quinta-feira, janeiro 28, 2016
sábado, janeiro 23, 2016
“what does it mean being human in the future?” “how to be seen?” “the in between as a potential for connection…” the constant transformation caused by a state of permanent transition was present in Eli Steffen’s questions for his curation of Gray Spaces @ the Wild Project, as part of the Contemporary Performance Network Festival, Special Effects.
While addressing some of these questions in our work, this version of LAND PROJECT / Placelessness (first developed in residence in October, 2015) took on the following premise: negotiating movement within the in-betweeness of the digital space, as a response to one of the themes of Gray Spaces - the uncharted topographies of performance.
Where are you when you’re not here?! Where is here…?
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sexta-feira, janeiro 22, 2016
Going back through Nick Briz’s essay, I am trying to come up with a better understanding of digital literacy so as to better comprehend Glitch Art. The most explicit definition of digital literacy from the essay is that it is a “prerequisite for agency in the digital age” and as such, it transcends the parameters that limit individual agency in digital media. By asking viewers to practice glitch art in everyday life, Nick Briz is imploring viewers to reflect on what technology (and by extension, social media) isn’t designed to do and to glitch it to reclaim agency in one’s digital space. I personally interpret glitch art as an act of resistance in response to the idea that the conventional use of technology is the only functional use of technology.
Yes. I think that’s a good, accurate, interpretation of Briz’ message.
I wonder though, as he asks us to do a glitch at the beginning of the day, with our morning coffee….isn’t that kind of ridiculous in terms of being a political gesture?
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segunda-feira, janeiro 18, 2016
Love opens onto a very great risk, but this risk is the measure of the incredible value we place on another person. We make him or her this valuable because we need to do so, because we receive something in return. Love tells us that things are never quite right with us when we’re alone. We’re not made to be alone, just as we’re also not made to be in large groups. This doesn’t mean that everything is automatically fine when we’re with another person. But when we are with him or her, we know that “something’s going on,” as they say. We are made to be in relation with another person, one with whom “something’s going on”-something that’s never definable but that’s a real relation, in the strong sense of the word. I’m not saying that we are all, or always, made to spend our entire lives with one and the same person.
. It’s true, though, that love does say this “love ever after.” We do promise to love each other forever, but then sometimes it’s all over three days later.
But that’s part of the risk of this absolute commitment.
☛ God, Justice, Love, Beauty by Jean-Luc Nancy, tr. by Pascale-Anne Brault and Michael Naas, Fordham University Press,  2001, p. 76
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sábado, janeiro 09, 2016
Performance Beyond Genre | DEFINITION
To attempt to define performance is a difficult enterprise. Without any doubt, the very nature of performance defies definition. It is the artists that have individually established the precepts used to define the genre; it is the artists that continue to reinvent it within the context of each new performance. From the rituals of Hermann Nitzsch to the installations of Christo, from the concerts of Laurie Anderson to those of Meredith Monk, from the experiences of Chris Burden to those of Jochen Gerz, from the interventions of Terry Fox to those of Rachel Rosenthal, the distance is so great that any attempt to establish bridges or to identify constants would be utterly pretentious. However, over and above such diversity, a certain number of processes can be identified, methods and devices which govern the deployment of the various materials that performance uses and which give it its own particular dynamic properties. These processes, which we shall outline here, have been part of performance from its very inception ; it is the theoretical description of them that has arrived late. Thus, they are not new to actual practice.
Although the art of performance is alive and flourishing today, its tendency towards innovation has, on the other hand, diminished considerably. Nevertheless it remains that for those who are interested in the theatre, the art of performance is a very privileged vantage point from which to view the relationship between the performer and the theatrical environment, between the performer and technology.
Performance breaks the boundaries between genres and introduces a continuum between zones formerly judged to be irrevocably exclusive : art and life, greater and lesser art forms, between the sophisticated and more common genres. In the same way, it no longer makes a clear distinction between music and noise, poetry and prose, reality and image, movement and dance. Refusing both rupture and confinement, performance takes for granted that which the twentieth century affirms in its totality: that progression from one level to another within the same discipline is continuous, levels being analogically rather than digitally related. For example, performance affirms that walking and dancing belong to the same continuum of movement, there being only an imperceptible distinction between them (e.g., the work of Pina Bausch), that the sound of the voice and the hammering of metal share fundamental musical components (e.g., the work of Meredith Monk). Thus, the very concept of the work of art is brought into question. By its transient nature, its structure, by the means that it deploys and the objectives it aims to attain, performance refutes the very notions of “masterpiece” and “work of art” in the traditional sense, substituting for them the concept of a transitory and fleeting work. Although these concepts are not new, it seems useful to recall them here, for they constitute the foundation upon which performance was built at its inception. Nevertheless, their innovative value has dimmed due to the fact that they have today spread to all the arts, proving that certain initially radical reforms have now become an accepted part of cultural mores.
in - PERFORMANCE AND MEDIA “The Use of Image” by Josette Ferai
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sexta-feira, janeiro 08, 2016
…35 years back in time shows us Sam Klemke, filming his life every year of his life since 1977. The same year Elvis died and that the ‘Voyager’ craft was launched into deep space… While Sam continued to film and document his meaningless and ordinary life as an on the road cartoonist, the golden record - a self portrait of mankind, containing our best features, accomplishments and multi-cultural forms of expression - still travels across space (and soon will reach interstellar space where we will no longer have contact with it). It is about the need of understanding ourselves through something greater than ourselves, giving meaning to the meaninglessness… Sam never thought that his archive would get the attention it got. The golden record is, in fact, a misrepresentation of what we are. But both represent hope and the need to look back in time, to those time capsules, and realize that we are still foreigners to each other. To ourselves. Carl Sagan asked NASA to turn the Voyager camera backwards so we could have a picture of what we are… A pixel, a bright dot in the middle of nothingness. The idea of an extraterrestrial audience was at the time an excuse to compile information about humanity at a certain moment in time. In the end, it’s about trying not to feel alone, it’s about indulging our obstinate nature of perceiving ourselves through representation , about sending out a fragmented version of the whole and expecting that it is perceived as such.
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quarta-feira, janeiro 06, 2016
- Towards a New Digital Landscape — Magazine — Walker Art Center (via notational)
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