Sensing with the Body and Environmental Knowledges in New York City

Patricia Eunji Kim

Sensing with the Body explores how human beings come to produce, know, and circulate climate and environmental data through performance throughout New York City. The project brings focus to the diverse modes by which beings sense and produce environmental knowledge, and how experimental narratives unfold through bodies (of human and non-human animals, of water and land) to offer alternative scenarios for the present and future. Furthermore, the project focuses on the ways that diverse bodies morph, react, or adapt to environmental shifts that may be invisible to the eye.

4 replies on “Sensing with the Body and Environmental Knowledges in New York City”

I’ve loved seeing and hearing how this project has developed. I’m so fascinated by the climate scores and how they are designed (and how those familiar-looking forms were drawn up), how the scores get designed/created and then recorded and shared. Are they co-authored by the mini-troupes?
You underscore how important the physical and tangible space–a gathering space–for this research project has been. Will the scores live on in any way? Are you adding them to the climate sensing story bank? How might they get accessed by others?

Thank you so much, Patricia! This work is so important, and I am especially drawn to the climate score project. I wonder if you would share your thoughts about how this could be translated into a zoom classroom?

I appreciate the everydayness and accessibility of performance in the design of this event. In listening to your talk, I was thinking about performances that are non-narrative or not readily narrativized. Is durational performance, whether improvised or choreographed, a third space between data and story that offers distinctive tools to “environmental data stewardship” in your terms and to sensing climate change?

This is fascinating (as is the Sunk Shore presentation). Physical distancing is having a strong impact on all the performing arts, because that spatio-temporal thing has so defined our identity as artists. The Wilma Theater in Philadelphia is experimenting with ways to keep the sense of connection between performers (and directors) while working in a physically-distanced situation. I’ve shared your presentation and Sunk Shore with Blanka Zizka and suggested she contact you after she’s seen it. The Wilma has some advantage because they are working with an ensemble of performers who have trained together regularly for years, which helps the sense of trust and imaginative connectivity that might help this work.