REVERSO__________________________________ _____ARTES______TECNOLOGÍA_____PENSAMIENTO CRÍTICO_____ACCIÓN POLÍTICA __género y sexualidad__transculturalidad__ecología y urbanismo__conflictos post-globales___ ____________________________________________________________ Asociación Transdisciplinar REVERSO - Presidente/Director: Jaime del Val Tel: 687 558 436 _-_ email: jaimedelval@xxxxxxxxxxx - www.reverso.org OPEN CALL - INSCRIPTION DEADLINE 21 JUNE in: http://medialab-prado.es/ - http://www.reverso.org/ETP.htm Madrid Workshop - 26-28th June 2009 ETP European TelePlateaus - Transnational Sites for encounter and Coproduction Tele-Plateaus is an international initiative planned to run through 2010 with an aim to create publicly accessible networked audiovisual sites. The main objective is to make possible and support real-time sensory-physical interactions of people over long distances. Therefore, we work to establish a permanent network allowing for direct audiovisual real-time interactions between similarly configured public sites and performance stages across Europe. Tele-Plateaus will be composed, controlled and structured by movements of people from different cities. Within these networked stages and sites people from Dresden, Madrid, Norrköping, and Prague (among the first connected cities) can dance and play together. They can simultaneously create pictures, sounds, and light effects by means of their own movements without operating any additional interfaces. The shared virtual hyper-site is based on the generation of data that is available for processing to all computers within a common network. Movement parameters (speed, spatial position, etc.) are captured and digitalised by camera-based motion system and exchanged between computers at distant locations with a technically similar configuration. At concrete sites the numerically coded movement parameters are creatively transformed into audiovisual outputs and processes. Tele-Plateaus will ultimately provide accessible environments for live telematic artistic performances and other collaborative activities. The project is co-financed by Culture 2007 Programme of the European Union for the period 2008-2010. Project is led by TMA | Trans-Media-Akademie Hellerau (http://www.t-m-a.de/) in co-operation with the Hellerau - European Center for the Arts, and is jointly produced with CIANT Prague (CZ, http://www.ciant.cz/), REVERSO Madrid (ES, http://www.reverso.org/), and bitnet Norrköping (SE, http://bnp.se/). Project Partners: TMA - Hellerau- DE - http://www.t-m-a.de/ CIANT - Prague - CZ - http://www.ciant.cz/ REVERSO - Madrid - ES - http://www.reverso.org/ BitNet - Norrköping - SE - http://bnp.s Media Partner: Dance-tech.net - www.dance-tech.net Madrid Workshop - 26-28th June 2009 Organised by REVERSO - www.reverso.org EMBODIED PRESENCE IN THE HIPERREAL CITY - CHALLENGING SURVEILLANCE: FOR AN EMBODIED PARTICIPATION IN THE EU The proposed Madrid Events 2009 of the ETP project will elaborate on several interrelated concepts: a.. Embodiment and Presence: In information Society communication technologies operate on the problematic assumption of disembodied subjects that communicate universal signifiers-meanings through patterns of information without presence. Indeed the Posthuman is to be understood as the present condition in which computation has substituted individualism as the ground of being, in which we are so far enmeshed in the circuits of information that we cannot meaningfully think of ourselves as separate from them (Katherine Hayles, 2000). a.. Interfaces, as a mediation between the faciality of an abstract subject and the machine operate through discretisation of movement: in the mouse and the keyboard, in the screen, in the software, in the ergonomics, in the algorithms. This global distribution of discreet choreographies for the sake of control we will call the PANCHOREOGRAPHIC. This happens within a set of reduced causal relations for which the interface is instrumental: click and one thing happens. Following philosopher of science William James we propose that such discreet choreographies contribute to the formation of affects and desires of bodies in consumer culture since affects can be understood as effects of bodily states and activities. b.. In interpersonal communication or in practices such as dance we may argue however that movement is never reducible to a set of predefined signifier-meaning relations, therefore not reducible to patterns of information: the presence of the body could indeed be said to be the open field of emergent qualities that exceed reductionism to information patterns and signifier-meaning relations. c.. Information Society's attempt to produce a disembodied subject, is actually producing conflicting kinds of bodies, in which affects and relationalities are standardised, and irreducible presences of bodies are assimilated in global economic markets. d.. How can we produce notions of communication, presence and interaction that, instead of attempting to erase the bodies' specificity strenghthens it? Systems of relations that do not rely on frameworks of signification, but rather explore whatever in the bodies is exceeding signification at all times. e.. Bodies, understood as fields of relational forces that operate at multiple levels, are affective and intensive, rather than material and extensive. How can we produce conditions in which the radical openness of the way in which affects are embodied, is acknowledged and supported? f.. The project ETP provides a series of opportunities for such an experimentation: a.. through stressing the non-representational character of the visual and sound environments that avoids the aesthetics of simulation and objectivity of the information era. b.. through proposing amorphous and nearly abstract accounts of presence that defy the boundaries of cultural intelligibility of bodies, presences that are in the frontier of the intelligible, posthuman of metahuman presences in which the important thing is not to recognise standard features of a human agent, but to dance around diffuse qualities of an agency that could be human but doesn't need not be so: an agency with no defined gender or sex, no defined class, race or species, no defined age or capacity or form, and yet potentially crossing multiple sexes, species and forms of the bodies. c.. through exploring accounts of presence that don't rely on the standardised recognition of culturally intelligible forms, but rather proposes a dissolution of these and experiments presence as a more open field of encounter with the unkown. d.. through proposing metasignfying contexts of relation, that do not rely upon strategies of goal oriented interpretation, but rather open the field to processes of embodiment of affects. a.. The city, the local: The city as lived body of relations can be analysed at various levels: a.. The lived city: what sensations, what kinds of relational intensity is the city constituted of through the interactions of the bodies that inhabit it: what are the experiential modes that constitute that metabody of relations: what is our experience of the city: can we translate it to parameters of choreographed movement (the speeds, directionalities, specific movements performed in the city), of sound and light and space perception, of proxemics and chronemics? b.. The intensive city - METABODY: To understand the city, space and architecture as a living body of relations, as intensity rather than a fixed extensive space. c.. The hiperreal city: the city of information and simulation, of publicity and ubiquitous screens, the city as machine for the affective production of bodies and for their assimilation in economic regimes of consumption, the city as semiotic landscape, the city as disciplinary grid, as biopolitical meta-mechanism of control and production: which are its surfaces of operation, through ubiquitous publicity and commercial music, and through the movements and choreographies that these distribute, through architecture and urban planning, through transport and communication technologies that make of public space a dissapearing reality, masked and inaccessible behind the façade of hiperreal Virtual Reality of the media? d.. The reverse of the city: every time we contribute to the economic regime in the city we are complicit with old and new forms of global violence that the system both hides and promotes: wars in Congo, exploitation in the Far East, climate change... unprecedented global violence in the global era that the system of consumption and its metabody, the city, effectively hides, through its surfaces of affective production. How can we make that violence visible? a.. The EU and the illusions of public Participation: In a hipermodern world of media politics, what kinds of fake participation are citizens normally embedded in? In a European Union in which economic interests rate far above social and environmental criteria, citizens are often connected to telematic platforms of communication that give a certain feeling of participation. We argue however that such participation is a fake one, that generally serves the purposes of the large companies that design and choreograph WEB 2.0. We need an understanding of these platforms that deals with the ways in which at the same time as they seem to empower citizens, they take away possibilities for action, through producing the illusion of a free world and masking violence at global scale behind the culture of leisure and entertainment. a.. Surveillance and control: We are increasingly surrounded by surveillance systems that look down on us from satellites and street corners, from the ceiling of the workplace, the tube or even in the house. The system employed in ETP, an infrared camera placed on the ceiling, is a paradigm of surveillance technologies, however through connecting it to a specific software for analysis and its mapping to the software processing image and sound, instead of subjecting bodies to goal oriented systems of analysis and surveillance, movement becomes an uncontrollable mapping strategy within metasignifying systems of relation, thus defying principles of interpretation on which surveillance rely. Therefore the project attempts to: a.. Promote embodied metasignifying, non representational modes of telematic relationality understood not as the exploration of an extensive physical space but as the constitution of an intensive space of movement, spatialised sound and amorphous moving images. b.. Critically deal with aspects of the local (the city) exposing both its problematic production as hiperreal space of economic power systems and our embodied sensory experience in it, promoting a understanding of the city as relational intensive body, rather than extensive space. c.. Critically deal with the notion of public participation and its possible redefinition as specific, non-standard bodies of relational becoming. d.. Critically deal with and subvert the technologies of global surveillance.