considering seeing, considering doing, or feeling...
considering dancing again...
Monday, 5 November 2012
Thursday, 17 May 2012
intuition
awareness - fluidity - action
This is an approach to activate intuition modeled on release dance technique.
This is an approach to activate intuition modeled on release dance technique.
life versus liveness
Looking at the ways in which the critical discourse has shifted from a
focus on “liveness” to one on “life.” What, we ask, can theatre and
performance studies scholars learn from a critical inquiry into
biopolitics in order to examine the ways in which “life” seems to have
become the main currency of contemporary politics?
Performance and (Bio)politics: From Liveness to Life
focus on “liveness” to one on “life.” What, we ask, can theatre and
performance studies scholars learn from a critical inquiry into
biopolitics in order to examine the ways in which “life” seems to have
become the main currency of contemporary politics?
Performance and (Bio)politics: From Liveness to Life
Friday, 11 May 2012
Monday, 30 April 2012
stealing Acconci and Gray
‘I am the agent of an action and at the same time, the receiver of the action, “I” initiate an action that ends up in “me”. (Acconci, V, 1979)
Wednesday, 18 April 2012
How performance thinks - symposium April 13-14
Three topics that dominated the discourse: Justice / Careness / Enigma
How Performance Thinks
An international, two-day conference co-organized by
the PSi Performance and Philosophy working group
and Kingston University’s practice.research.unit
April 13th-14th 2012
The London Studio Centre, London
Online registration: http://howperformancethinks.eventbrite.com/
£42 waged / £22 unwaged for the 2 days
[NB. No one day rate is available]
With plenary speakers:
Vida Midgelow
Joe Kelleher
and
Freddie Rokem
A work-in-progress showing of a new performance by
Every House Has a Door
(Lin Hixson, Matthew Goulish, Bryan Saner, Stephen Fiehn, and Tim Kinsella)
And presentations by:
Stephen Bottoms / Jennifer Duffy / Thomas Richards / Simon Jones / Tender Buttons Theatre Company / Joana Craveiro / Broderick Chow / Esa Kirkkopelto / Theron Schmidt / Julie Solovyeva / Tero Nauha / Stefanie Sachsenmaier / Kelina Gotman / Josefine Wikstrom / Augusto Corrieri / Moritz Gansen and Elisabeth Schilling / Charlie Saffrey / Katja Hillevara / Jessica Walker / Joa Hug / Bernadette Anzengruber / Stefanie Husel / Elena Cologni / Rosanna Irvine / Shaun May / Peter Boenisch / Rebecca Hillman / Joao Florencio / Nik Wakefield / Gabriella Calchi-Novati / Alice Lagaay / Franziska Schroeder / Shimon Levy / Simon Bowes / Helmar Schramm / Mark Greenwood / Michelle Graves / Sophia New and Siegmar Zacharias / David Levin / Rebecca Groves / Noyale Colin
Notes to come....
Friday, 23 March 2012
CALL FOR CONTRIBUTIONS - On Collaboration SYMPOSIUM 4 May 2012, Middlesex University, Trent Park
The Performing Arts Department at Middlesex University will be hosting a
one-day symposium on collaboration in performance practice, with a
specific focus on the notions of 'memory', 'place' and 'time'
in performance-making. The event will take place on 4 May 2012 at Trent
Park Campus, North London, and will mark a farewell to the location
before the department will relocate to Hendon Campus in summer 2012.
The call for contributions is open to practitioners, academics and PhD
students wishing to present research papers, discussion panels or short
demonstrations of instances of relevant performance practice in the form
of lecture demonstrations and practice demonstrations.
The symposium specifically focuses on collaborative practice in
performance-making and the issues of 'memory', 'place' and
'time'. Questions of interest include, but are not limited to the
following:
• What forms or modes of collaboration can be identified in
performance-making? In what ways is 'the collaborative' at stake in
solo performance-making? • How do compositional techniques
operate in solo and collaborative modes of performance? • How can
collaboration be theorised?
• How is personal or collective memory negotiated in
collaborative contexts? • In what ways can technology impact on
collaboration?
• How are 'place' and 'time' integral to
performance-making processes? • How do performers draw upon and
conceive of memory in performance-making? • How is collaborative
practice taught in HE? What models of practice to we offer and what are
the continued values we identify in teaching collaborative
performance-making?
In order to apply to contribute to the symposium, please send a 250-300
word abstract and a short outline of the nature of your proposed
contribution to s.sachsenmaier@mdx.ac.uk and noyalecolin@yahoo.co.uk.
Please also attach a short biography. Deadline 21 March 2012. All
contributors will be notified by end of March. Location details of Trent
Park campus: http://www.mdx.ac.uk/aboutus/Location/trent-park/index.aspx
Further details of the symposium will be announced soon.
Best wishes,
one-day symposium on collaboration in performance practice, with a
specific focus on the notions of 'memory', 'place' and 'time'
in performance-making. The event will take place on 4 May 2012 at Trent
Park Campus, North London, and will mark a farewell to the location
before the department will relocate to Hendon Campus in summer 2012.
The call for contributions is open to practitioners, academics and PhD
students wishing to present research papers, discussion panels or short
demonstrations of instances of relevant performance practice in the form
of lecture demonstrations and practice demonstrations.
The symposium specifically focuses on collaborative practice in
performance-making and the issues of 'memory', 'place' and
'time'. Questions of interest include, but are not limited to the
following:
• What forms or modes of collaboration can be identified in
performance-making? In what ways is 'the collaborative' at stake in
solo performance-making? • How do compositional techniques
operate in solo and collaborative modes of performance? • How can
collaboration be theorised?
• How is personal or collective memory negotiated in
collaborative contexts? • In what ways can technology impact on
collaboration?
• How are 'place' and 'time' integral to
performance-making processes? • How do performers draw upon and
conceive of memory in performance-making? • How is collaborative
practice taught in HE? What models of practice to we offer and what are
the continued values we identify in teaching collaborative
performance-making?
In order to apply to contribute to the symposium, please send a 250-300
word abstract and a short outline of the nature of your proposed
contribution to s.sachsenmaier@mdx.ac.uk and noyalecolin@yahoo.co.uk.
Please also attach a short biography. Deadline 21 March 2012. All
contributors will be notified by end of March. Location details of Trent
Park campus: http://www.mdx.ac.uk/aboutus/Location/trent-park/index.aspx
Further details of the symposium will be announced soon.
Best wishes,
Tuesday, 6 March 2012
Stolen from Eszter Salamon and Bojana Cvejic interview - 6M1L project
on composition techniques-
''Performers had to compose with the memory of precise sensations - composing means writing a score while moving, this was a technique, demanding intensive concentration on the present. The performers were composing with their sensations and imagination and they got lost each of them had a strategy of how to go back to it.''
''Thinking arises from the impossibility of thought. Thought arises from the impossibility of thinking.''
on composition techniques-
''Performers had to compose with the memory of precise sensations - composing means writing a score while moving, this was a technique, demanding intensive concentration on the present. The performers were composing with their sensations and imagination and they got lost each of them had a strategy of how to go back to it.''
''Thinking arises from the impossibility of thought. Thought arises from the impossibility of thinking.''
Process-relational theory Adrian J Ivakhiv paper
This post is a sign to my attempt at understanding the idea of non human or post human turn which are so far away from my reality.
Is virtual as present as actual?
Process-Relational Theory and the Eco-Ontological Turn:
Clearing the Ground Between Whitehead, Deleuze, and Harman
Calls for a nonhuman or posthuman “turn” can be taken as echoing a call for an “ecological turn” that environmental thinkers have made for decades. Precursors to an “ecological ontology” and/or an “ecological epistemology” can be found in the work of Bateson, Maturana and Varela, Gibson, Ingold, and others. More recently, philosophers influenced by Deleuze and Guattari (such as Stengers, Delanda, Protevi, and Berressem) have taken up these calls for an eco- or geo-philosophy.
This paper argues that in this task of developing an ecophilosophy, there is value in recognizing a “process-relational” tradition as running in parallel to subtantialist, materialist, idealist, and dualist philosophies over the centuries. Such a tradition, while loosely construed and somewhat artificial, unites philosophers as disparate as Heraclitus, Chuang Tzu, and Nagarjuna with Peirce, Whitehead, Hartshorne, Simondon, Deleuze, and Stengers.
The bulk of the paper responds to Graham Harman’s recent critique of process-relational approaches. Harman argues that process-relational thinkers have already had their day and have failed to account for the stabilities and inner depths of objects that make up a (posthuman) world.
Adrian J Ivakhiv
Is virtual as present as actual?
Process-Relational Theory and the Eco-Ontological Turn:
Clearing the Ground Between Whitehead, Deleuze, and Harman
Calls for a nonhuman or posthuman “turn” can be taken as echoing a call for an “ecological turn” that environmental thinkers have made for decades. Precursors to an “ecological ontology” and/or an “ecological epistemology” can be found in the work of Bateson, Maturana and Varela, Gibson, Ingold, and others. More recently, philosophers influenced by Deleuze and Guattari (such as Stengers, Delanda, Protevi, and Berressem) have taken up these calls for an eco- or geo-philosophy.
This paper argues that in this task of developing an ecophilosophy, there is value in recognizing a “process-relational” tradition as running in parallel to subtantialist, materialist, idealist, and dualist philosophies over the centuries. Such a tradition, while loosely construed and somewhat artificial, unites philosophers as disparate as Heraclitus, Chuang Tzu, and Nagarjuna with Peirce, Whitehead, Hartshorne, Simondon, Deleuze, and Stengers.
The bulk of the paper responds to Graham Harman’s recent critique of process-relational approaches. Harman argues that process-relational thinkers have already had their day and have failed to account for the stabilities and inner depths of objects that make up a (posthuman) world.
Adrian J Ivakhiv
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