We are living in a complex system, which seems to be expanding rapidly into new variations of that which is in current existence by simply using recombination and mutation i.e. expanding into 'the adjacent possible'. From these new variations may emerge whole new properties. Kauffman, S. (2000) suggests:

'The adjacent possible will emerge as an important concept.
The species diversity of the biosphere has increased as well as the molecular diversity. The diversity of goods and services ion our economy is huge compared to the diversity of goods achievable by Paleolithic humans 200,000 years ago. In short the past four billion years has seen persistent flow of the biosphere into its adjacent possible. ... Indeed I will be so bold as to suggest that this nonequilibrium flow into a persistent adjacent possible may be the proper arrow of time, rather than the more familiar appeal to the second law of thermodynamics in closed thermodynamic systems.' p47-48

Brown (2005) notes that Deleuze suggests living equates to having the capacity to increase variation within the world. ... she goes on to say...

We live, as William Forsythe states, within the sphere of our own memories. When I make a new dance, I perceive that together with the dancers we are acquiring new movement memories. The range and scale of these memories is to some degree determined by our kinesphere, the potential space we move with and within. When we start to think and enact the co-presence of real, actual space and the intersection of this with the virtual, immaterial space our kinespheres become refolded and extended into previously unimagined dimensions. These states of fold make the invisible thresholds which exist within our everyday lives more present and they reveal our bodies as "many-timed". Brown (2005)

Through creating Rhizomes, my vision of the possible in 'performance' is expanding. Working with the virtual as more than a literal reflection of the real has enabled me to see how to expand the real ('performance') beyond my preconceived barriers. For example, we initially thought of the virtual scenery as substitutes for real scenery, but substitutes which could be moved (like that done in 'The Woman in White' 2005). Now, we realise that the virtual can depict found objects in illogical positions like 'The Escher Cube' with its illogical geometry or moving the 'Surreal World' upside down (orange sky below and black and white floor above e.g. in Trio 8Shapes Choreographed) and thereby create metaphoric illusions to surround the real dancers. Or just simply by moving through a 3D world forward while a performer moves upstage can invoke the perception of not only the real performer walking fast through a world, but also being accompanied by the audience (Stuart, 2003). As a performer falls we can cut into another model world, giving the perception of a performer breaking rules of the physical universe (e.g. The Graveyard / Typewriter Intercut)... Intercutting between two model worlds, as done between Rachel's GSVI and Jemma's Avatara (in Rhizomes III), allowed both performers to appear to exist in separate worlds, while moving similar pathways in close proximity....

Life is an ever expanding experiential process!

3.0.1 Home Page, 'Beginning', Conclusion, Acknowledgements, References, Rhizomes Performances, Performances as References