dear all
may I propose we continue our discussion until next Sunday, April 19, to
complete the month long debate
and test whether our old dance-tech list is alive and well?
I hope to encourage you to join, and reply and discuss: I have tried to
moderate but it is a little frustrating if the colleagues who have
posted do not return or others do no send a rejoinder or query or comment.....
The community, as shared discussion amongst all of us, is brought alive by you
and only if you do care to reply and sustain the discussion, as thought process.
and I am going back to something that John Collingswood had sent (below), which
is in synchrony with some other posts that dealt
with hybrid systems or participant systems and techniques, and when I mentioned
Simone Forti yesterday, and the exhibition
"Thinking with the body" -- I was in fact hoping that the topic of social
choreography and meta-choreography could be broached,
in many ways:
How did they (audiences) care to share stories, John?
How was the "MetabBody" forum at your location, Tommy?
I think Jaime del Val now will host a similar forum in California, soon
(International Metabody Forum at UC Berkeley.
May 7-9, 2015, an event with live performances, workshops, a panel : "Reversing
Cybernetics, Queering Control" , etc..)
Speaking of control, has anyone wanted to respond to the propositions by
Jeannette, Yacov, and Alexandre when they spoke about their work?
how does design, parameterization, capture, and hybridity / dis-alignment (one
aspect of Metabody project is the avenue that Robert Wechsler has pursued
working with disabilities and disability culture)
and thus 'controllers' relate to the subversion issue and the democratization
utopia (engaging audiences to become co-producers) of participation? what is
co-produced?
And lastly, how, to ask again, have we moved from stage performances to
something (if we draw a historical line via Simone Forti, Hélio Oiticiva, Lygia
Clark, Olafur Eliasson, Paul Chan, etc) that is environment, atmosphere and
object related such as, for example, the so-called "choreographic objects" that
were exhibited over the past few years (William Forsythe's 'choreographic
objects' come to mind, but is not Isaac Julien film installation a
choreographic object too, or Moholy-Nagy's kinetic works?)
what is a choreographic object, and can it be participatory (or has to be so)
and in what manner?
regards
Johannes Birringer
______________________________________
[John Collingswood schreibt]
this discussion is fascinating, thankyou to everyone who is contributing
