I will take some time to think and look into the materials that you generously
shared with us.
I will answer shortly
Le 23 avr. 2015 à 19:26, Johannes Birringer <Johannes.Birringer@xxxxxxxxxxxx>
a écrit :
thanks for your reply, Alexandre, and as long as no one objects, we can carry
on, hoping others will still join.
The notion of expanded choreography (procedural design), and social
choreography is now firmly on the table, I agree. And "participation" is
perhaps also ripe for re-thinking. I would love to dwell, on a practical
level, on "procedures" as design (having just worked all day with my young
digital performance students on preparing their final shows tomorrow), but
also look beyond, yes, the "strictly artistic and aesthetic realm of
dance/performance" although many here on our list perhaps still work in that
On a reflective level, expanding thinking about rule-based systems, or
auto-poietic systems, or artistic realms and then again other realms where we
might work organizationally, disseminatively, allow me to mention briefly
four "readings" I undertook when working on our "metakimosphere" installation
(http://people.brunel.ac.uk/dap/metakimosphere.html). maybe these angles
open up other avenues.
1. asymmetry (mentioned before here). Marije Baalman at STEIM, a member of
the Metabody project ensemble, published some notes in February on "making
interactive environments relevant"
they are interesting for many of us who work with installations and
invitations to others to follow / consider following procedures.
2. Now, historically, I was interested in finding a book by Thomas Dreher,
"Performance Art nach 1945: Aktionstheater und Intermedia" (2001), which
quite acurately notices how observation (static audience observer position)
in the history of art reception was long undermined and changed (he looks at
action art, happenings, and multiperspectivalism and beginnings of
intermedia, way back in the 1950s).
3. Historically now, thinking of expanded choreography, Alexandre, going
further into what you imply, I looked at an article by Jaime del Val (whom
Tommy mentioned last week), where in 2009 he speaks of a "pan"
(panchoreographic) or what perhaps was meant by "social choreography", yet
most interestingly proposes a kind of undoing of the camera, framing, focus,
and anatomy itself: "Undoing Anatomy:
Resisting Global Choreographies in the Capitalism of Affects" (GRAMMA, 17,
265-77). I cite his abstract:
Underlying the imaginaries staged and projected in texts, theater pieces,
video, cinema and publicity there are certain anatomic constructions of
the senses that are the conditions of possibility for those imaginaries. Such
sensory anatomies underlie implicit power mechanisms in late capitalist
societies, which operate at the level of the production of affect and desire
of consumers as well as of the concealment of global violence
through which the economic system operates. I will propose a framework of
analysis of such power operations through the analysis of movement,
and more precisely of what I will call the panchoreographic: a set of
technological devices of global distribution that disseminate discrete,
standard choreographies in bodies, thus contributing to the production and
dissemination of standard affects. Finally, I will show some examples
of the work developed by REVERSO in recent years that aims at the radical
redefinition of the sensory anatomies that underlie media culture
and information society, aiming at the production of a post-anatomical
In his work he explores micromovement and microsex/skin palpitations that are
rather wonderful and odd as he of course also tries to disrupt "affective"
registers and procedures, and
the discussion of undoing camera and the surveilled/gendered/disciplined and
procedured body decidedly moves into the political, into issues of violence,
4. post-intimate relations, Jaime asks for, and post-anatomical (illegible)
Easier said than done, but the experiments with such disalignments are
on-going in the Metabody project, and I am sure Yacov and Henry also tried it
in their work with virtual avatars. In a brief note I received from Yoko
Ishiguro today, responding to my telling her of our discussion on
participation here, she says:
Audience participation is a fashionable but thoroughly big issue for
contemporary performances nowadays as Claire Bishop and many others claim. I
myself make one-on-one performances and always have to think about it -my aim
is not to make 'one-on-one performances' but to think about the distance and
the relationship between an audience member and a performer with means of
performance so one-on-one style is just a result.
Talking about audience participation and photos, I have my one-on-one
repertoire that audience member can see my dance performance only through
their photo shootings.
much to ponder once we start to unpack notions of intimacy, affect and
alignment, breaking the camera; what do you think?
[Alexandre Achour schreibt]
I understand your last comment, I’m not a theoretician myself, but these
paragraphs from Bojana, and Ana’s book help me to think of choreography as a
wider term that doesn’t necessarily limits itself to the design of movement,
they think of choreography as a design of procedures, and in this way
procedures « define actions and attitudes in general, which allows us to
treat them as a logic, a thinking model, an ideological apparatus. » And as
Bojana says, « Unpacking the aforementioned registers of procedurality may
help us understand what choreography means when it is used outside the
strictly artistic and aesthetic realm of dance/performance. » this is how I
understand this term of « expanded » choreography, and that’s why I thought
to bring this in our conversation..
Let me know what you think,
I had difficulties to answer to all the posts, when I have more time, I will
Best wishes to all,