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relational Design

  • Body as Environment / Environment as Body / Personal Body Fictions
  • cone majesty

Body as Environment / Environment as Body / Personal Body Fictions

In 2017 I started collaborating with Dirk van Gogh on his PWO-project ‘Relational Design’ in Kask. During this research period I had several encounters with the students of interior design, and realised that their usual design process doesn’t include the experience of spaces and objects in relation to one’s body. In their usual work-process they depart from a standard anatomical model of the body, but relate only to the body in theory, not in practice. Through a mostly economic relation to material, design is becoming a representation for an immaterial value. By replacing actual experience with rationalised and virtual value, the reality of the designs and environments for our bodies to live in, are mostly based on economic values and functionality. They take a very narrow image of a body as anatomic example, and don’t take the experience of their design into account. Through creating from this narrow point of view, designs are re-enforcing it in the daily lived experience of urban landscape, interior solutions, fashion and the imagery of the media landscape that surrounds us. I find it important to develop awareness on how the environments we create impact and move us. And at the same time we have to be able to access an inner awareness of the complexity of one’s body and experience, in order to design in alignment with our deep and true experience.

This research project is looking for methodologies, how these realms can complement each other again, for a more holistic approach in creative processes. In this research I want to bring awareness to the knowledge that is stored in the body. By doing so, we have to start asking, what is a body and how can we experience our body? Looking and sensing in-depth into the body will unfold the multiplicity of body-experiences and bodies and establish regular awareness of body, self and other, and one’s relation to the environment. By including lived experience and body-awareness into design and creative processes, designing is not only based on an abstract idea, but is becoming a process of listening and being in contact with oneself and one’s environment. The process of creation itself be- comes a lived experience: A design that emerges through this process is alive, meaningful, touches, tells an authentic story and will carry this spirit into the world. It is precisely from the awareness of ourselves in relation to our environment that we start designing. Only through this way can we create outside worlds that are in relation with our inner worlds.

Bodies and body-practices, from my point of view, have received—from the age of enlightenment on, hand in hand with the rise of christianity, mechanist philosophy, the rise of capitalism, a rather second-class status in the current western societies predominant belief-systems. Bodies, together with other resources of the earth, have been reduced to materials, machines, workforces, that can be used and shaped, but are empty of any meaning or immaterial value, besides economical value. As Silvia Federici argues in her book ‘Caliban and the witch’, this image of the body today, stems from an image of the body as a machine, developed during the age of mechanical philosophy, which rendered the body from a vital and empowered organism into an object which needed to be controlled, cultivated and colonised. As part of a change of consciousness, which helped capitalism rise, both nature and the body needed to be transformed into ‘the savage’, who needed to be controlled by a rational mind. This gave way to an experience of separation between body and mind, culture and nature. “In this sense Mechanical Philosophy contributed to increasing the ruling-class control over the natural world, control over human nature being the first, most indispensable step. Just as nature, reduced to a “Great machine”, could be conquered and (in Bacon’s words) “penetrated in all her secrets”, likewise the body, emptied out of its occult forces, could be “caught in a system of subjection”, whereby its behaviour could be calculated, organised, technically thought and invested of power relations.” (Silvia Federici, Caliban and the witch)

Since the Enlightenment, the split between the brain and the body, between the intangible and material has been propagated both in religion, culture, philosophy and science. As a result, idealised environments have arisen, in which the relationship with the real experience is absent. Especially now that virtualisation – and associated absenteeism to human needs – is increasing, physicality is a necessary counterweight.

Our loss of identity and feeling of powerlessness are intensified by the computerisation and automatisation of work, that expect mechanical and dehumanising types of behaviour and working processes. The abstraction of labour and disembodied forms of production, separating ‘private’, emotional, bodily sensations from the ‘work-field’ accumulate in a sense of alienation and desocialisation with high records of mental illnesses: panic, anxiety, fear, attention deficit. “I call this consciousness estrangement because its essence is that we do not see ourselves as part of the world. We are strangers to nature, to other human beings, to parts of ourselves. We see the world as made up of separate, isolated, nonliving parts that have no inherent value. (…) Among things inherently separate and lifeless, the only power relationships possible are those of manipulation and domination. (…) As we become separate, and are manipulated as objects, we lose our own sense of self-worth, our belief in our own content and acquiesce in our own exploitation. (…) In the empty world, we trust only what can be measured, counted acquired. (…) Estrangement permeates our educational system, with its separate and isolated disciplines.” (Starhawk, Dreaming the dark)

Seeing our bodies as workforces, forces us to ignore signs of tiredness, disrespecting our limits, doing work that hurts us, or doesn’t give any pleasure. Pleasure for me is closely related to self-care and self-love, and is what will save us from a future burn-out or depression. As a teacher, I’m astonished to witness in young people so much anxiety, stress, fear of failure, self-hate and as a consequence depression. It concerns me very much and worries me, how young people seem to learn no tools in education to deal with these feelings, to care for their well-being, but rather learn and are forced to adapt to the neoliberal imperative and pressure to ‘make it’ and in the process suppress any resistance, numb themselves. What I witness is that the implementation of the structure of pressuring yourself to bring good results, ‘work hard’, is being inscribed already in education in young people, so they will be able to ‘function’ to the ‘industry’.

The unease of young people, the struggle with their identity and the current way of living, shouldn’t be misunderstood as mental illness that we need to medicalise, instead we should look closely at the origins of their struggles and start providing tools for work-processes that include their identities, bodies, emotions, their human experience at large. Our bodies have needs and desires and it is precisely this structure of accumulated needs and desires which is a powerful limitation to the exploitation of labour. Connecting to our body also shows us a universe of relations. It brings the awareness that we are interconnected beings, closely linked to a big organism, our planet and its eco-system.

Reclaiming our body, reclaiming to decide our corporeal reality, begins by affirming the power and wisdom of the body as we know it, in that it has formed over a long period of time, in constant interaction with the formation of the earth. (Silvia Federici, Beyond the periphery of the skin)

For me the attention towards the body and one’s experience is political. It is an action towards reclaiming one’s experience as important, it is an action of care towards one’s own body and at the same time one’s environment. It is an act of empowerment, by understanding that we can choose what and how we want to experience and relate to our surroundings. And as artists and designers it means taking responsibility of how the experience one’s design or artwork is creating for others.

Workshops

November 2018 KASK / Gent with Anouk Llaurens
November 2019 KASK / Gent with Rocio Marano
February 2019 in University of Antwerp with Rocio Marano

Involved in the research process at different stages were: Lili M. Rampre, Ayelet Yekutiel, Anouk Llaurens and Rocio Marano. KASK Research project Relational Design by Dirk van Gogh.

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cone majesty

The cone-head was lying on her death bed. Her pinkish grace. Where the water-basin filled there was a little crack. Inside the pool it said ‘Italy’. She multiplied herself in transparant repetition. Her layers of rosé creating depth. A soft smell of shampoo surrounded her like freshly washed hair. The snow leopard fur covered her cushion her throne. The basin keept on filling whit this rosé colored liquid, a bit thicker than water . Through the center of het cone water excited in a small but elegant steady fountain. the liquid was bubbly..; Sometimes like champagne, sometimes like lava. Over her many wigs the liquid was flowing down on the snow leopard fur bed cushion. Miraculously it disappeared immediately into the cushion without leaving any traces. The cushion and her cone-majesty were actually one. Why was she dying? It was clear that she had seen better days? The whole scene reminded of faded glory. Her grace was untouched but she couldn’t go on like this. A low pleasant warm voice sounded from the middle of her cone. The voice was vibrating through ones body. When you would listen and close your eyes, you could see her shapeless being. Rays of purple and green dust dancing in slow circles , spiraling into you, with a careful friendly touch. It was as if she could whisper to you with her raspberry presence, of all things soft and mysterious. When she gave you for a second her full attention, you could see sparkling, glittering reflections, hypnotizing your eyes. her magic was working on you. In her last moments she shall gave all the beauty she had, before she would fade into a hard plasticine presence and also the snow leopard lost its shine. The floor underneath became very wet - a sea of pink liquid - then it sunk into the ground, a last glimpse of shampoo smell in the air lingered. only the empty shaped were left - stiff and lifeless, without sparkles.

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