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Live Transmission/Performative Drawing

Live Transmission/Performative Drawing Live Transmission / PerformaTive Drawing Morgan O’Hara n 1989, I began the practice of the Japanese martial art, aikido. In the martial arts, one trains using both sides of the body, and slowly, through practice, asymmetries and imbalances sort themselves into better balance. Consequently, the left and right hemispheres of the brain also become better coordinated. After a while, it felt awkward and off-center for me to be drawing with only my right hand, so I took up another pencil and since then have been drawing with both hands. Gradually over time I have become almost ambidextrous through this practice, and I often draw with up to twenty pencils simultaneously, moving each pencil independently. The number of pencils I use is determined by the subject of the inquiry. Live Transmission of the principle of vitality is the theoretical base for my work. I record energy transmissions seen through movement. This work overlaps two centuries. The focus on attention in se became more and more apparent as the work progressed. Contemplation through calm observation, the dialectic between observer-participant, participant-observer, control versus relaxed participation, all coalesce to form the conceptual base for Live Transmission. The Live Transmission process is a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Live Transmission/Performative Drawing

PAJ: A Journal of Performance and Art , Volume 36 (2) – May 1, 2014

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Publisher
MIT Press
Copyright
© 2014 Morgan O'Hara
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00188
Publisher site
See Article on Publisher Site

Abstract

Live Transmission / PerformaTive Drawing Morgan O’Hara n 1989, I began the practice of the Japanese martial art, aikido. In the martial arts, one trains using both sides of the body, and slowly, through practice, asymmetries and imbalances sort themselves into better balance. Consequently, the left and right hemispheres of the brain also become better coordinated. After a while, it felt awkward and off-center for me to be drawing with only my right hand, so I took up another pencil and since then have been drawing with both hands. Gradually over time I have become almost ambidextrous through this practice, and I often draw with up to twenty pencils simultaneously, moving each pencil independently. The number of pencils I use is determined by the subject of the inquiry. Live Transmission of the principle of vitality is the theoretical base for my work. I record energy transmissions seen through movement. This work overlaps two centuries. The focus on attention in se became more and more apparent as the work progressed. Contemplation through calm observation, the dialectic between observer-participant, participant-observer, control versus relaxed participation, all coalesce to form the conceptual base for Live Transmission. The Live Transmission process is a

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2014

There are no references for this article.