[rohrpost] ARTAUD FORUM 2 30/3 - 1/4/2012 @ Brunel University London
d_ploeger at hotmail.com
Die Feb 28 23:19:42 CET 2012
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.
ARTAUD FORUM 2
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.
Body: Speak (2011-2012)
Body parts speak about their memories through loudspeakers, which are attached to, or inserted into, my body.
I’m Hearing My Ears All the Time (2010)
A sound-responsive robotic ear movement device, inspired by a viral Youtube film.
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.
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.
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