Zsuzsannas interest is to differentiate several different approaches to posthumanism. According to N. Katherine Hayles, posthumanism does not exclusively entail discourses that thematise a world after humanity, but rather signifies a mode of thought that disturbs ontological categories such as “human” and “nonhuman.” From a posthumanist perspective, the human body and its affectivity can be installed into assemblages composed of nonhuman becomings. In Brian Massumi’s view, affect cannot be restricted to individual bodies. Rather, it is a deterritorialised experiential flow, pulsating through a collectively composed flesh. This collectivity is characterised by a mode of experience that, to use László Tengelyi’s expression, may be called a “multifarious flow.” In this regard the quality of the fascia tissue in the human body and other animals that can resonate to the idea of this flow.
Fascia is the connective tissue that surrounds all the muscles, bones and organs and creates a web of information distribution
for the proprioceptive system. The fascia tissues are full of neurological sensors and responsible for the feeling of where
our body parts are.
The work of Zsuzsanna Rózsavölgyi deals with the embodiment of knowledge production. She is mixing disembodied academic theories with the movement of the body. The thoughts from the head goes to the thinking body and becomes a performative discipline.
The work “Studies of Fascia Anatomy” explores the performability of the new research field of fascia anatomy. Her main question for this research based work was how the fascia anatomy theories can find an output into different artistic disciplines and how the information can be manipulated to create different models of being.
Study 1: The Plant
The movie is showing a movement research practice: Is it possible to move as slow as you can smoothly without any fast motion and ticks? You see a time-laps movie where the body moves with the speed of the plants. Created with the help of Zentrale Digitale Werkstatte Fotografie.
Study 2: The Trail
The sculpture is a trail of two fascia meridians on the body connected to two fascia meridians on the arms: one is the Spiral Line connected to the Superficial Back Arm Line and the other is the Superficial Front Line connected to the Front Deep Arm Line. The lines appear in two long full body lines connected to each other at the abdominal area. The aim of the sculpture was creating a visual material for educational purpose. Created with the help of Dénes Csasznyi sculpture.
Material used: thermoplastic and plaster.
Study 3: The Skin
The performance is a movement research practice which deals with the skin as the most external layer of the brain. The tapes on the performer’s skin gives an extra information for the neuromuscular system, which changes the sensations and the movements for the performer and changes the perception of movement for the spectator. Dancers: Britt Kamper, Blanka Flóra Csasznyi.
Study 4: The Garden
The garden is practice based performance with the participation of the audience. The aim is to give the spectator an embodied experience of how their own neuromuscular system works and feels. By introducing an unnatural speed for the human body one can experience it’s physical limitation and how the proprioceptive system can give us false sensations.
Study 5: The Breath
The sound installation during the performance Study 3 and 4 is an experiment how dehumanise snoring. The piece was built during
the seminar of Ornament und Verbrechen: Reduction and nuance as aesthetic phenomena with the professors Heribert Friedl and Asmus