[CFP] TaPRA 2013 | Embodied Engagement: Participatory And Immersive Performance

Performance and the Body Working Group // Performance and New Technologies Working Group

University of Glasgow and The Royal Conservatoire of Scotland (RCS)
4th- 6th September 2013

 

The Performance and the Body and Performance and New Technologies Working Groups are joining forces this year to explore different bodily, aesthetic, political, ethical and economical aspects of participation in the current performance milieu. In a performance context where hierarchies of participation are being reconfigured and traditional authorial claims are under stress, new articulations of spectator/performer reciprocity can no longer be disregarded. Focusing on audience experience, we intend to examine possibilities of participant (spectators and performers) agency and empowerment within different modes of performance transaction.
According to Adrian Heathfield, contemporary performance has shifted aesthetically from ‘the optic to the haptic, from the distant to the immersive, from the static relation to the interactive’. The dialogue between the two Working Groups aims to explore the productive tensions between bodies and technologies in the development of this shift. The contested term ‘immersive’ is a rich, under-theorized concept which pulls in and works across distinct constituencies of performance. It calls upon diverse technologies to create its performance environments and promote active bodily engagement. Immersion both as an artistic intention and a perceived process is identified with concepts of viscerality, authenticity and immediacy. Yet the question remains as to how effective immersion can be in engaging audiences mentally, emotionally and corporeally.
Proposals do not need to address both issues of bodies and technologies, but might consider the following issues, though these are not exclusive:

* The bodily risk of participation
* Immersive practices as a democratisation of performance
* Spectator’s authority, authorship and agency in immersive performances
* Discomfort and fear: the ethics of enforced participation
* Sensory inscribed experiences: synaesthetic experiments of flesh
* Soundscapes: the corporeality of immersion
* Ethics of immersion in locative games, mobile interfaces, social media platforms
* Mapping and constructing hybrid, artificial and mixed-media spaces
* Temporalities of immersion
* Embodiment/Disembodiment: game space and everyday life
* Cognitive engagement: willing suspension of disbelief in performance
* ‘Passive’ and ‘active’ audiences
* Political contexts of participatory work
* Empathy and audience engagement
* Intentionality and sensual experience

Proposals
Please send a 300 word proposal, a short biographical statement, and an outline of technical requirements by 29th April 2013 to the working groups convenors.
Proposals, if accepted, may be directed into a range of presentational formats: traditional panels (with 20 minute papers); pre-circulated papers that form the basis for a short presentation and discussion; or, where appropriate, performance-based panels. While we welcome statements of preference, final decisions will be made by the working groups convenors and will be indicated at the time of acceptance.
We welcome alternative, practice-as-research or performative proposals that engage rigorously with the theme, but these must be achievable with limited resources and within a 20-30 minute time period.The convenors of the Performance and the Body Working Group are James Frieze and Lib Taylor. The convenors of the New Technologies Working Group are Martin Blain, Maria Chatzichristodoulou, and Eirini Nedelkopoulou.

 

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Amplified Movements

Much of my recent research has been about musical works that sample the sounds of the body.  While my study has focused largely on electroacoustic music, I’ve also gathered examples from pop music, live and performance art, installation, and dance. Earlier today I came across another such dance piece: Onde de Choc, by Ginette Laurin and O Vertigo. The work, created in 2010, uses a long wooden box as a resonator for the sounds of the dancers’ movements. Microphones are used to capture these sounds for further electronic processing. The work also draws on internal bodily sound, especially the heartbeat.

You can read more about Onde de Choc in an interview with Ginette Laurin (in The Chronicle Herald). A short preview of the piece is available on YouTube.

Similar works include Garth Paine’s Escape Velocity (which uses dancers’ movements to trigger electronic and sampled bodily sounds) and Brandon LaBelle’s Notes Toward a Sketch of a Sonic Body (which I wrote about back in September).

[Event] Gadget & App-Culture: sound and the machinery of the senses

‘How does mobile audio technology transform our perceptual techniques?

How does an anthropology of sound and the senses offer new insights into our everyday life with sounds?

The DFG Network for Sound in Media Culture has invited two of the most important international researchers in the field of sound studies, Jonathan Sterne and Veit Erlmann, to an afternoon of explorations: to explore the anthropology and cultural history of audile techniques – as examples of sensory technologies in populare culture. An audio performance by AGF a.k.a Antye Greie is at the center of this symposion. Michael Bull and Peter Wicke will respond to the two main lectures.

An introduction into sound studies as a – rapidly expanding and developing – transdisciplinary and international field of research.’

 

Friday October 28, 2011
4pm – 8pm

Haus der Kulturen der Welt Berlin
John-Foster Dulles-Allee 10
10557 Berlin

Theatersaal

Further information is available on their website.

[EVENT] Music, Sensory Ecologies, and the Body

Harvard University is hosting what sounds like a hugely exciting seminar series exploring issues of liveness, mediation, sensory approaches to music studies, and new media (pretty much all the things I’ve been writing about in my PhD thesis, hence my rabid enthusiasm). Upcoming talks will be given by Ingrid Monson and Jonathan Sterne. Previous talks covered topics as diverse as modernity in second empire Paris, volume and the listening experience, and Art Tatum’s postmortem performance (a paper given by Andrew Raffo Dewar , who spoke engagingly on the same topic at this year’s British Forum for Ethnomusicology conference during the session on the body and mediation chaired by yours truly).

More information about the seminar series is availble here.