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Thesis Info
- LABS ID
- 00908
- Thesis Title
- Finding Prāṇa: Digital and Performative Experiments in Search of a Technology of the Self
- Author
- Helen Collard
- E-mail
- aitchcollardo AT gmail.com
- 2nd Author
- 3rd Author
- Degree
- PhD
- Year
- 2019
- Number of Pages
- 285
- University
- Northumbria University
- Thesis Supervisor
- Dr. Stephen Gibson
- Supervisor e-mail
- stephen.gibson AT northumbria.ac.uk
- Other Supervisor(s)
- Dr. Sandra Johnson
- Language(s) of Thesis
- English
- Department / Discipline
- Fine Art, Design, Media Art
- Copyright Ownership
- Helen Collard
- Languages Familiar to Author
- English
- URL where full thesis can be found
- www.helencollard.net/research
- Keywords
- Prana, Technology of the Self, fNIRS, Listening
- Abstract: 200-500 words
- In this practice-based research, yogic breath techniques are integrated into biofeedback art.
The yogic concept of prāṇa (life-breath) and its related philosophy and practices underpin
the research. In addition, the yogic practices and philosophy of breath are contemplated
within respiratory philosophy (Škof) and Foucault’s (1988) observation of ‘care of the self’ and ‘technologies of the self’.
The yogic breath in this research is explored via three artistic fields: 1) performance art, 2) embodied audio interaction with bio-signals, and 3) sound art. Through a performance in each field the physical, mental, ethical and philosophical dimensions of breath are traced.
Informed by these ideas and an initial fieldtrip to the scientific department at the Kaivalydhama Yoga Institute, the
ambition of this practice-based research is to ‘find’ prāṇa-as-technology for utility in
biofeedback art practice as directed by two questions: (1) How can artistic research be
integrated with breath practices? (2) What does this integration contribute to our
understanding of prāṇa?
The research is undertaken through a practice-based reflective methodology (Sullivan,2005) conducted through a ‘self-laboratorium’ (Varela,1999) which produced three performance works that each integrated a different breathing practice and artistic field to find prāṇa: (1) Hawk (Gallery North, UK) uses an āsana (posture) practice in a performance art work; (2) Finding Prāṇa (ISEA, Colombia, 2017) employs neuro-imaging technology (fNIRS) to sonify and visualise realtime brain-state data during a live prāṇāyāma (breath controlling) performance; (3) Public Address System (Broadacre House, UK) is a sound art performance of an amplified ensemble breath meditation in an architectural resonant space. Collectively across three distinct artistic fields a contribution to biofeedback art is made.
Through using breath practices within the field of biofeedback art the contribution of this
research has: (1) developed a practice that integrates breathing practice within
performance; (2) which necessitates the acknowledgement of two ‘technological
mainframes’ – out tools – the technology of machines and algorithms and the technology of the breath itself; (3) the creation of unique sound and visual system applied to fNIRS technology as a way to explore the changing hemodynamic response during prāṇāyāma practice; (4) the introduction of a new concept the ‘technology of breath’ as a ‘listening technology’ (5) the consideration of breath must be fundamental to our wider technological thinking, making and living.
The outputs of the research are: a documentary film of the initial fieldtrip to Kaivalydhama Yoga Institute; Three biofeedback performance works Hawk, Finding Prāṇa and Public Address System; and The Taxonomy which is developed for the research to trace the development of, and also write with and about, the three performance works.
Each performance has been ‘published’ beyond the PhD. Hawk at The Cistern, Bòlit Centre for
Contemporary Art, Spain; Finding Prāṇa in Ubiquity: The Journal of Pervasive Media;
and Public Address System at BALTIC Centre for Contemporary Art, UK.
* The thesis was written prior to the pandemic. However the research emphasis on breath, interconnection, ecology and the commons of air contains resonance and implications to our future thinking in the new era of COVID 19.