Body_space_interface conceives artistic research as working with ‘gesture-models’, or ‘performative models of gesture’. And, in that takes up a dialogue with Jean-Francois Lyotard’s ‘Gestus’, constituting gestural exchange as a model to describe the various elements of aesthetic production and reception: from the work of the artist, to the components of the work of art, to the immediate response of the viewer; the concept also involves the labour of the philosopher’s discourse.
Erin Brannigan in her ‘Dancefilm’ makes use of gesture-models, dealing with movements in there own right as relations between dance and the mediation of dance, She brings out the phenomenon of gesture as produced by forces that create and regulate ‘mythologies of the body in motion’ – being individual, social, cultural and environmental. She quotes Giorgio Agamben’s definition of gesture as being ‘an exhibition of mediality’, a process of making a means visible as such, operating with gesture, not as limited to movement of the body, but including moves constituted by camera, light, editing, object, design – and the gestures of spectators.
Gesture has a resonating force with propensity for migration. Simultaneously, gesture is a sensuously expressed ‘torsion’ of space/ time/ matter, producing its own space/ time/ matter. This quite crude, concrete and complex understanding of ‘gestural exchange’ connects artwork to everyday magic, almost directly calling for a twisting of human motion into new expressive explorations.