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
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
• 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
• 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
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 email@example.com and firstname.lastname@example.org.
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.
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.''
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
‘Tout fait’: Bergson, time, and choreographic being-made
A mixed mode presentation, incorporating performative elements, will explore the relationship between Bergsonian thought and the readymade – or tout fait – with a focus on the impact of technology on contemporary perceptions of time. The implications of such impacts for collaborative choreographic practices will be considered.
Presented at the College of Arts Association Centenary Annual Conference
This collaborative paper aims to address questions regarding the notion of plurality as experienced in the performer body. Through practice and writing we attempt to account for such a body, and address wider questions regarding the body and identity in performance.
As professional performance-makers working independently through practice-as-research (in a doctoral context at Middlesex University) we have undertaken an on-going collaboration based on our mutual concern for the process of embodying our research. This article aims to frame certain tendencies, which occur when working with others in the studio. The set of conditions for this on-going project has provided a good terrain to break down some of the mechanisms of performance making, and therefore allowed us to illuminate some aspects of contemporary performance making.
Drawing on philosophical approach to performance making including William James‘ Radical Empiricism, we discuss in detail our shared practice, and attempt to find strategies that will allow us to examine the shifting tension between our sense of the monadic ‘I’ and the idea of the distributed self that Brian Rotman describes in Becoming Beside Ourselves: The Alphabet, Ghosts, and Distributed Human Being (2008).
At the edge of perception, rhythm marks time. It cuts, flows or disrupts – and creates relationship. Using improvisational structures, two dance artists and a musician create a web of relations with each other, with spectators and with time and space.