PVL Dance .



Nathaniel Bobbitt

PVL is not a "Representation of the Vision of Objects"

Example:

You hold a paper. Imagine, that you fall asleep. The paper drops out of your hand.

1. The falling paper is a representation and the vision of an object.

2. What went on physically and mentally?

The relaxing of muscles and the absence of focus:

  • in your mind to your hand

  • the touching that confirmed the paper being held in hand

  • waking up to the loss of focus

    3. The mental and sensory components here point toward how sense perception (sense of sight) and thought supports task realization (holding the paper).

    The visual studies of behavioral conduct contrast with the visual study of seeing an object or recognizing an object as a pattern. I have introduced sensory resources and the role of the mind to control, guide, and trace performer behavior. But the temptation to read dance as a series of visual objects (symbols) is a persistent obstacle.

    PVL helps to map visual decision, visual challenges while using anticipation, memory, touch, and smell.

    PVL maps:
    1. visual states and sight-lines
    2. vision in doing a task
    3. visual paradigm

    Vision in dance is as vital as respiration in flute. Vision is the dancer's starter's pistol.

    Vision is a mechanism that can be tied to coordination of:

  • the other modes of sense perception

  • approximation

  • association

  • filtering of objects in a spatial alignment

    Vision on the level of doing can be "scripted and isolated" according to cognitive and perceptually driven tasks. The result would be a series of episodes between "What you see-to-do."

    But,

    How many visual states can be linked to the same doing?

    How many ways of doing can be linked to a single visual state?

    These points lead to a Part I and Part II in a dance.

    This is the start of materials for a solo. Though this might be a solo there is the option of multiple pictures of you to be digitized as well as a representation of the visual drama in the performer's vision. The tasking of the vision and the requirements on the dancer in the space lead to a visual study which we call PVL. See:

  • Toward Sensory Processing

  • Casting a Shadow

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