[rohrpost] ARTAUD FORUM 2 30/3 - 1/4/2012 @ Brunel University London

Daniel Ploeger d_ploeger at hotmail.com
Die Feb 28 23:19:42 CET 2012

Liebe Leute,

Ich co-organisiere das hier unten genannte Symposium / Performance Event an Brunel University in London.
Weil England jetzt nicht mehr weit weg ist, dachte ich dass es vielleicht interessant wäre für einige von Euch.

Liebe Grüsse,



 Konnecting Gestures
 International Conference-Workshop on Performance and Sound Technologies

 Friday March 30 - Sunday, April 1, 2012 
 A two-day conference and performance laboratory
 held at the Antonin Artaud Performance Centre
 Brunel University, London (UK)

 The second edition of the ARTAUD FORUM brings together an invited group
 of international theatre, performance and sound artists, musicians, 
digital artists, art theorists and researchers engaged in creative 
practices that reflect on major innovative performance traditions of the
 past century and their impact on current performance knowledge and 
physical (or physical-digital) techniques.
 The focus of this 
year's workshop is expressive inter/relations - "konnecting gestures" - 
gestures as practice that is at once aesthetic, corporeal, technical and
 The lab will offer a series of parallel modules 
investigating the relations between choreography and software, sound and
 motion-design, movement capture and 3d digital/virtual environment 
navigation, light and projection architecture, dirty electronics, 
hacking and interactive programming.
 The symposium and workshop
 are composed of dialogue and performance practice, intermixed with film
 screenings and a hands-on electronics and wearable design workshop as 
well as live coding sessions in the digital performance studio.
 Open enrolment: Full Workshop Pass: full: £60/concession £30;
 Day Pass: £25/concession £15
 Tickets for evening concerts: £5
 Concessions must provide Student ID at registration
 Featured participants include:

 Arthur Elsenaar, Thomas Köner, Claudia Robles, John Collingswood, Julie
 Wilson-Bokowiec, Mark Bokowiec, Jennifer Walshe, Camilla Barratt-Due, 
Kate Geneviève, Jörg Brinkmann, Simon Katan, Frieder Weiss, Ian Winters,
 Pieter Verstraete, David Roesner, Andrew Murphy, and BADco (Ivana 
Ivkovic &  Zrinka Uzbinec).
 Coordinated by Johannes Birringer, Carl Faia and Daniel Ploeger

 The "Workshop Words," as the late Kazuo Ohno called reflections on his 
practice, are published online on our ArtaudForum website and links to 
performance films/documents will be made.

Saturday night performance event (31 March):
 === Cabinets of Post-Digital Curiosities ===

 performance installations by Camilla Baratt-Due (N/D), Jörg Brinkmann 
(D), Arthur Elsenaar (NL), Kate Genevieve & Genevieve Maxwell (UK), 
Rebecca Horrox (UK) and Dani Ploeger (NL/D/UK) 
 Over a period 
of roughly two-and-a-half decades, from the 1980’s until the early 
2000’s, digital consumer technologies rapidly progressed from novelty 
items for a niche audience to virtually indispensable constituents of 
the everyday lives of the majority of people in the Western world. As a 
result of the experience of these technologies as integral parts of the 
ordinariness of everyday life, the euphoric fantasies about the 
world-changing potential of technologized bodies and the transformative 
power of information technology, which until recently dominated large 
parts of popular scientific discourse and arts production, are 
increasingly losing their appeal and credibility. 
 In this context, 
and inspired by his increasing boredom with omnipresent computer 
screens, media theorist Russell Davies suggests that we might be 
approaching a post-digital era, ‘where most people have powerful and 
easy to use devices full of applications and services which work well 
and satisfyingly, where you can get all the media you want on all the 
screens you like’ (Davies 2011). The performance installations that form
 part of this little show might be seen as a response to early symptoms 
of this condition: The application of technology in these works is no 
longer motivated by a desire to showcase the extraordinary features of 
hi-tech applications, nor are they concerned with speculations about 
digitally enhanced super-bodies. Instead, they explore technologies’ 
(both digital and analogue) role in the gestures and interactions of 
human bodies in the everyday life of the present.
 Camilla Baratt-Due
 Body: Speak (2011-2012)
 Body parts speak about their memories through loudspeakers, which are attached to, or inserted into, my body.
 Jörg Brinkmann
 I’m Hearing My Ears All the Time (2010)
 A sound-responsive robotic ear movement device, inspired by a viral Youtube film.
 Arthur Elsenaar
 Face Shift (2005)

 Computer controlled small electrical impulses are employed to trigger 
my facial muscles into rendering involuntary expressions. In this 
algorithmic facial choreography piece, both sides of the face are 
controlled by identical algorithms, but one is slightly faster, over 
time creating visual shifting patterns from symmetry to asymmetry (and 
back again). Over the duration of the facial dance piece, the execution 
of the algorithms is accelerated.
 Kate Genevieve & Genevieve Maxwell
 Falling Through Myself (work in progress) (2012)

 Utilising staged technologies of Phantasmagoria and Illusion, the 
audience member must walk a plank wearing body responsive vests. This 
mini-performance combines the technologies of neuro scientific 
experiments with research into embodied rituals throughout different 
world cultures that take the participant ‘out’ of their body, and invite
 them to undertake an inter-corporeal, or extra-corporeal journey before
 returning to their body.
 Rebecca Horrox
 For Hadrian (2012)

 An exploration of non-digital technologies, including various grabbers 
and arm extenders, juxtaposed with images and a soundtrack sung by my 
grandmother, Hadrian, whose grabbers I am using in this performance.
 Dani Ploeger

 An Anuform® anal electrode connected to a modified Peritone EMG sensor 
registers the activity of my sphincter muscle. Anuform® and Peritone are
 mass-produced readily available medical devices for the treatment of 
incontinence problems. I fake the orgasm of an anonymous subject who 
took part in an experiment into the nature of the male orgasm in 1980. I
 attempt to replicate the subject’s sphincter muscle contraction 
pattern, which was registered during masturbation and orgasm in the 
experiment.  I repeatedly perform the same pattern. The data is 
projected onto a screen in the form of graphs and is used for digital 
sound synthesis.
Dani Ploeger