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  2. Frame Study #2: Entering & Exiting
    HTC Sensation on-board camera.
    Music by Zoë Keating "Legions (War)"

    For this study I became interested in 1) Entering and exiting the surface of the frame and emerging from and into darkness. 2) The play of the natural light available, particularly how the light could change the textural tones of the body and fabric

    The restraints produced by the phone camera (where it could be placed, quality and depth of field etc) created parameters which influenced my dancing choices, spacial arrangement to the camera, how big or small a movement could be and what part of the body my awareness existed in during the dancing. In turn, and that which is central to my practice, the camera was at the whim of my physical desire to fully experience the texture of the fabric, and take pleasure in the available light. Hence a 'relation of reciprocal adaptation' (Feenberg, Andrew) existed between my body, the camera and also the light and fabric in production. My "misuse" of the camera, by tipping it sideways announces this adaptive relation: I desire to play in the height of the fabric with the vertical length of the body so have deposed of the panorama.

    The low production value of the video has given it a degraded look which I'm highly attracted to. Burnt colours spray across the image, the high contrast between dark and light, the over driven "hot-spots" relate to the story of "the practice": spontaneous, adaptive, experimental and responsive to the possibilities within that which is available, deliberately avoiding inhibitions that arise from excessive regard for high production value.

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  3. Frame Study #1: 50mm prime lens Canon 5DMII (performed 18.2.13 edited 17.3.13) overexposure to accentuate difference between the "live world" and the "screen world" by Elanor Webber

    Composing the body in the frame: playing with shape, size and rhythm.

    Dwarfed to giant. Giant but fragmented into pieces. Light explodes across the screen, it does not explode across the "live" space. Imagine the "live" world to be like the world of the frame. Exploit the world of the frame, it's peculiarities and strange "other world" behaviors. Explore this world, dot around in it's light, paddle in it's pools, push up against the edges of it, throw yourself beyond the edges of it. Throw yourself into where? Do you stop "Being" when you exit the frame? Are you spat out thanklessly into the "live" world? Does the screen world leak across the borders? Does the heaviness of the screen gaze fall of your shoulders? Do you miss the validation it dispenses? You've jumped into a 2D picture which seems to unfold and extend and breath according to it's own rules and laws. Where do you belong within it? Where is your place and what are your possibilities?

    Carving out 3D and 2D space simultaneously. My mind was there and here when I danced. That moment when I moved and the moment as you view the document, converge. Time is folded. I am transported, accessing a future moment through a present gesture. Packaged and bundled, inserted into a time capsule and now unlocked as the document unfolds again and again.

    The frame within a frame, offset in the back corner. If I think of this square as my frame instead of the one you view, all the compositional relationships I draw from the dancing choices I make will be slanted.

    "Hotspots" of action, places revisited as I sculpt my playground. Resonance of the space, is this emanating from the rule of thirds or of the "live" world? My extremities reach out to the edge of the frame. Reach reach reach.

    # vimeo.com/61948426 Uploaded 4 Plays 0 Comments
  4. An improvised dance solo, edited for visual and rhythmic consequence.

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  5. The unhinged creature living in solo practice.

    # vimeo.com/37950977 Uploaded 64 Plays 0 Comments

Unhinged Practices

Elanor Webber

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