self-concept is a fiction or fabrication. Nevertheless, it would be suicidal to live one’s life in accordance with this belief and immoral to regard others as similarly lacking. A more extrapolated example of this might that of belief in the existence of the human soul. There is clearly no evidence for the existence of a soul, yet a belief in the concept of a soul is a useful tool for optimising performance in key areas associated with the arts, morality, ethics, relationships, etc. It is hard to imagine how soul and gospel music could have developed without this totally groundless, but nevertheless useful belief.

This approach reflects that suggested by Hans Vaihinger in his Die Philosophie des Als Ob (1911; The Philosophy of “As If”), and later taken up by the American Pragmatist philosophers.

Posted in Belief, Fiction, Performance, Philosophy, Self, Soul, Vaihinger, Hans | No Comments »

Disgusting Girls (and Ron Athey)

June 29th, 2006 Fred McVittie

One of the presentations today included some footage of a Ron Athey piece, which some people in the audience were clearly having problems with. It is interesting to note what people do when they are disgusted by something. There was a lot of squirming. According to the conceptual metaphor theory of Lakoff and Johnson and others, a possible reason why they/we were doing this is because of a process of cognitive metaphor creation. The mind effectively maps the structure of the physical and emotional response from the concrete concept of something pathogenically disgusting like a toxic substance onto the abstact concept of ‘deviant’ sexuality, such that we get ‘DEVIANT’ SEXUALITY IS A TOXIC SUBSTANCE. The details of the behavior which follows, lip curling (as if at a bitter taste), nose wrinkling (as if at a bad smell), and mouth gape (in preparation for vomiting) are metaphorical projections from the concrete concept onto the abstract concept enacted as a physical schema or performance.

Another revealing feature of the disgust reflex is that, once learnt through embodied experience with real TOXIC SUBSTANCES, the behaviour is then available not only for unconscious metaphorical mapping onto abstract concepts (as in the case of the Ron Athey video) but as an intentional gestalt performance which can be consciously activated to indicate moral or ethical disgust. An interesting example of this from my own experience is observing my children, both boys, metaphorically mapping GIRLS ARE A TOXIC SUBSTANCE. Before the age of around 6 this mapping did not exist, but from 6 onward the presence of a girl stimulated all aspects of the disgust reflex indicated above. From the age of around 12 however, this physical schema has become more of a conscious performance which is activated only in certain contexts (when they are with their friends), and which is clearly in competition with other physical schema presumably appropriate to metaphors such as GIRLS ARE RARE AND UNUSUAL OBJECTS, and even GIRLS ARE PEOPLE.

Posted in Art, Gesture, Johnson, Mark, Lakoff, George, Metaphor, Performance, Schema, Story | No Comments »

Research, Art, and the Performance of Creativity

July 1st, 2006 Fred McVittie

One of the ways in which performance is routinely talked about is in terms of its distinctions and divisions. Theatrical performance, particularly, is distinguished from ‘cultural performance’, those aspects of interpersonal behaviour which can be spoken of using the theatrical metaphors of role, scene, and script. Also, the use of the term ‘performance’ within a range of other activities, including business, technology, and sport, is strongly distinguished from the theatrical use of the term, the implication being that the shared terminology is only coincidental and does not indicate a shared ontology, (but see Mackenzie 2001). And of course, a conventional distinction that is made when discussing art and theatre, is their oppositional relationship to the sciences.

Philosopher of science Robert Crease in ‘The Play of Nature’ proposes an interesting model which subverts this division. In this model he uses the concept of ‘performance’ to talk about both art and science. Rather than make a distinction between performances which take place in theatres, auditoria etc, and those which happen elsewhere, so-called ‘cultural performance’, or distinguishing between the term performance as it is used in the different domains, he divides the various acts which have been named ‘performance’ into four types; failed, mechanical, standardised, and artistic, and applies these terms to the activities of the studio, the theatre, and the laboratory. The first three terms; failed, mechanical, and standardised, as the words imply, either repeat performances that have gone before or do not ‘perform’ at all. In all of these contexts it is the latter term he regards as the most significant. Artistic performance;

“coaxes into being something which has not previously appeared. It is beyond the standardized program; it is action at the limit of the already controlled and understood; it is risk. The artistry of experimentation involves bringing a phenomenon into material presence in a way which requires more than passive forms of preparation, yet in a way so that one nevertheless has confidence that one recognizes the phenomenon for what it is. Artistic objects ‘impose’ themselves–they announce their presence as being completely or incompletely realized–but this imposition is not independent of the judgments and actions of the artist.”

This identification of performances which are ‘at the limit of the already controlled’ corresponds with terms such as ‘innovation’ and particularly ‘research’, but it is significant that Crease identifies this moment with art. Here art is not (only) the set of cultural institutions and histories which provide certain specific contexts for specific types of looking, but is the performance of creativity.

Posted in Art, Crease, Robert, Creativity, Mackenzie, John, Performance, Science, Sport, Theatre | No Comments »

Presence and ‘Presence’

July 12th, 2006 Fred McVittie

Presence (in the sense of ‘telepresence’) is the cognitive immersion by a human operator in an environment which is not the ‘actual’ environment occupied by their physical body. A prototypical example is the virtual presence one can experience within a VR setup, although partial immersion is common in a range of new and traditional media; the novel, the play, the movie etc. More generally, presence is the immersion of oneself in the reality of lived experience. Immersion, or even absorption or dissolution, can be seen as the unproblematic lowering of the boundaries between the individual and the environment, such that the person and the environment are seamlessly connected. For virtual immersion, and correspondingly a feeling of ‘being present’ to occur in non-actual environments, the experience should be as veridical as possible, which means it should produce an integrated embodied experience. Non-immersion, in novels, VR, or in lived experience, gives one the disorienting (or just plain boring) experience that life is elsewhere.

The experience of ‘presence’ within the context of theatre is also a function of a boundary, but in this case it is a boundary produced by the fact that performance is almost always ontologically separate from lived experience, and the performer themselves are almost always ontologically (and physically) also separate. This separation conveys the very strong message that the entities and events are beyond a boundary corresponding to the boundary separating the non-immersed individual audience member and their environment. In this sense, the logic of theatrical performance automatically mitigates against the audience having an immersive experience, or of seeing the ‘presence’ of the performer. Not only is the stage activity fictional, it is also ‘unreal’. The various compositional and scenographic conventions which theatre history represents can be seen as solutions to the first problem, that of the anti-immersive nature of theatre. The extent to which a performer may be said to ‘have presence’ is a function of how well they are able to also cross this ontological barrier between the unreal and the real.

Posted in Boundary, Fiction, Performance, Presence, Telepresence, Theatre | No Comments »

Creativity and Presence

July 13th, 2006 Fred McVittie

There seem to be two key strands of concern that I am developing an interest in, at least to the extent that I keep finding myself at presentations concerning these ideas; these are presence and creativy. I guess something I would like to do would be to find a way of thinking of them as part of the same gestalt, or having a similarity of structure. There does seem to be a relationship of shared metaphor, particularly in relation to the metaphor of light, which (sort of) figures in both concepts. For now, I am assuming there is a link between theatrical presence (i.e. an assessment of presence carried out be an outside observer or audience) and presence as signifying an individual, phenomenological feeling of being exactly here, precisely now.

In performances which have presence, the moment of continuous becoming which marks the ‘being in the moment’ of performance, can be considered as a constant ’stepping into the light’, a state of wakefulness and breaking consciousness.

In creative processes there is (usually) a moment in which connections are made, solutions are revealed, intuitive leaps are made, and this moment is often termed illumination. In this case the light is that of conscious awareness. There is a feeling that the creative process has been proceeding in the darkness of unconscious processing, and that the end result is forced up or brought forth into the light.

In terms of training, assuming that these metaphors have any validity, there is clearly a benefit to be gained by both performers seeking to improve their presence and others wishing to improve their creativity by working on this shared moment of enlightenment.

Posted in Consciousness, Creativity, Light, Performance, Presence, Story, Theatre, Walking | No Comments »

Theory/Theatre Training

July 15th, 2006 Fred McVittie

One possible source of the sometimes uncomfortable relationship between theory and practice (specifically training for practice) in theatre is that training for practice utilises radically different (and possibly unfashionable) theories. Theory tends to be captivated by what Tooby and Cosmides refer to as the ’standard social science model’, in which the subject/person is a product of culture, with biology and evolutionary history playing little part in the construction of complex cultural behaviour. In this model the subject is constructed, fragmented, decentred, ‘hailed by a plethora of discourses’, mediated, screened out, and misrecognised even to itself. In stark contrast to this, the model of the subject, and their place in world, as implicit in the concepts and language of practical training, is vitalist, centered, dualist, a member of the ‘universal people’ (after D.E. Brown). It is interesting to note that no such disjunction exists in the training and education of athletes, who also require coaching to improve performance

Posted in Brown, D. E., Performance, Sport, Theatre, Theory, Tooby, J. & Cosmides, L., Training, Vitalism | No Comments »

Universal Physics and Body-based Practice

July 19th, 2006 Fred McVittie

A range of body-based (or ‘bodymind’) practices have been developed in a wide range of different cultures which are reputed to improve health, effect healing of psychic or bodily disorders, optimise performance in various tasks, enhance spirituality, etc. These practices include yoga, taichi, reiki, acupuncture, etc. There is a considerable variation in the extent to which these practices use the body: some, yoga for example, require extensive, often arduous body disciplines, whilst others, zen meditation for instance, require very little exertion or ’skill’ at all. All of these practices, however, stress that the body and the mind are not discontinuous, and that these practices are effectively ‘psychophysical’, implementing both mental and corporeal processes inseparably. The apparent differences in levels of exertion or required skill level is therefore not significant, what is important is the beliefs and assumptions about how the psychophysiology which underpins these various practices actually works . It will be argued that common throughout these practices is reference to a set of universal axioms about the physical world, including the central role of the person in that world. These axioms are those of a kind of ‘Universal Physics’; a set of theories about the world held by all human cultures and produced by shared evolutionary history and shared biological incarnation.

Posted in Evolution, Performance, Physics, Training, Universals | No Comments »

The Belief Economy

July 21st, 2006 Fred McVittie

All psychogenic, psychosomatic, and meaning-response based processes work better in the presence of belief. For example, the so-called ‘placebo’ effect in which therapeutic affects are attributed to non-active substances, only functions when the patient believes that the placebo is actually active. A placebo administered without the patient’s knowledge has no effect at all. In double blind trials, in which some patients are given active substances and some the placebo, the placebo effect still operates, but at a reduced level. This is because the patient is aware that they may have been given an inactive placebo and therefore do not invest the treatment with the same level of belief than if there was no such possibility. Belief, in double blind trials, is therefore a kind of ‘attentional resource’ which is in limited supply and must be distributed carefully for maximum effect. Presumably the same is true for other activities which require the careful management of limited belief resources, including performance.

Posted in Attention, Belief, Performance, Placebo | No Comments »

Mind, Performance, Creativity, Attention

July 30th, 2006 Fred McVittie

There is a high level of correlation between the following phenomena and concepts:

  • experienced states of mind
  • brainwave patterns
  • use of attentional resources (energy)
  • phases in creative processes
  • phases in the performance of a task (including theatrical or art tasks)

These correlations suggest the functioning of a common process which, in all likelihood, in partly material and partly metaphorical. A greater awareness of this process should allow for the development of techniques for greater control over the process, and a consequent enhancement or optimisation of the performance of a range of tasks (including theatrical tasks) and enhanced creativity.

Posted in Creativity, Energy, Metaphor, Mind, Neuroscience, Performance, Theatre | No Comments »

The Performance of Everyday Life

August 1st, 2006 Fred McVittie

Performance is understood as the inter-relational aspect of an event or entity, existing in and defined by the moment at which an entity becomes available for experience and evaluation. This definition covers all aspects of performance, from theatrical and art performance events, to the performance of a business model, an engine, or an athlete. (See Mackenzie 2001). The conventions of theatre and art, and the domains of practice these conventions prototypically exemplify, frame this moment of experience and evaluation, and separate it from ‘normal life’, (even though normal life contains an endless stream of performance instances).

One implication is that performance (and performance studies) does not take its cue from theatricality (as Schechner and others have claimed). It is rather the case that theatricality and art is the performativity of everyday life enhanced, isolated, restaged, reframed, and by brought to the centre of attention, rendered inconsequentially conscious.

Posted in Art, Attention, Mackenzie, John, Performance, Schechner, Richard, Theatre | No Comments »

Hypnosis and Performer Training

August 18th, 2006 Fred McVittie

This paper will consider the use of Ericksonian Hypnosis techniques and NLP in the training of performers. Performer training is partly a process in which specific overt and transparent physical skills are exchanged; voice projection, the use of the body in particular stage environments, etc. To a greater or lesser extent there may also be training is specific psychophysical techniques; emotional memory, magic if, circles of attention etc. Again these last techniques are transparent and the student is fully aware of what is being taught and the purposes such teaching serves. In addition to these techniques however, I will argue here that there is a level of ‘tuition’ which is inevitably engaged in which is covert, and which the student (and possibly the trainer) has no knowledge of whilst it is taking place. This training constitutes a form of mental ‘reprogramming’ in which the mind set of the student is reorganized. The techniques used in this reprogramming correspond to Ericksonian Hypnosis or NLP, and the purpose of such reprogramming is a change in the belief patterns of the student with a corresponding change in the behaviour of that student.

Posted in Conference Abstract, Language, Performance, Training | No Comments »

Two Performances

August 26th, 2006 Fred McVittie

Whenever a performance takes place there are usually (at least) two performances taking place: firstly there is what might be called the ‘content’ performance, the particular activity engaged in, whether it be acting, dancing, athletic display etc. and secondly there is the ’subject’ performance, which is the core activity of the person carrying out the action or delivering the content.

This ’subject’ performance consists of the attitudes, thoughts and behaviour of the performer prior to and outside of the content. It is directly addressed in some sports psychology training, and also features in techniques for enhancing ‘presence’ in business, management, and leadership training. However, it tends to be ignored in theatrical or artistic performances, in which the mythology of not separating ‘the dancer from the dance’ maintains. This is in spite of the fact that the two major Western schools of 20th Century acting, Stanislavski and Brecht, overtly acknowledge this duality, Brecht deliberately cultivating it for purposes of ‘alienation’, Stanislavski minimising it (and Strasberg attempting to eliminate it completely).

Posted in Acting, Performance, Subjective | No Comments »

Performance and Mind-Reading

September 2nd, 2006 Fred McVittie

A significant aspect of being human is the ability to ascribe agency to other humans (and occasionally non-humans); a faculty sometimes referred to as ‘mind reading’. This consists of the ascription of various abilities to the agent, including intentions, beliefs, desires etc. These abilities are not part of a mechanistic paradigm and do not figure in most of the nuts and bolts psychology literature. This ability to ‘mind read’ is one element which makes up what Philip Auslander refers to as ‘liveness’, the ontologically distinct (although problematised) phenomena of live performance which distinguishes it from recorded or ‘mediatised’ phenomena. To attribute liveness to an entity requires an attribution of agency (even if the entity is dead, as opposed to simply inert. A corpse possesses more ‘liveness’ than an inert object). Other elements which vary the extent to which an event or entity displays ‘liveness’ include mediation (being present, being telepresent), empathy (the simulated sharing of a biological narrative) etc. The binary that Auslander set up erases the distinction between the various elements which make up liveness.

Posted in Agency, Auslander, Philip, Performance, Presence, Telepresence | No Comments »

Coherent metaphors and Efficacy

September 25th, 2006 Fred McVittie

The effectiveness with which we are able to deal with a situation or problem depends significantly on the the type of consciousness we bring to that situation or problem. Some situations require highly focussed, unselfconscious thought, others require a high level of self-monitoring, etc. In order to gain access to these different cognitive states, and benefit from their application, it is necessary to have a coherent and intelligible ‘map’ of the various states one might put oneself in, and how these states relate to each other and to external features of the world at large. Given the abstract nature of cognition and consciousness it is inevitable that such ‘maps’ are metaphorical (as indeed is this description, in its use of the term ‘maps’). One such ‘map’ of the various states of consciousness utilises the metaphor of space.

An important aspect of this metaphorical mapping is that the users of the metaphor function more effectively, i.e. are able to enter subtly different states of consciousness more readily, when they are presented with the entire map outlining all of the states, not when they are introduced to it piecemeal. It is more effective also when a consistent metaphor is used throughout. For example, to talk about one form of consciousness as if it were a substance (e.g. a flowing liquid) and another as a spatial location (e.g. being ‘centered’), clearly mixes the metaphors and does not provide a single coherent structure for the various concepts to inhabit.

Posted in Consciousness, Consilience, Metaphor, Performance, Space, Training | No Comments »

Metaphors for Change

September 30th, 2006 Fred McVittie

The particular metaphor one chooses to understand one’s own mind affects one’s phenomenological experience of that mind, and of aspects of the wider world. In other words, how you imagine yourself affects how you feel, and consequently how and at what level you are able to perform. In many ways, this is an obviousness; it has long been considered a fact that in order to do one’s best one should think ‘positively’, not have ‘low self esteem’, be ‘in the zone’, avoid ’self-consciousness’ etc. What is possibly not immediately obvious is that all these terms are metaphorical; there is no physical state which can be scientifically measured as ‘positive’ or ‘negative’, there is no real mental ‘zone’, self-esteem is not an object that might rise or fall in space, and there is no homuncular ’self’ outside of our normal consciousness which we might become literally aware of as a separate being. These terms, and the concepts and feelings they refer to, only make sense because of the use the mind makes of metaphor, using concrete physical experiences such as objects, height, space, amount etc to understand abstract entities like esteem. Furthermore, these metaphors, like all linguistic elements, do not make sense on their own, but because they are each part of coherent complex metaphorical models which structure a range of related concepts. For example, the low in low self esteem only makes sense because of a coherent set of understandings related to height including such elements as above, below, high, low, bottom, top, rise, fall, drop, float etc.

Once such a metaphor system is constructed, it becomes possible to discuss the otherwise abstract concepts referred to. It may also make available possible actions which affect one’s mental state and performance. For example, without the spatial metaphor implied by ‘low self-esteem’ there would not be the possibility of talking about ‘raising’ self-esteem or or any actions which might bring such ‘raising’ about. Part of the role of a trainer or counsellor is to assist in the construction of a form of understanding which is helpful in the optimisation of performance. A key way this might be achieved is through the sharing of a coherent metaphor for mental function which allows for the possibility of positive change.

Posted in Embodiment, Metaphor, Performance, Training, Up | No Comments »

Performing Magic (Non-consciously)

October 7th, 2006 Fred McVittie

The interactions which take place between performers and audience do not only take place at a conscious rational level. In fact most of the transactions probably takes place non-consciously through body language, gesture, intonation, proximity, etc. Much non-conscious transaction and perception does not utilise the same processes and beliefs that consciousness relies on, the objective axioms of rational physics and deductive logic for example, but rather uses subjective (and sometimes universal) embodied processes and beliefs, Folk Physics and Magic.

Posted in Perception, Performance, Unconscious | No Comments »

Create and Perform

October 11th, 2006 Fred McVittie

‘Performance’, in addition to signifying a particular set of cultural practices associated with entertainment, display, ritual etc, can also be understood as a moment or phase in the cycle of a creative process, and indeed all behavioral sequences. Robert Crease revealingly uses this term to indicate the actual carrying out of an experiment in the sequence of events which make up a scientific enquiry, distinguishing it from other phases in which, for example, hypotheses are developed, results analysed etc.

In terms of creativity, the moment of performance corresponds to the ‘illumination’ stage (Wallas), in which the idea or problem that is the subject of creative attention emerges from the wings of non-conscious cognition onto the stage of conscious awareness.

Posted in Creativity, Cycle, Illumination, Performance | No Comments »

Performance Creativity Consciousness

October 12th, 2006 Fred McVittie

The metaphor of performance, including the various entailments of that metaphor concerning the production and evaluation of performance, provides a structure for understanding a wide range of individual and social processes. This metaphor, whilst not overt, seems to underpin (or at least revealingly correspond to) proposed structures for the workings of;

  • individual creativity
  • social creative processes
  • the scientific experimental method
  • the functioning of human consciousness

Each of these processes is imagined as consisting of a series of phases which show marked similarity overall, as well as in their all having a ‘performance’ moment, or moment of ‘liveness’, and the structure of each one can be mapped onto the others. To take one example, the Wallas model of individual creativity consists of four stages; preparation, incubation, illumination, and verification (sometimes referred to as ‘elaboration’).

The third stage of this process, the ‘Illumination’ stage, is when, after a period of quiet and forgetting, (the ‘preparation’ stage), the creative solution to the problem we are working on emerges suddenly into consciousness. This is the ‘Aha’ moment in which cartoon lightbulbs appear above our heads. We awake from the incubating sleep to the dawn of realisation. At its most dramatic, this is the moment spoken about by Kekule, Poincare, Einstein, and Coleridge; great architectures of thought springing up suddenly and unannounced. On a more modest scale, this is also the moment when we suddenly ‘get it’; when the solution to a much more modest problem presents itself fully dressed onto the stage of our consciousness.

As noted above, this stage is also represented in models of social creative processes; in the dynamic systems model of Czikszentmihalyi it is the moment in which a creative product enters the ‘domain’. In Robert Crease’s analysis of the scientific method it is the moment of the experiment (which, when carried out well, he refers to interestingly as ‘artistic’), and in the functioning of human consciousness it is the ongoing binding of sensory data that produces the constant performance of experiential awareness.

This understanding of performance presents it as a prototypical phase not only in the production of theatrical events, but also in cycles of creative production which include the individual psychology of creativity, the public processes of creative evaluation and legitimisation, the scientific method, and the emergence of consciousness.

Posted in Conference Abstract, Consciousness, Creativity, Cycle, Performance, Science | No Comments »

Cosmology and Creativity

October 24th, 2006 Fred McVittie

The whole-hearted performance of any activity, including the smooth functioning of the creative intellect, is facilitated by the internalisation of a supportive cosmology or ‘big picture’ of the universe and one’s place within it.

Posted in Cosmology, Creativity, Exercises, Performance, Universe | No Comments »

Metaphors and Mental Optimisation

October 24th, 2006 Fred McVittie

  1. Many human processes are made up of a number of different phases.
  2. Our ability to engage in each phase in a process is optimised by the adopting of an appropriate mental state.
  3. A significant phase in many human processes is that of performance.
  4. Our ability to perform optimally is therefore partly dependent upon the particular mental state we are in whilst we in the performance phase.
  5. Mental states are (possibly) organised through the application of embodied metaphor
  6. One way to enter a mental state appropriate to the performance phase is through an act of imagination in which an appropriate set of metaphors is mobilised.

Posted in Imagination, Metaphor, Performance | No Comments »

Felt Knowledge

October 25th, 2006 Fred McVittie

Different forms of knowing correspond to different sensory modes: Objective ‘3rd person’ knowledge is associated with sight, whereas subjective ‘1st person’ knowledge is associated with touch and ‘feelings’. Knowledge that we regard as distinct from our selves and not part of our consciousness or being is metaphorically placed external to our bodies where it can be viewed dispassionately. Other knowledge, which we might regard as more ‘intimate’, is held close to the body where it is felt and embraced. This latter kind of ‘felt knowledge’ is not dissociated from one’s self and is experienced as a part of our being, a part of our ’subjectivity’. This difference in how knowledge is imagined, as distant and distinct or as upclose and personal, has implications for the use of imagery and the imagination in performance optimisation. Exercises which use the imagination to affect change in mental states often work better if the imagery used in not visual, but draws on one of the other senses, particularly the tactile and kinaesthetic. These latter forms of imagery do not objectify one’s experience and suggest a distinction between experience and experiencer, which visual imagery inevitable does.

Posted in Exercises, Feeling, Knowledge, Performance, Proprioception, Sense, Touch | No Comments »

Presence is in the Details

November 7th, 2006 Fred McVittie

‘Presence’ in performance (or the optimisation of that performance) corresponds to a set of behaviours which are finely detailed, multiple, and largely unconscious. In other words, the difference between a performance which has this quality and one which does not is a result of a large number of small nuances in the behaviour of the performer. These might include such physical behaviours as; eye gaze direction, length of pauses in speech, rhythm and timing of gestures, etc. The number, range, and subtlety of these nuances is such that they lie largely outside of the conscious awareness of both the performer and the audience.

Posted in Exercises, Performance, Presence | No Comments »

Presence, Performance, and the Management of Nuance

November 14th, 2006 Fred McVittie

One understanding of the term ‘Performance’ is as a moment within all creative processes corresponding to that of ‘illumination’ in Wallas’ model. This understanding has been applied to the process of scientific enquiry (Crease) in which the actual carrying out of an experiment is the ‘performance’. (It is revealing to note that Crease further describes a highly effective scientific experiment as ‘artistic’). If we can allow the term ‘performance’ to adopt this meaning, then it might be useful to consider what another terms/concepts used within the context of theatrical performance might come to mean when given this wider application. One term which lends itself to this consideration might be presence; the theatrical quality of being able to attract attention, also referred to as charisma.

It has been hypothesised elsewhere that presence is a function of a set of behavioural nuances which, taken together, convey a certain impression, even if the exact method of this conveyance is not recognised. We do not routinely note why a certain person possesses charisma, we recognise it non-consciously and feel ourselves affected by it. If we are to take this concept of the mechanisms of presence and apply it more broadly we would be led to conclude that the correlate of presence in non-theatrical creative processes would involve a similar management of subtle nuances. In a scientific process for example, particularly in the ‘performance’ moment of the scientific experiment, presence would consist of an attention to detail that might be thought of as requiring an artistic sensibility.

Posted in Attention, Charisma, Crease, Robert, Performance, Presence, Wallas, Graham | No Comments »

Post-Performance Creativity

November 22nd, 2006 Fred McVittie

Creative processes involve a cycling through various phases, with the created ‘product’ (an idea, image, text etc) emerging onto the stage of consciousness after a period of initial research and ‘incubation’. Wallas refers to this emergence as ‘illumination’, although it is referred to differently by different theorists. In all understanding of the creative processes this illumination phase is followed by a terminal phase in which the events or products are evaluated, verified, or elaborated. This final phase in when the second draft of the novel are written, the bugs are ironed out of the invention, the experimental results are analysed.

As has been noted earlier, the creative cycle operates at a number of scales, the overall process has an arc or trajectory, and within this arc there are numerous other, smaller cycles (1). It is interesting to note that each of these smaller cycles of development has the characteristic cyclical form described above, and the entirety of a process, from initial inception through to final analysis also moves through the same phases. Constantly throughout a process, we are typically allowing small ‘illuminations’ to drive the work forward, one emergent idea forming part of the the ‘preparation’ for the next. At a larger scale, the same cycles is also present; the final ‘verification’ or ‘elaboration’ phase taking place after the object of the cycle, the created product, has emerged into the public domain and is, to that extent, a ‘finished’ product.

The fact that, at this larger scale, the final phase in the cycle exists post performance, after the apparently final illuminated moment of public display, tends to separate this phase from the preceding phases. It is common to regard any engagement with the created object after its revealing as an additional, possibly superfluous act disconnected from the rest of the creative process. In some ways this is clearly correct; from the perspective of the wider culture the artefact has been newly introduced as a discreet element into that culture and must now enter into the various cultural processes of production and consumption. Just as the individual, during the earlier phases of the creative cycle, employed the mechanism of individual thought and feeling to carry out an ongoing evaluation of their own illuminations, their own ideas, so the social organism has its own mechanisms for verifying the validity of the big idea, the ‘finished’ artifact. These processes include critique, documentation, archiving, curation, valuation, sale, collection, publication etc. Because of the fact that the artefact has now moved into this different domain these processes are typically carried out by other individuals than those involved into its original creation.

1. (It could argued that corresponding cycles also can be found at the level of individual human psychology, in which the operation of mind has this general form, with the ongoing state we call ‘consciousness’ being a standing wave of illumination preceded and anteceded by unconscious processes paralleling the other phases in the cycle).

Posted in Creativity, Cycle, Illumination, Performance | No Comments »

Defining ‘Centre’

November 27th, 2006 Fred McVittie

The term ‘centre’ is used extensively in a wide range of performance training and enhancement programmes including those associated with dance, theatre, business, spiritual practice, sport, martial arts, therapy, as well as in common parlance. In all cases it indicates a positive psychophysical state conducive to the achievement of particular goals in these different fields. However, as a term it tends to be under-defined and is often used in relatively casual ways, which lowers its potential value as part of a training agenda. To maximise the usefulness of the concept of ‘centre’ its use should be accompanied by the following:

  1. That all discussion which includes terms which relate to the mind are inherently metaphorical, including the language of psychophysical training.
  2. A recognition that, as a terms relating to the functioning of body and mind, it draws on a spatial metaphor the description of body, mind, and their relationships. The term ‘centre’ implies a particular point in an extended space and this cannot be disregarded.
  3. That the spatial metaphor of body and mind, which includes ‘centre’, also contains other elements and entailments which contribute toward the overall metaphor. These include concepts such as boundary, distance, level, etc.
  4. That the spatial metaphor for body and mind, as it is used in one area of practice, can be enriched by an interdisciplinary integration of the same metaphor use from another area of practice. So, for example, techniques and ideas from sports training might be integrated into theatre training where there is an overlapping of the spatial metaphor.
  5. That the spatial metaphor of body and mind may be integrated into a much larger picture of the relationships between body, mind, and world. In other words, a cosmology.

Posted in Centre, Performance, Theatre, Training | No Comments »

Paradigmatic Performance

December 18th, 2006 Fred McVittie

There is a stage in all (creative) processes, including the processes of both art and science, where the practice moves from the preparatory to the actual; from the potential to the the real. In science this is the moment of the experiment (which, as Robert Crease points out, may, if carried out correctly, constitute the performance). In the visual and plastic (and some of the digital) arts, this moment is distributed across a number of moments in the making, and in the performing arts, unsurprisingly, it takes the paradigmatic form of the performance itself. In terms of the processes, whilst there may be differences in form, tradition, histories, and practice, all have this moment. What distinguishes ‘performing’ as a particular artform is not in the fact of its having this evanescent moment, but rather in the access that it gives to this moment. Whereas other creative practices prioritise and give access to the traces of this event, performing arts dramatises the event and includes it as part of the experience. We not only see the event, we see it as an event illuminated by the light of its own (apparent) appearance. A secondary effect is the coincidental placing of this moment with a parallel moment in the mind of the audience, the moment in which the performance is received and realised.

Posted in Art, Crease, Robert, Creativity, Illumination, Performance | No Comments »

Performing Silence

December 22nd, 2006 Fred McVittie

The moment of ‘performance’ signals the silencing of the other voices which obtain during other phases of the creative cycle. At that moment there is no criticism, interaction, dialogue, or communicative exchange of any kind. All this comes before and after.

Posted in Cycle, Performance, Silence | No Comments »

Gist and the Organisation of Proprioception

December 28th, 2006 Fred McVittie

Non-conscious schema, or physical ‘gists’, display themselves as organised proprioceptive sets which inflect behaviour. Performance may be enhanced by the adopting of such a physical gist when this gist organises the proprioception in ways which correspond to the required goals of the performance. This organisation is likely to operate across a large number of different variables and to make detailed alteration to actions.

Posted in Gist, Performance, Proprioception | No Comments »

Abstract Competence

January 4th, 2007 Fred McVittie

Any sufficiently complex skill or body of knowledge entails not only accumulating the various physical routines or academic facts associated with that skill or knowledge, but also the construction of a consilient ‘body’ of knowledge which give form and structure to those routines or facts. In this sense it functions not as a disconnected set of multiple items of data but as a single dynamic abstract competency. This body of knowledge allows not only the playing out of rote data, but also the intelligent and flexible responses which we associate with more complex knowing. The structure of this body of knowledge is variously referred to as a gist, schema, script, frame, etc.

A simple example of an abstract competency is the ability to play football. Playing the game well, or in fact at all, is impossible if one is only able to reproduce specific learned moves by rote. Competence in football demands an abstract understanding of the game as a whole such that flexible responses can be made to the constantly changing state of play. It is important to note that once such competence is available it is unlikely that it will present itself to the consciousness of the player as rational advice on what particular move may be appropriate at any one time. It is more likely that the player will experience such competence as the working of intuition and feeling, a particular move should simply ‘feel right’.

When applied to a non-physical academic field such as the appreciation of art, such competence would manifest itself as an aesthetic response which may or may not be fully available to analysis.

Posted in Gist, Intuition, Performance | No Comments »

Being Telepresent

January 7th, 2007 Fred McVittie

In order to optimise one’s performance of an activity it is useful to increase the extent to which one is (subjectively) ‘present’, i.e. ‘in the moment’. One strategy for aiding in this process is to re-establish the relationship between self and body such that the automaticity of embodiment is avoided. This involves an initial distancing of oneself from the body through the identification of self with some core, non-corporeal entity such as ‘essence’, ’soul’, ‘core self’ etc, followed by a conscious and whole-hearted re-inhabiting of the body and the senses. Through this process one becomes effectively telepresent in one’s own body. This technique draws upon the intuitive dualism noted by Bloom in ‘Descartes Baby’ in which he notes that the conceptual separation of self and body, however much it may be denied by science and decried by much philosophy, is nevertheless a part of the human condition of consciousness.

Posted in Bloom, Paul, Dualism, Essence, Performance, Presence | No Comments »

Egocentricity and Performance 2

January 10th, 2007 Fred McVittie

Excellence in performance is facilitated if the performer has a (non-conscious) belief in their own ‘centredness’. They need to feel that they (their most personal and vital self) are located at the centre and source of their own experience, and possibly of those around them. For professional performers, actors, athletes, politicians etc, this centredness of being is often accompanied by a centering not only of ’self’ but of ego. There is a tendency to include within this centre some of the desires, attributes, histories etc that they feel are uniquely necessary to the maintenance of their self-concept. This form of centredness or ego-centricity is effective in the sense that even a centre cluttered with personal baggage is better than no centre at all, but can be avoided by developing a self-concept which does not require these features.

Posted in Centre, Performance | No Comments »

Presence and Optimal Performance

January 12th, 2007 Fred McVittie

The concept of being ‘present’, in addition to meaning simply being physically located at a particular place and time, also means being fully psychologically engaged in the immediate activity one is carrying out or the experience one is having. This is also referred to as being ‘in the moment’, ‘in the zone’, not half asleep, not projecting oneself into the past or future etc. There is a well-established connection between this fully present engagement in an activity and the ability of produce optimal performance in that activity.

Posted in Performance, Presence | No Comments »

Effects of Multiple Schema in Performance

January 13th, 2007 Fred McVittie

The ‘gist’ or schema associated (possibly metaphorically) with a physical behaviour organises the proprioception involved in the carrying out of that behaviour, particularly taking care of the details. Sometimes different schema can be mobilised simultaneously, as when we are required to perform two tasks at once, or when we conceive (consciously or unconsciously) of a single task as being composed of two other tasks, (as for example when we learn to dance ‘the twist’ be imagining drying our back with a towel whilst grinding out a cigarette end under a foot). It is likely that, in addition to such potentially useful or complementary schema, there are also occasions when competing or conflicting schema are operating simultaneously, which would negatively affect the carrying out of the desired action. This may be evidenced in theatrical performance contexts when a nervous actor may be operating a ‘hide’ schema alongside other behaviours.

Posted in Gist, Performance, Proprioception, Schema | No Comments »

Consilience in Performer Training Techniques

January 15th, 2007 Fred McVittie

Excellence in performance is facilitated most effectively when their is a high degree of consilience among the various Top Down and Bottom Up strategies applied to the training and ancillary activities of the performers. These include, at the bottom of the scale, detailed physical work on specific techniques appropriate to the task, and at the top end of the scale, a relevant cosmology.

Posted in Consilience, Cosmology, Performance | No Comments »

Copenhagen Interpretation of Performance

January 16th, 2007 Fred McVittie

Part of the successful implementation of the Copenhagen interpretation of Bohr and Heisenberg is an attitude toward the mechanisms of quantum theory, the ‘mechanics’ itself, which is best described as ‘agnostic’. For example, the famous ‘double slit’ experiment of Young describes an entity called a ‘probability wave’ which governs the path and location of specific photons of light which pass through the slits. However, according to Heisenberg, since this probability wave cannot itself be measured this wave is not to be regarded as an actual physical entity, but rather as a kind of mental scaffolding which helps us to interpret the results of the experiment. The (imaginary) wave does not exist in the (quantum) world, but functions as a tool to allow us to think of that world. This ‘model agnosticism’ extends to the theories, equations and formulae which are the effective descriptors of those aspects of the world which are beyond personal embodied experience. Such theories also do not describe the world but describe what kind of model we need to create in order to be able to think of the world, and such models are always, eventually, grounded in embodied sensory experience.

A parallel process may be in operation within some performer training systems which make extensive reference to entities which have no material reality. These include concepts of ‘centre’, ‘energy’, etc. Whilst such concepts may well have no physical existence they may function as components within a model of the world in which a certain sort of performance behaviour is optimally produced.

Posted in Centre, Copenhagen Interpretation, Energy, Performance | No Comments »

Performing in the Light

February 3rd, 2007 Fred McVittie

The act of performance, standing in the light before a group of people sitting in the dark, is prototypical of a particular moment in the creative process of artists of all stripes, and indeed of all levels of creativity from enlightenment to normal waking consciousness.

Posted in Consciousness, Creativity, Enlightenment, Light, Performance | No Comments »

Good Science Approaches the Condition of Art

July 1st, 2007 Fred McVittie

The drive to create new knowledge is, presumably, rooted in the human universal desire to acquire that knowledge. Ultimately this is a cognitive imperative reinforced by the sense of pleasure accompanying discovery/creation, and the sense of stress accompanying not knowing. We try to know things because knowing feels good and not knowing feels bad. This equation of knowing and feeling is easily placed within an evolutionary narrative in which such a cognitive imperative would emerge as an adaptive trait. In fact it may be the most significant adaptive trait in the emergence of human being as we understand it. The implication of this relationship between knowing and feeling is that the acquisition of knowledge through research is, at heart, an aesthetic activity in which a satisfactory conclusion, outcome, or insight is arrived at because of the very satisfaction that accompanies it. The individual feelings which accompany research, in the context of scientific discovery for example, are reported by those involved to be a prime motivator in the continuance of that research, and the high points of these research processes in which significant breakthroughs or insights are made are spoken of in glowing experiential terms. This experience, the feeling of what happens during the research process, is indistinguishable from certain experiences in artmaking and other activity considered ‘expressive’, or as Suzanne Langer refers to it, as having ‘vital import’. At its best, research in all fields approaches the condition of art.

This idea is reminiscent of Robert Crease’s observation that scientific discovery and experimentation can be considered a ‘performance’, with the most profound and elegant research in the sciences achieving a standard he refers to as ‘artistic’.

Posted in Art, Crease, Robert, Creativity, Langer, Suzanne, Performance, Science | No Comments »

Threshold Concepts in Performer Training

October 12th, 2007 Fred McVittie

The acquisition of the skills and information needed to produce competent or optimal performance can be exceedingly difficult. The difficulties presented can further be articulated by considering these skills and information sets as ‘knowledge’, and that the gaining of this knowledge might meet with varying degrees of ‘troublesomeness’. The concept of ‘troublesome knowledge’ has been discussed by David Perkins and breaks down into a number of sub-categories. This taxonomic approach may suggest strategies for the reduction of this troublesomeness and thereby the more successful gaining of the knowledge, with a corresponding optimisation of the performance ability.

Posted in Knowledge, Performance, Training | No Comments »

CFP - The Conference without Powerpoint

November 28th, 2007 Fred McVittie

Usually, when one goes to conferences which have some relationship to arts practice there is a mix of academic and art-based practice. So one may attend panels in which papers are delivered and discussed, and one might also stroll around an exhibition, or watch a performance event of some kind. Despite the best intentions of organisers and attendees however, the balance between these different presentations is rarely even and the status of these is weighted heavily in favour of paper and powerpoint rather than art and aesthetics. Also, whilst there may be attempts at a dialogue between the forms, or possibly some forays into a kind of hybrid practice in which academic and aesthetic knowledge combine, these are rarely successful and often point more to what each form lacks rather than to their fruitful union. There is nothing like academically-informed art to reveal, by its absence, the unique quality of real art. There is also nothing like an overly arty paper presentation to make you cry out for the rigour of real academicism.

Here is a conference with a difference. No papers will be presented in their entirety, although the abstracts will be available. There will also be no actual artwork shown, only documentation and description.

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Knowledge and Knowing

March 16th, 2008 Fred McVittie

When we want to introduce or discuss some item of knowledge; a perception, theory, or some expression of personal experience or belief, we use either this word ‘knowledge’, or we use the verb form ‘knowing’. This difference is significant and draws attention to different aspect of the overall metaphorical schema that structures our understanding.

As noted elsewhere, the organisational logic for our understanding of different forms of knowledge is drawn from our embodied experience as spatially-located entities, and the differences in knowledge types is mapped from the differences in spatial and sensory awareness produced by that embodiment. The use of these terms ‘knowledge’ and ‘knowing’ can be identified with reference to this organisational schema.

When we use the word ‘knowledge’ we are implicitly conferring upon the ‘object’ of knowledge some of the properties associated with objects in the physical world of our embodiment. Objects tend to be clearly bounded, be (visually) available to more than one individual at once, to persist over time and, crucially, to continue to exist in our absence. This last property is particularly interesting as the notion that objects exist even when we are not looking at them, an apparently trivial observation, is problematic when applied metaphorically to knowledge. It is clear that the tree that I look at (and photograph) each day when I walk my dogs does not disappear when I walk past it, (at least to the extent that it continues to be visible from the satellites accessed by Google Earth), however my active knowledge of the tree, as present in my visual perception of it, undoubtedly does. As the physicist Percy Bridgman, put it:

Since an object never occurs naked but always in conjunction with an instrument of measurement or the means whereby we obtain knowledge of it, the concept of ‘object’ as something in and of itself, is an illegitimate one.

This is also a question which exercised Albert Einstein, particularly in relation to status of the moon as ontological/epistemological object of realist knowledge. For a good discussion of this see http://www.eequalsmcsquared.auckland.ac.nz/sites/emc2/tl/philosophy/moon.cfm

This use of the term ‘knowledge’ places our attention on the apparently naked object, and distracts us from the presence of the instument of our own processes of knowledge production. The body is rendered absent and ecstatic in this flight away from the source of such ‘measurement’ toward its destination in the perceived/conceived, and theoretically ‘possessed’ object.

The term ‘knowing’ has a very different function within the overall schema, and it is revealing that certain writers, Mark Johnson for example, make explicit and insistant use of ‘knowing’ as a preferential term. Knowing, as a verb, demands the acknowledgement of a subject engaged in the act indicated; there is no escape or flight from the body of the knower as seems to be implied by ‘knowledge’. In using the term ‘knowing’ the focus is shifted away from the destination of the knowledge production process and widened to include something of the source and the path. There is also a sense, in this use of the verb, that the object of such knowing is not complete and permanent, existing like a rock on the riverbed, but rather is open to the pressings of engagement. There is something of the disposition of the knower present in this knowing, what Perkins might refer to as the dispositional quality of ‘pro-active’ knowledge, and also, critically, the hands-on immediacy of the performative.

Posted in Cognition, Embodiment, Knowledge, Language, Metaphor, Objectivity, Performance, Subjective | No Comments »