THEORETICAL WRITINGS

Interaktionslabor / Performance Academy

2011

 

 

no.1 Das Ohr hört nie allein – musikalisches Erlebnis jenseits des Hörbaren (Marko Ciciliani)

no. 2 La Coreografía Digital Interactiva (Ludmila Pimentel)

no. 3 The Interactive Digital Choreography: Innovative Women in the Dance History (Ludmila Pimentel)

no. 4 Re-scripting the Stage: Performance and Interactivity (Johannes Birringer)

no. 5

no. 6

Press Release for Interaktionslabor and Performance Academy 2011

download here

 

Research Materials for the 2011 labortory:

Giorgio Agamben, “Notes on Gesture, in Infancy and History: The Destruction of Experience, London: Verso, 1993 pp. 135-40.

Brian Dillon, "Inventory / Talk to the Hand," Cabinet (Summer 2007)

Jason Michael Adams, "Giorgio Agamben, Infancy and History: On the Destruction of Experience", rhizome 22 (2011)

Video on Agamben's gesture

Paolo Virno, A Grammar of the Multitude: For an Analysis of Contemporary Forms of Life

Paolo Virno, Cuando el verbo se hace carne: lenguaje y naturaleza humana. Madrid 2005.

Paolo Virno, "Virtuosity and Revolution," 2003

Material about Virno

Boyan Manchev, „Der Widerstand des Tanzes. Gegen die Verwandlung des Körpers, der Wahrnehmung und der Gefühle zu Waren in einem perversen Kapitalismus“, corpus. Magazin für Tanz, Choreografie, Performance. www.corpusweb.net, 11.8.2010

Boyan Manchev, La résistance de la danse, Mouvement, numéro 47

Stefan Kopp: Synthese von Sprache und Gestik für multimodale Agenten. Berlin 2003 (Dissertation zur künstlichen Intelligenz; 265)

Marc Erich Latoschik, : Multimodale Interaktion in virtueller Realität am Beispiel der virtuellen Konstruktion. Berlin 2001 (Dissertationen zur Künstlichen Intelligenz ; 251).

Über den Marxschen Begriff der Arbeit

Über neue Arbeitsformen

Zum Thema ""Tätigkeit ohne Werk"

Paolo Virno, Exodus, Wien/Berlin: Verlag Turia & Kant, 2010

Patrick Crogan, “THE NINTENDO Wii, VIRTUALISATION AND GESTURAL ANALOGICS,"| Culture Machine , vol. 11 (2010)

Karen Sandler at OSCON2011 on software in implants.

 

New book publication

Tanz und WahnSinn / Dance and ChoreoMania


ed. Johannes Birringer & Josephine Fenger


Yearbook 21 of GTF, German Society for Dance Research.
August 2011 / Leipzig: Henschel Verlag, ISBN-10: 3894877103
In German and English. € 19,90
Throughout the history of civilization, dance and madness have been intricately linked to each other – from the Dionysian Mysteries of antiquity
to contemporary flash mobs and techno raves. Individual and collective states of exception have found expression and reflection as well as
cathartic healing through dancing. Tanz und WahnSinn/Dance and ChoreoMania presents a provocative collection of interdisciplinary studies
on dance and madness combining historical, cultural, schizoanalytic, medical, philosophical, therapeutic and artistic perspectives
that explore the phenomenon.

 

Im August erschien im Leipziger Henschel Verlag der Sonderband Tanz und WahnSinn/Dance and Choreomania, den Johannes Birringer zusammen mit der Berliner Tanzforscherin Josephine Fenger herausgab. Das Buch untersucht individuelle oder kollektive Ausnahmezustände, die im Tanz sowohl Ausdruck und Reflexion als auch Heilung finden, und thematisiert kultur- und medizinhistorische, philosophische, therapeutische und künstlerische Aspekte der Verbindung von Tanz und Wahnsinn (www.choreomania.org). Die Publikation stellt ein kleines Jubiläum für Birringer dar; es ist die zehnte Buchveröffentlichung des im Saarland geborenen und in London an der Brunel Universität lehrenden Autors.

Die Website zum Buch: www.choreomania.org

Please do visit our website
http://www.choreomania.org


Publisher/Verlags-Bestellung of "Tanz und WahnSinn"

 

Links to relevant sites

exhibitions:

(1)

Suprasensorial: Experiments in Light, Color, and Space, MOCA Los Angeles, December 12, 2010-February 27, 2011

(2)

Carlos Cruz-Diez: Color in Space and Time, Museum of Fine Arts Houston, Feb 6, 2011 - Jul 4, 2011

(3)

 

 

sound projects

Ray Lee: Ethometric Museum, sound installation, featured at BEAM Festival, Brunel University, Artaud Performance Centre

For more information on Lee's work, see http://www.invisible-forces.com/

 

FEEDBACK ENSEMBLE or Ballet a LARSEN (Benoit Maubrey / Die Audio Gruppe)

Definition of Feedback: Audio feedback (also known as the Larsen effect after the Danish scientist, Søren Larsen, who first discovered its principles) is a special kind of feedback which occurs when a sound loop exists between an audio input (for example, a microphone or guitar pickup) and an audio output (for example, a loudspeaker). In this example, a signal received by the microphone is amplified and passed out of the loudspeaker. The sound from the loudspeaker can then be received by the microphone again, amplified further, and then passed out through the loudspeaker again. This is a good example of positive feedback. The frequency of the resulting sound is determined by resonant frequencies in the microphone, amplifier, and loudspeaker, the acoustics of the room, the directional pick-up and emission patterns of the microphone and loudspeaker, and the distance between them.
In the past, aside from my mobile multi-acoustic sound sculptures for outdoor spaces (AUDIO HERD, AUDIO BALLERINAS, VIDEO PEACOCKS and others) I have created specific "phonic bodies“ that work individually within architectural spaces and/or stages.


My project for DIVA (Danish Arts Council Grant) residency and the SPOR festival in Aarhus is to create a "feedback ensemble“. The performers are equipped with loudspeakers (strapped to the backs like backpacks), guitar-effect systems (reverb/delay effects in order to modulate the feedback sound), and microphones. Due to the inherent nature of the phenomenon of feedback they alter the sound via their movement within the space around them. Large spaces are ideal for these concerts.
Official concert is on May 5th at 19:30 at Institut for (X), Skovgårdsgade 3. 8000 Århus C.

 

Liquid Penguin Ensemble

V I E R P A R A D I E S E
Performance und Klanginstallation
. . . . . . . . . . . . . . . . . . . . . . .
mit
Katharina Bihler (Stimme)
Ingo Fromm (Stimme)
Michael Hupperts (Posaune)
Stefan Scheib (Kontrabass)

Eröffnung der Saarbrücker Sommermusik / Opening concert of Saarbrücken Summer Music Festival

Samstag, 23. Juli 2011 20 Uhr
in der Schinkelkirche Bischmisheim
"Herr Cheval, ein Landbriefträger ohne handwerkliche Ausbildung, nutzte über Jahrzehnte hinweg seine Feierabende, um mit großer Sorgfalt einen steinernen, muschel- und kieselverzierten "palais idéal" zu erbauen. Er verwirklichte damit seinen Lebenstraum, in welchem er auch einmal begraben sein wollte."
Idealvorstellungen - Paradiesvorstellungen - von Orten und Zuständen sowie die praktischen und absurden Wege, die zu ihrer Herstellung in der wirklichen Welt führen sollen: davon erzählt diese Performance und spiegelt auch die klanglichen Beschaffenheiten dieser Orte und Zustände in einer akustischen (live-)Installation, die die Schinkelkirche in einen ungewöhnlichen, entdeckungsreichen Raum verwandelt.
www.liquidpenguin.de
LIQUID PENGUIN ENSEMBLE
Katharina Bihler / Stefan Scheib
www.liquidpenguin.de

 

videos

Essay: Georgio Agamben’s ‘Notes on Gesture

Videos von Florian Schneider and others (collected on the website for Transcultural Media Studies Projects)

Goodiepal: "War for Radical Computer Music"

The Can, on TV in 1971: experimental music (Krautrock)

Benoit Maubrey and Audiogruppe (look for "sound projects" further above))

 

announcements:

Liebe Mitglieder des ASPM,
wir freuen uns Ihnen mitteilen zu können, dass die zweite Ausgabe von unserem peer reviewed Online-Journal

"ACT" mit dem Titel "Musik spielen - Computerspiele und Musik" nun herausgekommen ist. Unter http://www.act.uni-bayreuth.de können Sie diese einsehen.
Mit Act - Zeitschrift für Musik& Performance ruft das Forschungsinstitut für Musiktheater in Thurnau (fimt) ein internationales und interdisziplinäres Publikationsorgan ins Leben, das eine Plattform für Aufsätze, Rezensionen und Kolumnen an den Schnittstellen der Disziplinen Musikwissenschaft, Theaterwissenschaft, Tanzwissenschaft und Medienwissenschaft bieten soll. Act legt besonderen Wert auf Methodenvielfalt und die Förderung des wissenschaftlichen Nachwuchses.
Mit besten Grüßen,
Knut Holtsträter und Melanie Fritsch
Dr. Knut Holtsträter
Forschungsinstitut für Musiktheater
Schloss Thurnau

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CHOREOLAB III


(E)MOTION FREQUENCY deceleration
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In its second module the International ChoreoLab Austria discussed the theory and practice of the choreo-sonar discourse. In 2011, from August 27th to September 4th (Krems, Austria), it will again deal with a current topic in the context of science and the performative arts: the desire for deceleration.
Stress, breathlessness, exhaustion – these are the symptoms of our modern life-style pursued by most people around us. Our life is determined by the ticking of the clock or the slavery imposed by electronic 'tags' most beloved by those who still consider stress to be a kind of status symbol. One thing is clear: those who do not surrender to the increasing speed of everyday life will very likely end up with the short end of the stick. It almost seems as if the unstoppable disengagement of life from natural and traditional rhythms simply can not be stopped.
Among other things, lectures, discussions and bodywork will raise the issue of how substantial changes in dealing with time can be achieved in the sense of deceleration, and what the roles of the performative arts in addition to science will be.

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from the program:
Sunday, 28 August 2011
10.00 am Introduction Sebastian Prantl
10.30 am (E)MOTION SPACE I
Henrietta Horn - Dancer/Choreographer, former Co - Director of Folkwang
Studios, Essen/Germany
02.00 pm (E)MOTION SPACE II Henrietta Horn
07.00 pm ROUND TABLE I Featured Guest Participants Presentation/Discussion
// Monday, 29 August 2011
09.00 am MOTION FREQUENCY Sebastian Prantl
10.30 am LIGHT RHYTHM Renate Hammer
02.00 pm SPACE FREQUENCY Sebastian Prantl
07.00 pm Sundowner - touching frequencies
// Tuesday, 30 August 2011
09.30 am NAMING THE MOTION I Amos Hetz – Dancer/Choreographer (EWMN),
Body Thinker, former Head of Movement Department at the Jerusalem
Academy of Music and Dance/Israel
02.00 pm NAMING THE MOTION II Amos Hetz
07.00 pm ROUND TABLE II: IN SEARCH OF THE MISSING LINK Video Presentation
Amos Hetz, Featured Guest Participants Presentation/Discussion
// Wednesday, 31 August 2011
10.00 am DECELERATION Fritz Reheis – Social Scientist, University of Bamberg/
Germany
02.00 pm (E)MOTION IN THE FRAME
Gerald Trimmel - Head of Austrian Center for Film Studies and
Hannes Rauchberger - Course Director of Austrian Center for Film Studies,
DUK
08.00 pm VIEWFINDER - Film Screening
// Thursday, 1 September 2011
10.00 am MOTION FREQUENCY/NEW MEDIA I Johannes Birringer -
Independent Media Choreographer and Artistic Director of Dap Lab
Brunel University, School of Arts, London/UK
02.00 pm MOTION FREQUENCY/NEW MEDIA II
Johannes Birringer/Sebastian Prantl
08.00 pm BUTOH Open Lecture Demonstration
Yoshito Ohno, Dancer/Choreographer -
Founding Protagonist of Butoh, Tokyo/Japan
// Friday, 2 September 2011
10.00 am BUTOH Yoshito Ohno
03.00 pm SOUND/MUSIC FREQUENCY Eva Maria Stöckler - Head of Center
for Contemporary Music, DUK
08.00 pm SOUND/LIGHT FREQUENCY Concert
Cecilia Li - Piano Solo, Music Director of Tanz Atelier Wien,
Vienna/Taipei
Victoria Coeln - Light Artist, Chromolab, Vienna
// Saturday, 3 September 2011
10.00 am EXODUS: POLITICAL PHILOSOPHY, AESTHETIC PRACTICE
Soenke Zehle - Media Theorist, Academy of Fine Arts Saar,
Director Experimental Media Lab (XMLab), Saarbrücken/Germany
02.00 pm DECELERATION - A STATE OF MIND AND BODY
Performative Analysis - Soenke Zehle / Sebastian Prantl
07.00 pm PARTICIPANTS PERFORMANCE/Real Time Compositionhttp://www.tanzatelierwien.at/en/international-choreolab-austria-modul3.php+++++++++++++++++++++++++
The ICLA invites to butoh-lecture-performance, piano concert with visuals and a choreographic real time composition.
The Desire for Deceleration
The ICLA invites to a butoh-lecture-performance with Yoshito Ohno (Sept. 1st), a piano concert with visuals by Cecilia Li and Victoria Coeln (Sept. 2nd) and a choreographic real time composition with all participants (Sept. 3rd)
In the framework of the interdisciplinary seminar „(E)MOTION FREQUENCY_deceleration“, which takes place from August 27th to September 4th at Danube University Krems, the International ChoreoLab Austria invites interested persons to three public performances. International artists provide an insight for a wider audience into the creative engagement with a current issue: the desire for deceleration in the complex interface of motion and emotion:
Thursday September 1st 2011, 8 pm:
BUTOH Open Lecture Demonstration
Yoshito Ohno, Dancer / Choreograph – Founding Protagonist of Butoh, Tokyo/Japan
Introduction into the Japanese butoh dance by doyen Yoshito Ohno
Contribution fee: 10 Euro
The Japanese butoh dance – also referred to as ankoku buto¯ or “dance of darkness” – has been created by Tatsumi Hijikata and Kazuo Ohno following World War II. Influenced by the catastrophic effects of war, butoh developed into a revolutionary form of artistic expression, revolting against a forced Americanization as well as the rigidity and conservatism in traditional Japanese culture during this period.
Yoshito Ohno – son of Kazuo Ohno – played a central role in the very first butoh piece “Kinjiki” in 1959, which raised a scandal during the performance and outraged the audience. Today he is director of the Kazuo Ohno Dance Studio in Tokyo. Yoshito Ohno is travelling from the urban centre of Tokyo to the idyllic town of Krems – located in the heart of the wine-growing region – to celebrate deceleration by introducing a different perception of the body. In the face of the fragility of our contemporary society – as made evident by the catastrophe in Japan – butoh proposes an alternative to the rationalistic worldview. Having no definite form and using playful, meditative or grotesque imagery and slow “hyper-controlled motion”, this Japanese dance form deals with important cross-cultural topics. Accepted, celebrated and practiced as a unique performance art internationally, it flourishes increasingly in regard to a philosophical path (a way of living) beyond art making.Friday, September 2nd 2011, 8 pm:
SOUND / LIGHT FREQUENCY Concert
Cecilia Li, Piano Solo / Music Director of Tanz Atelier Wien, Vienna/Taipei
Victoria Coeln, Light Artist Chromolab, Vienna
Music by Claude Debussy: 12 préludes pour piano, Book II
Contribution fee: 10 Euro
Taiwan-born piano soloist and music director of Tanz Atelier Wien, Cecilia Li, is performing an experiment on light and sound together with the Viennese Light Artist Victoria Coeln. In this conscious combination of visual and acoustic arts, the music by Claude Debussy will be the starting point for compositions with light, which are created live, in response to the music. Claude Debussy – who was inspired in his compositions by Asiatic traditions – demanded of his music to stimulate the fantasy and create a world of inner pictures.Saturday, September 3rd 2011, 7pm:
(E)MOTION FREQUENCY_DECELERATION Final group performance
Final group performance at Campus Krems
Admission free!
A choreographic real time composition forms the conclusion of the interdisciplinary seminar „(E)MOTION FREQUENCY_ deceleration“, the third module of the International ChoreoLab Austria. International dancers and experts from different disciplines – who have travelled to Austria from all parts of the world – are preparing a choreographic performance, cross linking the contents of the seminar and drawing up a summary. The participants demonstrate their own engagement with an expanded understanding of choreography in an improvisational framework and present their own interpretation of deceleration in the complex interface of motion and emotion.

++

An open online forum – empyre soft–skinned list – in Octopner 2011 was dedicated to a discussion of the choreolab's theme, „(E)MOTION FREQUENCY_ deceleration“, and

curated/moderated by Johannes Birringer. The full text threads of October are available at the Empyre Archive > October 2011

http://lists.cofa.unsw.edu.au/pipermail/empyre/

 

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ars electronica 2011

FutureLab PIXELSPACE Symposium September 4, 2011

Panel 4: Re-Scripting the Stage
13:30: Roland Haring (AT/Senior Research Lead - Interaction Ecologies, Ars Electronica Futurelab): Introduction
13:40: Martina Mara (AT/Senior Researcher, Ars Electronica Futurelab)
14:00: Klaus Obermaier (AT) (Media artist and "(St)Age of Participation" project leader)
14:20: Louis-Philippe Demers (CA/SG) (Artist, Designer and Researcher, Associate Professor at Nanyang Technological University)
14:40: Johannes Birringer (US/UK) (Artist, Choreographer and Author, Professor at Brunel University London)
15:00: Roundup and Discussion

_“St(Age) of Participation” is an artistic research project that the Ars Electronica Futurelab has launched in 2011 together with media artist and choreographer Klaus Obermaier (AT) to test new participative, multimedia forms of stage-based performance. In addition to presenting the project and its objectives, the panelists will be discussing the concepts of the theatrical stage and the dramatic / interactive performance, and what the future might bring in this context.

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Digital Futures in Dance

 

Digital Futures in Dance is an opportunity for artists, promoters, producers, venues, academics and creative and digital companies to come together to discuss future possibilities for dance and technology. With an increasing growth in interdisciplinary practice, Digital Futures in Dance investigates how new digital technologies create new conditions for choreographing and presenting dance. The conference is structured around three interrelated themes explored through presentations, workshops, performances and installations:
The Expanded Stage: Stage, screen and bodies - What will be the stages for dance in the future?
New Body Intelligence: Body data as raw material - How will new intelligence of the body influence choreography in the future?
Social Interaction: Mobile and interactive technology devices - How will increased interactivity influence the creation and reception of dance in the future?

See the full programme here.

 

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Senses Places

 

SENSES PLACES @ DRHA 2011 Conference, Ninbgo, China


Cross-cultural Embodiments through Hybrid Participatory Performance Environment
Project blog: http://sensesplaces.wordpress.com/


Senses Places is a dance-technology collaborative project creating a playful mixed reality performance environment for audience participation. Generating whole body multimodal interfacings keen to a somatic cross-cultural approach, the project stresses an integration of simultaneous local and remote connections, where participants and environments meet towards a kinesthetic/synesthetic engagement.
Grounded by a shared score and Second Life Sim, performer-facilitators initiate the performance at the conference in China and at two other nodes in Japan and New Zealand, tuning the audience members to several modes of physical-virtual body-body and body-environment interactions. Re-purposing the Web 2.0 and recent game devices with a synergetic/semantic approach to interface design, the interfaces include, video and avatar mediations via webcam, and Wiimote, plus a biometric device.
Through an inclusive process engaging kinesthetic empathy, Senses Places deepens contemporary dance practices, such as, Contact Improvisation and Butoh, weaving Eastern-Western somatic based practices, like, Tai Chi, Yoga, Body-Mind Centering, Release and Alignment, and Alexander Techniques. The improvisation evolves in a sharing of corporealized places, times, and energies, encouraging a fuller experience of the moment.
Emerging embodiments, realities, and cultures are generated by the multi-participant playful involvement as the participants follow, act upon, and respond to each other’s physical bodies, video mediations, avatar moves, and/or environmental changes. Climate related body-environment activity is affected through the wireless communication, linking biometric inputs and environmental device actuators, such as, temperature-light/color, breathing-smoke/wind modulations.
Senses Places wishes to contribute to enlarge the range and interconnectedness of sensory-perceptions within the already complex practice of group improvisation, proposing a constructive and transformative means of inter-subjective and collective socialization, reversing the dead end substitution, gender and movement cultural stereotypification, and instrumentalization of bodies by avatars in social networks, such as Second Life.


*Senses Places is collaborative project by Todd Cochrane and Isabel Valverde


Thanks to the Support from Wellington Institute of Technology, NZ, and Fundação para a Ciência e a Tecnologia, PT
Isabel Valverde is a transdisciplinary performer, choreographer and scholar from Portugal. Develops experimental solo and collaborative intermedial performance art/dance work since 1986. Graduated in Dance Theory and History (UCR), Interdisciplinary Arts (SFSU), New Dance (SNDD/AHK) and Dance (FMH/UTL), Isabel’s doctoral thesis, Interfacing Dance and Technology: a theoretical framework for performance in the digital domain, was translated to Portuguese (FCG/FCT, 2010). Engaging in somatic oriented choreographic practice within mixed reality embodied interactions in an actualization-virtualization continuum, Valverde’s present postdoctoral research in Dances and Technologies (BPD/FCT) at the Institute of Humane Studies and Intelligent Sciences and VIMMI/INESC-ID, includes performance practice-theory, collaborating in cross-realities and cultures participatory performance environments. MailScanner has detected a possible fraud attempt from "isabelcvalverde.blogspot.comã_BAD__BAD_" claiming to be http://isabelcvalverde.blogspot.com
Todd Cochrane is an experienced educator using MUVEs and a computer technologist who runs the HCI, web development and programming principles classes at the Wellington Institute of Technology, in Wellington New Zealand. He is an expert software developer who has experience with 3D web cam to Virtual World data transfer. Todd is studying towards a Ph. D. in Education on How to use MUVEs effectively in vocational contexts.

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Texte und Kommentare zum Labor 2011 werden hier veröffentlicht

Texts and commentaries on the 2011 lab and related research subjects will be published here.