New Paper and Presentation:
Water e-Motion - Transformative Views
Lila Moore is an artist film-maker, screen-choreographer and scholar. She holds a PhD degree in Dance on Screen, which incorporates her creative practice, from Middlesex University, 2001. She likewise holds an MA in Independent Film and Video from Central Saint Martins College of Art and Design,
London, 1989. In 2004-2006, she was an Associate Research Fellow at London Metropolitan University,
and has presented research papers in academic conferences, (2009-2013). She has lectured, curated film screenings, and exhibited in universities and cultural organisations internationally. Her work explores the interaction of body, psyche, nature and the world through performative screen-texts and screendance.
In this paper I will discuss few films in which imagery of water and dance/movement play a key role and generate transformative views. The aim is to explore, and reflect on, poetic depictions of water that heralded a transformation in art and consciousness, and screen-based technology and images which can induce empathy to water creatures and sensitivity towards the ways water is being treated and shared.
The first part is dedicated to seminal films and theoretical ideas, starting with Maya Deren's argument that art is neither an expression of a visceral emotion, such as pain, nor an impression of pain but is itself a form which creates pain (or whatever its emotional intent). Deren states that in the 20th century, art
cannot replace science's capacity to reveal reality. Thus, the function of art is to allow the comprehension and manipulation of the universe in which the individual must somehow locate herself/himself (An Anagram of Ideas on Art, Form and Film). These ideas serve as historical and theoretical framework which still reflect current aesthetic attempts to understand and influence human interaction with our planet's resources. Water, too, is a central theme in Deren's films, mirroring the life of the psyche. This theme is correlated with Anaïs Nin's "Bells of Atlantis" where, as I will illustrate, the filmic depiction of water is a temporal reflection of nuclear and ecological disasters and traumas extending beyond Hiroshima to Fukushima.
In the second part, I will analyse 2D/3D videos by the Dolphin Dance Project with reference to kinesthetic empathy stimulated through viewing movement on screen. I will draw on my creative experiments entitled "Water e-Motion", and research of global interactivity, e.g., Gene Youngblood's "Media Activism" (2013), aiming to identify technological and aesthetic forms that equalise and heal our relationship with water and the natural environment. .