> In the spirit of CRUMB's practical approach to research, I propose that we spend the final week giving examples of performativity and
> code within our own work by responding to a question of When:
> When, in your own art practice, does performativity occur? Is it when the code is written? Is it when you perform with your body or voice?
> When a participant encounters your work? At all of these points, at another time, or not at all? Can you give a specific example?
Am enjoying greatly the recent examples, e.g. Curt Cloninger's dance/animation- like performance-like generative installations, and also what Jack Stenner just sent us, quite fascinating examples; and I take it Jack seems comfortable with "performativities" (< any work that incorporates interactivity necessarily engages performativity.... , performativity, via code or otherwise, naturally emerges from concept and context. Very often it is the way we assist understanding rather than illustrate it; doing versus showing, enacting versus watching, emphasizing behavior more than process...>); I'm less so, and admit to having stopped reading Butler (or Derrida) some time ago.
So to answer quickly,
> When, in your own art practice, does performativity occur? When we perform ? (and then am not sure there is an occurrence of "performativity" , we have not bothered)
> Is it when the code is written? No; we perform on stage/in installations with our bodies, costumes, instruments, interface objects, analog things and also the computational environment of our lovely patches, thus with data processes. But these processes are always initiated by the dancers and the costume concepts. [Footnote: there is no uncertainty for us between performance and installation, we do both and they don't differ much]
> Is it when you perform with your body or voice? When we perform with our bodies and voices we make the performance, we live it, behave and exist in it. Today it's become fashionable to speak if embodiment, but that always seemed tautology to me when you perform & dance with your body.
> When a participant encounters your work? our audiences don't encounter code, they experience the story and characters of the movement; in installations they move with us. We tend not to ask/request our audience to do things for us. ([e.g. Victoria speaks of 'visitor participation', a very complicated subject... she also mentions 'performative communicators']
> At all of these points, at another time, or not at all. Yes.
> Can you give a specific example? Invitation below
+ + + + +
The forthcoming premiere of DAP-Lab's new dance opera, "for the time being" [Victory over the Sun]
will take place at Lilian Baylis Theatre/Sadlers Wells, London, on April 3 and 4.
for the time being [Victory over the Sun]
a choreosonic dance work
by DAP LAB
directed by Johannes Birringer & Michèle Danjoux
Thursday & Friday, April 3 - 4, 2014
Lilian Baylis Studio, Sadler's Wells
Tickets: £ 13.00 / £ 11.00 (concession)
How to book:
In person: Sadlers Wells Rosebery Ave, EC1R 4TN
Ticket office: 0844 412 4300
DAP-Lab ensemble returns to Sadler's Wells with "for the time being," a choreosonic dance work which explores the sound of movement in a performance inspired by the Russian Futurist opera "Victory over the Sun" (1913) and its fantastical visual designs. Taking a contemporary slant on the 'Futurian' world imagined by this astonishing multimedia work of the early twentieth century, the maverick ensemble of the DAP-Lab performs its unique blend of design, choreography and live music in an intimate chamber work that looks at the fragmented home of our precarious existence in a world full of outworn clichés of revolutions.
Stage direction by Johannes Birringer
Fashion design concepts and art design by Michèle Danjoux
Featuring: Yiorgos Bakalos, Rosella Galindo, Manaskarn Insang, Yoko Ishiguro, Ross Jennings, Aggeliki Margeti, Vanessa Michielon, Helenna Ren, Caroline Wilkins (performers)
Live sound processing and music by Oliver Doyle & Caroline Wilkins; Audiophonics design by Michèle Danjoux, Graphics/Kinect interface design by Cameron McKirdy, Electronics and sound by John Richards, Videography by Johannes Birringer, Lighting by Maria Alves; Technical operations by Elliott O'Brart, Special Light/Sound Effects by Aleksandar Tomic.
This project is supported by a grant for METABODY: Media Embodiment Tekhne and Bridges of Diversity (EU Culture Program) and The Centre for Contemporary and Digital Performance at Brunel University, London.