– Introduction of another person
– Again the precision in which Jamie operates and activates the instruments is like that of a surgeon/scientist.
– The new person adds a different spatial perspective to the performance space- foreground and background because of where she is sitting- so we become “out of the picture” or the frame and are observers but again not disembodied observers because we are still part of the situation
– We are aesthetically receiving the situation
– TITLE: “Meditations within the Golden Machine: Fractured Trance State”- this describes the conceptual and the actual.
– This time Jamie is also working with the filmmaker as collaborator to as he speeds up and slows down the lights flickering intuitively by responding to Jamie’s movements, so the document is interfering with the piece- but is it? It’s strictly just the document, the filming has become part of the performance.
– The sitter/new collaborator in the front is getting into a deep meditative place/trance as the artist starts to manipulate the vibrations using the Mbira on the guitar
– She sits on the floor in the foreground- he is just engaging physically with the instrument but the sound is attempting to engage with her but she is blocking this out by entering into a different state of mind, does this make her body more receptive if her mind is entering a different state? No, because the two and inextricably intertwined.
– The flashing lights too are goading and interrupting or attempting to.
– It’s difficult to choose whose state to mirror as a spectator. Because my eyes are open its really easy to get distracted by what Jamie is doing and the lights so I’m not at rest at all like the meditating sitter. Even though I can see her, I can’t emulate her state.
– One of the most interrupting things is the silence every so often- silence usually means the end.
– When will she know if it’s the end? Does she end it by being interrupted?
– There were spates of rhythm and continuity and patterns and then none.