Jeannette Ginslov is a specialist in Embodied Technologies, AR (Augmented Reality) and Screendance. Currently she is a final year PhD candidate at the Schools of Applied Science and Arts and Creative Industries, London South Bank University. She holds an MSc in Media Arts and Imaging – Screendance from DJCAD, Dundee University (Distinction) and an MA in Choreography from Rhodes University South Africa. She publishes widely on dance and technology in practice in international, peer-reviewed journals, magazines and books such as, Conspiracy Archives – a process archive of an archival process(2019), The Poetics of Temporal Scaffolding and Porosity: Sharing Affect and Memory (2017), P(AR)ticipate (2017), Temporal Scaffolding: An Infrastructure of Techne, Screendance, AR, Affect, Audiences and Smart Mobile Devices (2016), Affective and Rhythmic Engagement with Archival Material: Experiments with Augmented Reality (2014). Previously she collaborated on the Screendance and AR project AffeXity (2010-18) and Conspiracy Archives (2016-19) for the Living Archives Research Project based at K3 Malmö University, Sweden, led by Susan Kozel. Jeannette is also an interdisciplinary screendance practitioner and collaborates internationally on projects, facilitating Screendance and AR workshops and lectures.
Currently my PhD research is entitled: Deep Flow: a tentacular worlding of dance, biosensor technology and lived experience through relational biofeedback of the human and non-humankind. This PaR explores how an embodiment of a heart rate monitor, with a somatic and meditation dance practice Deep Flow, may expand our understanding of lived experience and subjectivity in an age of Metric Culture and the Quantified Self. Deep Flow uses bio-relational feedback, not to control media and representation outside the body, endorsing binary notions of “inner and outer”, but rather focuses on enhancing subjective experience and embodiment, within a worlding of human and non-human materials. These are activated by cat’s cradling them within a tentacular worlding, using phenomenological and qualitative methods. I believe that by turning our attention to experiencing the pre-reflective with our bodies, we may deepen our understanding of subjectivity within advanced technological societies and the possibility of a new posthuman eco-feminist worlding.