May I ask Alexandre to give us some examples of "participatory practices that
were radical and subversive towards their own social political context"?
Examples that may have a particular resonance for us today?
(and what political context where?)
In regard to dance and choreography, especially interactive processes or
networked processes, or installations that promise affective, tactile, haptic,
auditory and thus multisensory phenomena/experiences,
the question of the "radical" is a relative one, as much experimental labor is
invested in the scientific or computational/algorithmic aesthetic (form) as
well as a formal scenographic aesthetic (dealing with
the design or design constellation for the encounter with a public audience.
I mentioned the term 'social choreography' a few weeks ago, and would not mind
going back and looking into its history and more closely at what it means or
can mean. But "participatory" practices in the arts
are not by themselves (necessarily) radical or subversive, even if ( we heard
both Nilüfer's and Jeannette's moving accounts of their processes) they involve
the public or the community or address political content.
Not that many happenings of the 60s were radical; not many situationist
concepts would work today; perhaps ritual and shamanic acts are "radical
today," and what about extremist fundamentalist media performances
and asymmetric strategies? participatory often could said to be affirmative,
no? and I asked here before, what myth underlies the idea
[Alexandre Achour schreibt]
We were specifically interested in participatory practices that were radical
and subversive towards their own social political context.