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Toward a Quantum Poetics
Abraham Avnisan |
In this talk I situate my work of digital literature for the iPad, Collocations, in relation to histories of experimental writing, artists’ books, and electronic literature. Collocations explores the disruptive implications of quantum mechanics for science, philosophy, literature and art by appropriating and transforming two key texts from Niels Bohr and Albert Einstein’s historic debates about the indeterminacy of matter. Designed for tablet computers, Collocations employs strategies of palimpsest, visual poetry, and algorithmically defined systems to produce a work of innumerable poetic texts. Interaction with the work transforms the user into an experimenter whose observation and physical manipulation of the device determines the materialization of any possible number of unique textual configurations in a dynamic, non-linear and kinesthetic reading experience. At the intersection of science, art, language and code, Collocations posits a new quantum poetics that disrupts classical notions of textuality and offers new possibilities for reading.
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7 Short Texts on the Interpretation of Dreams and the Interpretation of Artworks
Alison Cooley |
7 Short Texts on the Interpretation of Dreams and the Interpretation of Artworks is a performative reading from my ongoing writing project, which traces the interpretative impulse across art criticism and dream analysis. The reading takes my own anxiety dreams about artworks as subject matter, troubling the notion of critical detachment, describing both the conceptual provocations of artworks (real and dreamed), and the underlying conditions of my own engagement with art’s structures, institutions, and communities.
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Could You Be Loved?
Ana Cecilia Alvarez |
This workshop guides participants through practices aimed at decoupling feelings from judgments. Combining Wilhem Reich’s theories of de-armoring with techniques and methods derived from nonviolent communication, tantra, and gestalt movement therapy, this workshop will engage participants both physically and sociolinguistically. With our words and our bodies, we will unlearn the language of judgment and ground ourselves in emotive movement, in hopes of developing a mediating practice that better expresses feelings while avoiding assessments—namely, a practice that is more honest, more compelling, and more responsible.
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Traces
Andréanne Abbondanza-Bergeron |
What is left of exchanges, of the physical work, of the movement that all contributed to words being uttered or written. Can this be revisited when all is preserved are the words? How does it overlap over a period of time? Throughout the conference, I will to act as a documenter of those traces of embodiment that surrounds the production of speech, text and exchange. Using thin adhesive white masking tape, I will document those traces that will slowly accumulate as a visual record on the floors, walls, ceilings... A life-size mapping/drawing recording these overlapping real choreographies.
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POSSIBLE VERSIONS: Tone Poems and Phenomenological Intentionality
Andrew Patterson |
Language artist Andrew Patterson presents a series of tonal poems that explore meaning as/in resonance. Based on concepts of listening, gesture and foundational expressivity, the POSSIBLE VERSIONS allow for movement of meaning within a tone cycle. A set of interrelated excerpts from thinkers including Maurice Merleau-Ponty, Lisa Robertson, Daniela Cascella and Gaston Bachelard will be presented in tandem.
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experiencing value
Anique Vered & Juliana Moreno Bustamante |
experiencing value is a site-specific, movement-based social intervention that engages participants in a simulated data experiment to question and play with tools for measuring value. Through an exchange of movement-based practices, we intend to question the determination of value within the conference community. Referencing butoh principles and experimental economics theory as inspiration, we will invite participants to engage in decision making situations that explore methods of comparison, mapping and measurement.
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Windsocking
Anna Wolfe-Pauly |
I will install a series of wind-stations in and along Jardin des Écluses and Bassin Windmill-Point. Each station will have 1-2 wind garments. In addition to to engaging in a mutual holding action with air, everyone's mother tongue, people will have the opportunity to listen to audio concerning the encounter with persistent trace. I am interested in the shapes and movements that emerge through an act of remembering our primary language. How does this act of remembering formalize the gesture into a network?
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Maison
Aurelia Badulescu/Rafael Favero/Pavlo Lucero/Lesley Bernardi |
Performance multidisciplinaire réalisé par des artistes de divers origines, qui partagent l'expérience de l’immigration.La performance veut exprimer des incertitudes, des défis, l'impuissance, des curiosités, la survie, l'adaptation, des peurs et les joies qui sont reformulés au moment d'exprimer dans une autre langue.
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frequency searching, slow grow radio, FM on FM [pirate radio]
Brian McCorkle |
- frequency searching
Within every sound system there is a point at which the vibrations will become too much for the system and there will be a "wrong" sound coming out of it. By pumping sine waves through radio, the distortions inherent in the signal itself will become audible, in addition to those of the systems it's being pumped through as it is received. I would like to systematically go through many frequencies of sine waves (this would be a good late night idea) using a structure relating to that of different sound systems in hopes of "striking" a "chord" in cars, portable radios, headphones, and even cell phones should someone tune in at just the right time. An experiment designed to flail wildly into the dark, receiving no response, but hoping to make a kind of impact. - slow grow radio A live performance for radio, wherein I spend the entire show building one loop very slowly and carefully on a loop pedal in a very slow climax. - FM on FM Not many people know many things about frequency modulation or FM, especially when it comes to what's considered FM synthesis. Pirates performing public service, education in the form of entertainment: hear ye, hear ye, I propose hereby and henceforth, a pirate radio station of information about the fact of its existence and what it is. All the things played during this particular show would contain examples of FM synthesis, from early experimental music (John Chowning, being FM's inventor and its most successful implementer, Jean-Claude Risset), to Herbie Hancock (one of the most popular synths of all time, the Yamaha DX7, uses FM synthesis), to today's popular NORD keyboards, heard in most mainstream pop music. |
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Text, Image, Translation
Bruno C. Duarte |
A palpable notion of translation in motion demands the transposition of a given surface or art form into another. This is exemplified by the intersection between text and image. In the act of translating, the instant when writing becomes image and image becomes writing is made perceptible through a restless simultaneity in time and space. This radical transposition ultimately begs the question of what it means to perform a translation of a translation by incorporating the awareness itself of its execution: the effort is not to mime the transgression that does violence to the original, but to start it anew.
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Co-writing Criticism
Brynn McNab |
Co-Writing Criticism is an exercise exploring what kinds of texts can be created as a group, and what analysis of an art work becomes when it is attempted in this way. Participants are asked to take part in a brief discussion on the possibilities of critique, and then write on a particular exhibition or performance as a group within a single online shared document.
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Relational Yoga
Celine Pereira |
Cette proposition vise à créer un moment de connexion entre deux personnes à travers la pratique de positions de yoga ou d’exercices qui se fait à deux. Pas besoin de mots, juste de se concentrer sur sa présence et celle de l’autre. Ce sera l’occasion d’établir un dialogue des corps, des rythmes, des points d’équilibre et une relation ne nécessitant pas de mot mais une forme d’écoute corporelle. Peut-on créer une rencontre sans mots ? Qu’est-ce qui se passe dans un contexte où les personnes se trouvent dans une activité qui ne requiert pas de mots mais une attention particulière à leur corps et au corps et mouvements de l’autre ?
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I, Daughter of Kong
Center for Expanded Poetics (Nathan Brown and Cynthia Mitchell) |
The I, Daughter of Kong Centre for Research collects evidence of the existence of I, Daughter of Kong, whom some believe to be the love child of King Kong and Fay Wray. In 2010 IDOKCFR received a box of romantic correspondence between I, Daughter of Kong and her paramour, who seems to be a communist philosopher. These letters not only contain valuable biographical and psychological information, but also include reflections upon cinema, technology, philosophy, and modernity. Nathan Brown and Cynthia Mitchell will be reading form this correspondence and answering questions on behalf of IDOKCFR.
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I JUST NEED SOMEONE TO READ TO ME
Claudia Edwards |
Literacy / language / comprehension become blurred and overcast by the dominant visual culture, like lovers whose skills or knowledge you admire but cannot lay claim to. The intersection of oral culture with accessible and assistive technologies has formed new meeting ground: a proliferation of content producers and knowledges, and an increasing representation of user identity-specific preferences. This intersection signals a return to embodied thinking and to praxis: of thinking as action, and as communal action. Elements of the pre-recorded sound composition will trigger actions or engagements within the live performance. Whose mouths would you want to put words into? Whose words do you wish came from your mouth?
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The Choreological Movement of 'Maybe'
Courtney Mackedanz |
Maybe' is the best dancer I know. It cradles both ‘yes’ and ‘no’ until the speaker selects which is most appropriate in an instance. It shields a speaker who would rather not divulge information just yet. It bursts thinking open towards not-yet-imagined potential. In all of these gestures, 'maybe' facilitates a slowing down of time and a broadening of space by asking both the speaker and listener alike to resign from a stable definition, and for the momentary opportunity to reflect thoroughly before judgment, decision, or naming.
The Choreological Movement of Maybe is a dance that will illustrate the value of uncertainty as well as a movement workshop that invites participants to occupy and consider the value within the space of not-yet-knowing. |
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Wondering beyond words and non-words --
a rhythmic proposition for porousness Csenge Kolozsvari |
Wondering beyond words and non-words - a rhythmic proposition towards porousness is an activation, that is curious about how/where/when can those leaking spaces be found where rhythm becomes the technique for re-defining a nonlinear relation between thoughts, concepts and feelings. How might they allow for not-knowing, unknowing and maybe-knowings that regard wondering as an alternative mode of knowledge-production. With the ecology of its technological, physical and imaginary components, this collective listening-sounding mini-event explores rhythm as qualitative differential, making palpable the textures and tones, that bring color to experience.
sound design, electronic percussion: Christian Olsen external eye: Jane Gabriels text: Gertrud Stein, Narration p23. University Of Chicago Press, 2010 |
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Tild~Breath
David Jhave Johnston |
A remote contribution: a video to screen as a meditation lull during a tech/shift change or prior to/during sleep. Good for 3am ambient background meditation as work proceeds.
"Tild~Breath" is 111 "~" symbols procedurally animated in Maya [ using a custom Mel script coded by Leoson Cheong for curved.glia.ca ] https://vimeo.com/148695212 |
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Reading Light (il faut continuer, I can’t go on, je vais continuer)
David Walker |
I was raised in French but work in English. Beckett was raised in English but wrote primarily in French. I will read from The Unnamable/L'innommable from 1am to 6am, alternating between the two languages to open up a space between them and forge a link between my art practice and my mother tongue. J'ai été élevé en français, mais je travaille en anglais. Beckett a été élevé en anglais, mais il écrivait principalement en français. Je vais lire de L'innomable/The Unnamable entre 1h et 6h, alternant entre les deux langues pour tenter de découvrir un espace entre elles et faire un lien entre ma pratique artistique et ma langue maternelle.
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Aural Fixation
Elaine Thap |
I am proposing a participatory dream performance that will take place for a night’s duration. I will create a sound piece with directions (this can be played on speakers or downloaded through a link, whichever is easiest given the art space). The sound piece will give detailed instructions on astral projection and accompanied white noise soundscapes. My goal is to have participants collectively dream and metaphysically travel through time and space to a place of comfort and solace within themselves. In the morning, I’ll have a written prompt that will be a form of reflection.
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AN UNCOMMON COMMONS:
sleeping with plants and others Elena Ailes |
The UNCOMMON COMMONS is a station of rest, complete with several divans to relax on, each with its own privately amplified ‘pink noise’, a series of texts/performative texts to contemplate, and, at its center, a plinth of plants known for their friendlier properties: chemical seductions, alluring scents, healing gifts. This platform would function as a ‘stage’ from which a number of short performative texts would take place over the duration of the conference. Others are more than welcome to collaborate, participate or join in on the use of this space as a gathering location, a listening station, a sleeping location.
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Marking Thought
Ellen Belshaw |
Think of your notebook. I know you have one. Does it contain words, or drawings? Where lies the difference between these two forms? Can the curve of the letter ‘e’ not also be found in the nostril on your recent self-portrait? If you were to mark a series of benign shapes in vertical lines, would this be a drawing or the beginnings of a new written language? This interactive workshop will explore forms of mark making which blur the lines between writing and drawing; this could manifest in countless ways depending on the participants’ explorations in mark making during discussions.
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HOLDING AN IMAGE
Emma-Kate Guimond, Lina Moreno |
The performance entails a sequence of similar but different actions. It is about attempting to hold a picture; showing it to another under the understanding that showing is also reading and that seeing means being held in a moment. Words are there because something is absent. You know something is absent because you keep encountering it in the traces. A friend asked, how do we know when a concept has been transfigured into a non-worded substance: We know by means of repetitive encounter.Reading is a way of repeating, of holding the traces, of holding images. Bearing the words and non-words.
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Radio is Dance/ Radio Project [pirate radio]
Erin Hill |
1. Radio is Dance is a dance on the radio, it is also the dance of the radio, it is happening now and always. Radio is Dance moves between the pre-audible and the audible, the unformed yet felt, the movement unseen before the dance emerges, the glimmer. Radio is Dance is a choreography that takes place in the radio on air studio between a radio show host, a person dancing, and a person catching the dance through microphones. What you receive, dear listener, are many layers of movement, of waves, of transmission and translation, simultaneously overlapping to re-take place and dance inside of you. 2. Radio Project is a performance that utilizes the medium of the radio as it's format, concept and content. Equipped with radios, tape recorders and FM transmitters the performer creates feedback loops by amplifying the sounds of the performance space and broadcasting them in incessant layers onto the radio. Exposing and exploiting the ubiquitous nature of electromagnetic waves, and rendering the invisible visible. This work questions the pandemic use of the electromagnetic spectrum in contemporary communication technologies, as well as the repercussions its mass and mostly non- consensual usage can pose on privacy and health. Radios are constantly becoming, oscillating between potential frequencies, stations, stories and voices- and all those sounds, even if unheard, are all always available. The longer we listen together the more sensitive we become to the subtle shifting of these waves, and from an amplified state of perception we may even perceive their pre-audible movement. Attuning to tuning together.
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Tractate Technics
Esther M. Neff |
Words dis/en/re/ass/en/semble in their missives to materialize mimetic coherencies; interpretative forms of performance scatter the collated decks of empirically valuable materials, re-forming social interactions upon multiplicit terms of what matters to persons. Participants converge around conceptual literary devices such as metaphor, chiasmus, anaphora, and portmanteau, transposed onto cards as blank diagrams. First experimenting with forms and then synthesizing our own, we write single phrases as scores for each other. Is language a technology? If so, and every technology is a metaphor, every metaphor is a sentence. How do we (de)liberate our transsensual bodies and learn to communicate within and without pre-conceived translation schemas?
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Points of Departure
Fortner Anderson |
Each day for a period of one-year, from February 11th 2010 to February 10th 2011, I composed a poem for the project Points of Departure. Over that period, 256 poems were completed. The results of this yearlong project will be presented in a single uninterrupted reading of a duration of 12 hours and 10 minutes. Every two minutes, in chronological order, I will present the poem composed for the corresponding day. For those days for which there was no completed text, I will remain silent for two minutes
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Une Promenade dans le Vieux-Port
Gina Florence |
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Creatures of the Ice Age - Animals of the Air
Ian Ferrier & Sarah Albu |
We define trance as that music which arose in the Middle East and North Africa, music whose intent was to carry both musicians and audience into a trance-like, dreamlike state. Using whispered words, wordless vocals and layers of guitar and synthesizer, our intent is the same. For your conference we would like to do this in a spoken and musical performance that would last anywhere from 30 minutes to 90 minutes and longer.
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Mother Tongue
Jackson Randall |
The language of my body is home, but the shape of my body is constantly changing, its extent unclear, aliased: here a hand, a mouth, a glowing screen, here an avatar or simulacrum has my face, has my words, has my Likes. To you I am always cloud-like, an extended nervous system appearing here in a shape, in a resonance, in these copies of my voice. Touch finds only surfaces. Sound moves only from interior to interior. Every acoustic sound is the inside of a body made sensible. I ask whose body I am today, and where my copies end.
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[pirate radio]
Jamie Ross |
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writing as an act of sedimentation, reading as a process of tactile sifting: a workshop around Miruna Dragan’s Cremated Names
Jenna Swift |
The absence of a name is a deeper kind of dark. What abiding structures underlie the things we’ve previously understood by naming them? InCremated Names, Alberta artist Miruna Dragan excavates the hollows of analytical comprehension, articulating images that are at once vacuous and flooded with significance. Structured elliptically around themes expressed through Dragan’s body of work, this workshop invites participants to consider geological timescales as a way in – conferring with mineral compositions to cultivate a deeper comprehension of the similar particulate nature of words. Together we'll proceed in breaking down language into pauses and molecular units… motes of language suspended as prose.
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IN•TIM•ACY
Jessica Mach, Amy Gottung, Mira Berlin |
"Intimacy builds worlds […] creates spaces and usurps places meant for other kinds of relation,” writes Lauren Berlant. Say that Berlant is right. Say, then, that what we are facilitating is an exercise in world(s)building, one that may unfold on a scale less comprehensive than the term “worldbuilding” would suggest. Less comprehensive, but not necessarily less ambitious. IN•TIM•ACY explores and experiments with intimacy-building: participants will be invited to cultivate personal worlds in the midst of an otherwise public space. Will this project elucidate intimacy’s operations, or will it merely contribute to our mystification?
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Gesture Trouble
Jordan Arseneault |
I will invite participants to review together passages from mid-century philosophers of language (Kristeva, Derrida, Kripke) and consider the presence and absence of Gesture from their textual worlds. If gestures are neither words nor not-words, then what do they open up for thought regarding our most troubled themes: power, gender, being-together, sustenance? Without necessarily locating the answers in the body, but without excluding this possibility, what hidden gestures can we find in these texts that might provide thoughts and makings that nourish our needs? The result will be “performances” or non-performances by groups of 3-5 participants which will in turn become fodder for further discussion in the group.
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Telling Secrets [pirate radio]
Julia Dyck and James Goddard |
In our contemporary auditory environment we are flooded with stimuli,
which can make it difficult to determine signal from noise. This has implications for the surveillance state and the masses of data they collect. It also opens up a space for non-state actors to conceal information within the superfluous data. Our sonic project will engage steganographic techniques to explore R.D. Laing’s theories of interpersonal communication, patterns of consumption and ownership, and the datatization of quotidian life. We will use a mix of spoken word, acoustic and electronic instruments, as well as digital techniques to create a polysemic auditory experience engaging these issues. |
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Talking to Walls [pirate radio]
Julia Murphy & Kaija Siirala |
Talking to walls A pre-recorded study of distances A meditation on voice and limits. Am I talking to a wall? This project, produced for SMT Pirate Radio, will play with the idea of a wall receiving sound. "It feels like I'm talking to a wall." (or Am I talking to a wall?") A wall is a barrier. A transmitter, a silencer, a keeper of secrets. But sound is received, for humans, when it meets the limit of the three bones in the inner ear that domino-knock agains the tympanic membrane (the ear drum). The vibrations are translated into songs, words, the wind. Pulling at strings and striking chords with various effects. Experimenting with a series of formal constraints, this project will consider walls and material limits as surfaces that receive and return sound. It will consider the reach of sound and voice, through borders of various constructions. "the subject can emerge as she actively submits herself to a collection of constraints” (Gomart & Hennoin, 1999, 1).
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Not Showing
Kate Thomas, Anne Thulson |
We play with the notion of mothering as a durational practice calling upon philosophers, mothers, educators, writers and artists to invoke the extendedness of a thought. We invite participants to attune to sensations and concepts in this performance/conversation between two mothers. This performance makes use of tracings through memory and sensations evoked by the text, smells, tastes and touch. The traces live on in the body. The event of performing durational mothering practices through the various senses beckons us to locate ourselves within the historical present.
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This performance piece explores everyday, secular exclamations that come from religious terms ("OMG!") and from coded versions of those terms ("Cripes!"). The piece is solo and participatory, in 3 "utterances" (acts). Utterance I is all the ways I can say, “Oh my God!” In Utterance II, we will all co-create a “God Talk” soundscape, together on the stage, where each participant performs the text written on the index card they choose. (I supply words and phrases, from “Jeezum Crow” to “Dang!”) Utterance III is another solo section: I truncate the phrase in Act I to only the “O!” |
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where did you find the body?
Kc Itohan |
where did you find the body? will be a sonic and visual experience comprised of projections + sounds lasting about 25 minutes. This presentation seeks to understand the ways that the internet, social media, and technology influence categories of humanity for those of us existing while Black. *Content Warning: depictions of racist and misogynist violence against Black people will be revisited during this presentation.
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It’s like hammering into nothing when I speak it
k.g. Guttman |
A collective reading of an interview that occurred over 7 days between myself and a mentor who became a friend. Each day the same questions were repeated, and each day the responses evolved and mutated. Questions were on the topics of art, teaching, politics, love, memory, and on her practice of creative writing.
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Going Up?
Kelsey Harrison |
A talk on the symbolic, allegorical and literary histories of ascension: summiting mountains, building towers, climbing beanstalks, stairways to heaven, declarations from balconies, etc. A look at “up” through my own investigations in my work, which is within, adjacent to, and departing from inherited meanings of ascension. Up and away if you will. After, an experience of summiting and proclaiming together from (maybe) Mont Royal, ladders, staircases, and fire escapes.
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The Secret Naming of Clouds
Kerri Flannigan, Estraven Lupino-Smith (sound) |
The Secrets of Naming Clouds is a performance accompanied by moving image work, projections, sound and live-narration. The performance draws on utopic universal languages such as Blissymbols, an ‘anti-word’ language designed to eradicate miscommunication and Láadan, a feminist language created to end patriarchy. These idealized forms of communication are interwoven with coming of age stories; homevideos and choreographed dances, dating bans, classroom conversations on consent, teen-girl vigilantes and a family trip to LA in pursuit of minor celebrity Adam Sessler, my sisters crush.
A 15 minute excerpt will be performed at the conference. Collaborators: sound by Saturniid ▽▽▽ dramaturgy by Sarah Elkashef▽▽▽ text editing by Kristin Li ▽▽▽with direction by Kevin Kerr |
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DreamLab
Kirstie McCallum |
DreamLab, is a performative workshop that draws on both creative writing and performance art traditions. I will guide the audience through a series of linguistic and meditative exercises designed to enhance their awareness of language, visual imagination, and associative thinking, using tools that range from the simple conceptual (free-writing) to the mechanical (a handcrafted “stroboscopic flicker device” aka Dream Machine, invented by artist Brion Gysin). The performance of DreamLab is a weaving together of the tangible and the intangible into a uniquely meditative experience.
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Images for things you blow
into at parties Lara Oundjian |
A semi-theatrical creation of space that unfolds in real time, with several warpings. Exploration: Surprise. Failure. Anticipation. Hoping for you. The performance of exctasy. Abjection. Sharing with you. Having fun. The sucess or failure of earnestness. Interests: The vocabularies of the theatrical and the daily, of qualities of presence and of movement. Am I with you/where are you
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WORD OF THE PIG
Laura Acosta |
WORD OF THE PIG is a dramatic audio-visual experiment that presents the relationship between a trigger, a subject and an object exposing the limits of translation. Performed by electronic musician Tobias Rochman
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Therapist in Residence // Dream Over
Lauren Siegel |
Therapist in Residence -- Throughout this durational conference I will be serving as the SMT Conference’s Therapist in Residence. For this project, I will be offering private individual, couple, or group psychodynamic psychotherapy at the mere cost of a barter object of the participants’ choice. All will remain confidential (unless participant prefers otherwise) and a liability waiver must be signed. A list of further mental health resources will be available to be discussed if participants choose to explore psychotherapy on an ongoing basis.
Dream Over -- As a co-organizer of the Dream Over event that takes place annually at the Rubin Museum, I am delighted to recreate a similar workshop at the SMT conference. This workshop will entail a group before sleep in which each participant will share a dream they have prepared (preferably written) prior to workshop to share with the group. After we have all spent time thinking about our dreams together, we will all fall asleep together--our thinking of dreams finding their way to being in dreams. In the morning, I will awake participants one by one and discuss with them individually their dream experience for 15 minutes at a time. I have experience as a Psychotherapist and as Co-leader of the Dream Over in assisting participants to recall dream material even when they believe they did not dream. I also have knowledge and experience in dream analysis and my discussions of participant’s dreams will be based in dream analysis and have a therapeutic bend. |
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Perambulatory
Lisa Erb |
declinations within the manifold? within flux: -Application of (restricted) repository: The BigPicture (glimpses of it), implications of next: Channelling interfaces, compounds. - Gat’d: Brewed for yr POV: Augmentation of the given: Complex linings. Relating. Rewired. - Process integrative open. Meta-level’d<trans>: next post-distinct <TO> Augmented Force Map: Next-level: 'N18E19X20T21' Depth? through scales? (Not) Knitting blindly. Yr ear? Next level combinatorics. - such theory: Meta-entrances & its topology, acid information, emergent linings? Rearrange the concept of entity, direction and relational potential on dimensional interrelational scale: within - encapsulations and bindings for 21st century: augmented gating - also in real timespace.
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46, female
lo bil |
46 provokes an absence, I have never spoken directly about sex. Now is the time. This will not be a sentimental exegesis but a visceral translation, finding words where there is only colour, comparison, compulsion, idea, image, impulse, desire, demand, drive, emotion, fantasy, obsession, reaction, response, sensation, speed, and statement. I experiment with my unknowing, with a physicality that is interrupted by verbal and non-verbal strategies. Seeing the non-syntactical elements as part of the discourse, we can say that this is a performative lecture that performs itself and stimulates more than one part of the brain at the same time.
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(Im)pensée burlesque :
sans et dans la pensée burlesque Madame Georges |
L'art dédouane t-il le corps nu performatif? Quand l'art, rend-il un corps nu performatif? Comment passe-t-on d’un regard ingénu ou péjoratif même, à un regard averti, tourné vers l’interprétation performative, affirmative de tous les types de corps. Est-ce le regard ou l’artiste qui décide de la nature d’une performance burlesque ? L'art peut-il distinguer ce corps nu et mis en scène? L’élément burlesque place souvent les performeurs burlesques en tension entre performance artistique et travail du sexe. C'est autour d'une discussion commune et mise à nue que spectateurs et artiste pourront essayer de répondre à ces questions.
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One Hand Moments: We Always Make Love with Wor(l)ds
Magdalena Olszanowski + Solon Chatzilias-Olszanowski |
The [ performance ] explores various modes of linguistic un/making via the collective exhaustion of motherhood. How can the banality and frustration of the repetitive actions of mothering become spaces for new potentialities to emerge when on display? when taken out of their domestic context? What is the boundary between our wor(l)ds and a newborn’s wor(l)ds? The [ performance ] is guided by the infant’s orientation towards their mother [ tongue ]. What does the duration of and distance from my tongue to my child’s form? Between you/me/them?
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Grey Matter & Bloody Tongues
Maggie Flynn |
Grey Matter and Bloody Tongues is a prod for participants to look at their perceptions and experiences of self-censorship. This project has two intersecting forms: a collective discussion, and an artist multiple for participants to engage with privately over the course of the conference. In the discussion we’ll wrestle with self-censorship and its relationship to other processes such as editing, strategic omission, and thought suppression. How does daily/conversational self-censorship differ from more macro choices (ex: art practice, internet presence, or physical presentation)? Multiple narratives will be drawn out to consider where along the spectrum of subconscious-to-conscious self-censorship happens.
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Erasing and Drawing on Artforum magazines
Marcelino Barsi |
A performative lecture of reading aloud images/texts from the Art Forum magazine, that I have intervened for the past years and that I will continue intervening in real time during the performance and the reading. So far I have more than 200 texts intervened, I will read some of those, perhaps in a stand-up comedy kind of way or maybe solemnly. The Art Forum magazines is a collection that I found on the garbage together with other magazines that someone who didn't want them anymore gave me. As an artist I usually use what others throw away. This as a gesture of re-using but also as a gesture to challenge the place where things end and begin. Like this, the performative reading-tracing, is a doubling act which traces and writes-draws on top of a well known art magazine as an institution full of art critics, galleries, notes on art, artists iconic pieces, etc. The magazine is a monument but this time it is also just a support that allows questioning the values of the written and the reading. A questioning in the act as an account of the idiosyncratic yet embedded experience of performativity, language and sound proper to a different kind of culture, one that comes alive during the encounter with those notes and texts. On the practice with ArtForum, I have been reading by crossing and erasing some lines of the texts with black ink from different black sharpie pens, creating like that diagrams that make it impossible to read the original text while at the same time create another texture of text or a what else could there be in the text as imaginary and playful landscapes of a sort of resistance.
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Dialecte pour objets, 2015
Marie-Andrée Pellerin |
"Dialecte pour objets" is a montage of images with a French voice narration and dubbed-over in German. The video sequence is looking at actions and procedures that deterritorialise language and objects, and the shifts of meanings those migrations in space can generate. Objects of our material culture and languages bear witness of our identities and ways of living. Removed from its territory, a language is a "affected by a strong coefficient of deterritorialisation", which might generate shifts in the meaning of the words. When does the language stop to be representative and tends towards its own limits?
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Rives & Dérives (Shores & Drifts) // Forty Tactons for Art and Music
matralab (performers include: Michal Seta, Felix Del Tredici) |
Rives & Dérives (Shores & Drifts) is a cycle of several pieces for drones and musical sound sources, based on a series of score drawings Sandeep Bhagwati made in 2011, originally conceived for ship sirens and a choir dispersed in the listening crowd. This version is an indoor piece for a computer generated drone and participative audience divided in 4 groups following a computer-animated rendering of the drawings with precise guides for speed, dynamics, pitch envelopes and vocal sounds. It is a kind of improvisatory canon: 4 groups will encounter the same sequence of graphic symbols realized with different durations, sonic textures and dynamics. An attentive listener might catch imitations and echoes wandering from group to group, just as they might in a contrapuntal poly-ensemble composition.
"Forty Tactons for Art and Music" (2014) Concept, Poem, Score: Sandeep Bhagwati Soloist: Felix Del Tredici Vibro-Belt: Alex Bachmayr/Joanna Berzowska Algorithms: Marcello Giordano, Joseph Browne, John Sullivan."Forty Tactons for Art and Music" is a conceptual comprovisation etude for soloist and a vibrating belt. The musicians alternately recites an oulipian poem word by word, with interspersed musical comments - but does not know in advance how and when each word/phrase needs to be spoken or what kind of music to play in response to it. These instructions are generated by an interactive algorithmic score, and transmitted to him via a vibrating belt: its vibration patterns, but also their speed and intensity shape both text and music in real time. This way of setting a poem to music is designed to not impose any intentional interpretation of the poem on the listener. But it is not random either: the interpretation is post-humanly authentic, and the performance is really human. But now you know that they are also only one of many possible interpretations and performances. Enjoy ! |
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A Lecture With(out) Words
in at least Two Acts Matthew Clinton Sekellick |
A lecture that isn’t. How is it possible to act? Is it possible to act? If I can’t act, can I still think? Theater sits in the space between words and not, placing words inside bodies. Nevertheless, I find myself mired in words and thought and unable to take meaningful action; a condition seemingly mirrored onto society. Depression infects its contemporary twin, discourse, and we are all living a Samuel Beckett play. Foucault said something about something cutting transversally across something, but I haven’t got a knife.
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Pack a Landscape and a Snack
Matthew-Robin Nye |
Any version of utopic space necessitates an understanding of the processes by which it emerges, holds, and dissipates, and an acknowledgement that the subject, while in co-development with utopia, does not precede or outlast it (Manning, Whitehead, Nyong’o). Fabulation (and the powers of the false) represent the “creative incumbent power” (Massumi, Manning) of creative practice and the social resistances that it may afford. ‘Pack a Landscape and a Snack’ incorporates the crystalline, movement-image (Deleuze) as a possible technique of transversal resistance by hiding difference on the other side of the actual. Together, we will develop techniques of creative resistance, landscape-layering as fugitive practice and resistence to the normative pull.
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Remote Viewing
Maximilian Goldfarb |
‘Remote Viewing’ is a slide program without images: The articulation of Maximilian Goldfarb’s observational text is accompanied by improvised sounds, performed by Crazed, which is the electronic sound outfit of Jack Schoonover and Maximillian Hamel. As a visual archive escaping traditional representation, we perform excerpts from a text that conveys a hallucinatory urbanism, interconnected anatomies, and the mechanics of everyday apparitions.
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Chorus [pirate radio]
Michael Mersereau |
“Chorus”is a multimedia broadcast on the FM radio band. Various individuals have donated audio of their crying using cell phones or other recording devices. Each audio file is randomly chosen every five minutes at a random frequency on the FM band. The roving pirate radio stations interfere with daily broadcasts to catch unsuspecting listeners off guard. A Raspberry Pi computer as the radio broadcaster controls range and distance for any show or installation. A LED can be attached to indicate a broadcast. Handheld radios will be scattered across the Darling Foundry so that visitors may chase the broadcast or just leave the radio on a static channel. “Chorus” can be adapted to various forms of greater or limited interference and channels.
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2 Short Drone Films
Michal Seta |
The proposal is simple. The two short films in the style of /Drone Cinema were produced in 2014 and 2015 and both started as a /haiku/, as in the above image (also cited below). Both videos are 3D animations. The haiku poems may be shown or not, on any medium as well, either printed or on screen before or after the film.
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Tied tongues & the mythical origins of linguistic separation
Michelle Bentsman |
How did we come to speak different languages? Why were we separated by the tongue? This session will approach these questions through a handful of mythical tales of linguistic separation. In response, we will use relational memory as a means to tie ourselves back together, one by one.
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Under the Surface [pirate radio]
Michelle Macklem |
How do we sonically account for the inaudible communication that surrounds us? The endangered Red-legged Frog lives most of its life, and communicates under water. This species can only be heard under the water’s surface. This radio art piece uses underwater field recordings from Vancouver Island, juxtaposing the sounds of the Red-legged Frog with that of the human-constructed radio broadcast signal. It explores the sounds that surround us everyday, but fail to recognize. Special thanks to Paige Erickson-McGee and Habitat Acquisition Trust.
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5FootWay
Mike Hornblow |
5FootWay is a cross-cultural collaboration in experimental translation, with creative communities in Yogyakarta Indonesia live-linked to a participatory event at Darling Foundry. Across a 13-hour time difference we will have breakfast for your supper. Using the figure of an alien crash-landed in a padi field, we extend an invitation to translate media, movement, and language as a way of embracing our collective alienations. 5FootWay is a magic-realist science fiction to be invented, looking for the alien within and between us, and across other things - food carts, video art, dance performance, and online interfaces.
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Closure in Between
Morgan Sea |
A look at the verbiage and structures of the graphic narrative formats known as Graphic Novels, aka Comics, aka cartoon strips for kids. Through a dynamic and not at all hastily thrown together slide show, Morgan Sea will tell you a tale of pictures and words and invisible magic!
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the Memory Choir
Naomi Moon, Emma-Lee Iverson, Marc |
our little team is here to enact the thought processes of asking and remembering... vamos baby – we will move our bodies round the conference events, meet you in the hallways, the in-between moments - chorus by the bathroom we will choir and mutter the questions we are hearing serenade you run a rose under your nose and ask you to remember will you make a mini myth to memorize now? With No camera, no notebook. stories collecting into sounds, repeating aloud till we learn what happened to us if we can, to help you trace your place and ask your queries
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Exploring wordness
Natalie Fletcher |
What are words? Where do words and nonwords blend into one another? Is there anything outside of words and nonwords? This interactive workshop will engage participants in a conceptual exploration of wordness through an experience of the Community of Philosophical Inquiry, an internationally recognized, UNESCO-endorsed method for developing multidimensional thought through collaborative dialogue. Using creative, cheeky inquiry moves that emphasize alternative word constructions (poetry + improv), word battlegrounds (associative + metaphorical duels), and nonworded phenomenological experiences (silent protests + tongue forgetting), this workshop will aim to curate a space where we can expand the boundaries of our perspectives on wordness.
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Rachel Yoder
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Raegan Leann Truax-O'Gorman
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Inhabiting Language
Rana Campbell |
An academic presentation with a twist- it's in Icelandic! Can we move beyond intellectualizing words to truly inhabit a language? Can we encode a foreign language with gestures, images, and unconventional translations to the point of possessing it? Or do we, ourselves, come to be possessed by it? How limited or free are self-expression and human connections given the embodied nature of language and the disembodiment arising from attempts to communicate in a language not-one's-own? This is a presentation about cultural identity based on my research as a Master's student in Iceland. More importantly, it is an invitation to radical communal experimentation with identity and representation across the matrix of a foreign language.
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Stating Naming
Robert Kingsbury |
Practice naming your state each time it shifts using one word. First only using present tense verbs to name, then later only past or future. Tenses in language are also neurological states that change one’s relationship to momentary experience. What do we end up doing or communicating about when we limit ourselves to using adjectives or nouns for a period of time? Attempting to translate (even to ourselves) what we are directly experiencing into language through particular filters offers insight into how body state, attention and presence mediate language.
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Next he makes a slow veer toward my lips
Ronald Rose-Antoinette |
While the only thing y’all should be figuring out is how to transfer the flavor of that word to that word to that word to that word to that word until y’all feel like it’s time to wrap up, I'm going to repeat and remix and unmix the moment he commanded a kiss whose love was to perish. Among the soft edges.
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FDthinkingMAP
Rosana Sánchez Rufete & Aris Spentsas |
We will develop and sketch, a different kind of map, where the importance is not on the 2-dimensional understanding of the place. Instead the continuity of a line made out of words transcribing the artist’s thoughts/ideas guides the participants. Thinking Map will establish a starting point and a common goal: to reach the correct destination, to meet the artists again - manage to discover the place of the encounter; and answer, what did you expect to encounter?
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Breathing and Moving: A Gestural Orchestra
SALYER + SCHAAG |
Dissolving into the time-space context of Words & [ ], this 56-hour relational aesthetics project curates situations for participants to intentionally breathe and move, collaboratively and individually, throughout the entire duration of the conference. Structured in three 18-hour cycles, “Breathing and Moving: A Gestural Orchestra” subtly activates a multiplicity of individual experiences to collectively create a complex score for movement, breath, sound, and gesture. Participation entails two ~5-minute actions. Participants are invited to choose a time-stamped instruction card, open it at the designated time, and perform the instructions.
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Mystic Insights, Ltd.
Sandra Huber and Rebecca La Marre |
Your local fortune tellers Sandra and Rebecca will source over 750 neural networks to present you and/or your avatars with a tailored reading based on a chosen theme. Let us consult the great Oracle on your behalf.
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Listening to the Heart of Things
Sanja Dejanovic |
Is it possible to maintain a conception of the self once we conceive of a philosophy of sense addressing each/everybody up to the cosmic body or no-body? While some argue that the self is sacrificed by such philosophy, I claim to the contrary that it is precisely through what someone like Jean-Luc Nancy has called “being-with,” that a genuine comprehension of the self can emerge; a self that emerges but as though an echo, an enfolding or doubling, of that which is listened to at the heart of each/all thing(s). I propose that such a self comes into presence each time singularly, only by virtue of listening to that which is at the heart of some/everything.
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Ontology of digitality
sans |
A video as a selection of chapters from a philosophy in progress, a hyperstition on the ontology of digitality, presented in the writing form of the digital. It thinks an affective theory of digitality, following in a tradition disengaging the notion of meaning from the broader aspects of what words are doing in the gesture of writing, and grappling with its own transfiguration of [in] the process. Writing as programming, words as meta-tagged subjects in the digital memory space of differance. It grapples with why autonomy recurses through kitsch cyborgism, and the leap it will take for automation to think the impossible, the end of financialization, a fabulation with the negentropic, the death of time.
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J'écrivais d'une manière absolument illisible
Sarah Chouinard-Poirier |
Cette expérimentation performative se veut un questionnement sur l’espace paradoxal entre le rêve et le réel dans une écriture du corps, du temps et de l’espace. Au réveil, je réaliserai une série d’actions performées dans un partiel ensommeillement, nourrissant cet état qui permettra la transmission des sensations et leur prolongement chez le regardeur. La partition performative malléable, basée sur l’observation de mes rêves des quatre derniers mois, se réécrira dans le présent au gré des nouvelles images du rêve, révélant leur langage et leur logique. Réalisée au petit matin, l’action sera suivie d’une discussion informelle.
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Nostrand Nostrnd
No No No Stand Sarah Mendelsohn and Fred Schmidt-Arenales |
A listening experience that resembles being on the express train when you usually take the local: when you’re sitting in the back of the car and it's crowded, so you can’t read the station names as they pass by, and you can barely understand the conductor’s voice, even though this is your line, and this is your language. We identify these moments as moments from a dream. "Nostrand..." is a performance in three parts over the course of the conference. It will include voluntary and staged audience involvement, vocalizations, and listening.
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Body Language
Sasha Amaya |
This workshop explores the relationship between movement and language. How can we use our bodies to explore the different facets that words can have and the different contexts in which they can be used? How do we learn words? And how do we inflect them with our own experiences and emotions? During this workshop we will experiment together to open up new understandings about words and our physical and emotional lives.
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Dreamwork as Method
in the Aesthetic Field Sasha Langford |
Rather than apply thoughts and sense to the non-thoughts and non-sense of the dream, how can the modes of work of the dream--what Freud calls the “process of transformation of the latent dream thoughts into manifest dream content”--be adopted methodologically? How can we not just think about the dream, but think the dream’s thought? Reinterpreting the Surrealist project to seek in dreams a site of truth and liberation, this experi(en)(m)ent(i)al lecture speculatively explores the dream as a formal mechanism instructive for aesthetic practice.
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Being a BABY
Sophie Traub |
Recently, while discussing the process of learning to sing opera with an opera singer, my friend Siobhan suggested it is actually quite natural; "Before we learn to walk and move upright, we are able to breathe with the full capacity of our lungs. Learning to sing opera is a kind of unlearning, as you re-learn to use your lungs to their full extent". When was the last time you laid on your back, your arms and legs in the air, and with the full capacity of your lungs, let out a wail from the core of your being, the source of your need? With this as a beginning, I will lead an exploration of early development movement patterns and noise making. We will explore rolling, momentum, unsteadiness, extremity flailing, note-holding, babbling, and sensually sound-making as means of enlivening and deepening breath, and re-orienting to gravity. Neuroscientist David Lloyd has said, "Musical sound may represent something fundamental and distinctive about the brain." He is referring to sonifying brain scans to understand the brain's activity--I am talking about noise making as a sophisticated means of understanding our aural landscape pre-lingually.
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An Uninterrupted Broken Line
Stella Rosa McDonald |
A small group of players sign up to play and are each sent a text by the writer SRM. Each player is designated a number. Number one reads their received text and, from memory, rewrites it to send to number two. Number two rewrites their text from SRM and copies and pastes the text from number one, sending both texts to number three. Number three rewrites their received text from SRM and copies and pastes the text from number two, sending the three-part text to number four and so on. The players meet and together read the final text before sending the (now complete) text back to the writer SRM.
"An uninterrupted broken line" uses errors as intentions and approaches writing as an act of culmulative—and communal—remembrance. |
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Radio-Pyrite [pirate radio]
Stephanie Castonguay & Sylvain Aubé |
Through raw material, Pyrite-Radio echoes our fragmented landscape to reveal these waves that pass through us. It is from the geological properties of various minerals, such as pyrite, galena and iron ore (magnet), as radio transmissions and pulse phenomenas are generated, both visually and acoustically. These minerals are incorporated into primitive electronic circuits, making sens of the very origins of our current technologies. The body acts as antenna or as a source of interference, to interfere in the transmissions captured by the circuits, as a theremin. In addition to these sources, various manipulations of electric currents (through synthesizers, pedals, modular consoles) emit sound combinations that blend imperceptibly, in addition to reverberate from one and other in feedback loops . While in performance it is possible to perceive and experience the process, both visually and as a listener, the sound piece that results offers a trace of the ephemeral.
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Archives Communautaires
Stephen Mueller |
I will record audio onto one hundred and twelve cassette tapes over fifty-six hours, using a handheld voice recorder. Once every half hour I will drop off a tape at a listening station. The tapes will not be ordered, labelled or otherwise organized. All will be invited to listen to, edit and/or transcribe from any available cassette throughout the duration of the conference. Additional recorders will be made available. I hope to initiate performative readings/writings of aural traces: communal participation in a transmutation of different voices, atmospheres and happenings into diverging, open-ended pseudo-chronologies. The idea is not to settle on any single narrative but instead to acknowledge absence, variation and possibility as integral to presence and experience.
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gossips, ghosts
and other poems ** t a p i l a p i ** |
** t a p i l a p i **’s performative landscapes are scenarios of the lived, a play of in-finite explorations between bodies in movement, gestures in hold, object's affairs, and continual mobile sculpture constructions. Through “mobile architectures of interminable landscapes”, the group of artists gather to work in daily conviviality to generate temporal sculptures as evental investigations. The mobile architectures/tableaux are small scenes or situational scenarios that emerge from playing with collective proposals and tending to each proposal with a plasticity of time. During the first day of the conference we'll be developing non-durational assemblages and on the second day we will present a more intensified performance.
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Word Racing International
Ted Strauss |
On your marks, get set, go. Word Racing International pits lexical gladiators head to head in a battle to read words quickly. Each carefully designed word list will challenge a different facet of pharyngeal dexterity and salivary fortitude. The tournament format will begin with EIGHT racers, and through the round robin format, one racer will emerge the victor. Fabulous prizes will be awarded. To reserve your place in the race please contact [email protected]. Audience members are encouraged to take sides and place bets. (Warning: some letters may be roughed up during the proceedings.)
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Index of New Words, Flag of No Nation
Tom Haviv |
"Index of New Words" is digital poetry project exploring different practices in the history of word invention, beginning with an exploration of a program that engages in what might be called speculative etymology. More info at tomhaviv.com. "A Flag of No Nation" is an open ended series of performances, workshops & installations that revolve around a nationless flag. The project began as a meditation on the nature of identity and post-nationalism in the context of Israel and Palestine. The talk itself will be about the origins, context & future of the project, the history of flag invention, the semiotics of glyphs (the khamsa in particular) etc. More info, with images of prior performances, at tomhaviv.com.
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Magpie Archive:
A performative bio-text tracing the intersections of personal narrative across land Tomas Jonsson |
I present work that reflects on the role of place and how it may at once inform a performative engagement (whether material or ephemeral), and the production of meaning. The performative installation consists of familial affects, gathered from my mothers archive. I am exploring associative stories and reflections that can be drawn from these material affects.
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alchemical texture no.2
Topological Media Lab (Navid Navab) |
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a bowl many little bumps . |
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slug sex
Valerie Kuehne |
Is there a point in the experience of surprise (as transcendence, as disgust) that moves a body past the point of verbal engagement? are we "pushed over the edge" into a speechless space? do we crave this edge? do we live our lives perpetually running from the cliff? Is there anything else worth performing for? I am invested in the type of silence that results from surprise in both a delightful and traumatic sense. I will push myself past levels of comfort in order to find a non-verbal space that supports pure action, pure performance. I will forget myself. I will formulate a therapy that alleviate the debilitating inner monologue that we all face. I will aspire to the ecstatic. I will gladly sacrifice my speech for the sake of catharsis. I want to believe that "presence" grows out of a non-verbal state, and that the more one engages this silent space, the more fluently one lives to describe this experience at a later date. Wisdom. Growth. Abandonment. Earthworms.
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What to Look for in Water
Willy Smart |
We’ve all had enough lessons on the high dive; let’s spend some time just floating here on our backs. That’s nice, no? That’s because the surface is the space of erotics.
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Crypto-Space
(4-D Diagrammatical Performance Instructions) Yvette Granata & Shane Farrell |
A performative thought experiment that aims to enact a framework for an exoskeleton for a new dimension of space-time. We will build a dimensional score in which the rules are not focused on individual or interactive social behaviors but instead on dimensional interactions with gravitational waves from 400,000 years before the Big Bang. We will lead a group performance in which we invite participants to collectively conceptualize and inhabit the dimensional gravitational score.
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Practise Practise Practise
Zoe Greenberg, Gavin Sewell, Adorno Max Sewell |
Dionysius plumed a superabundance of fertility. But how does actual biological abundance act upon the words and bodies of working artists? Babies pulse according to their own animal rhythms, interfolded within the maternal body during the dark time of gestation. The first year is one of carefully and gently persuading baby to relinquish this interfolding, to become more like separate, ego-driven grownups. Making art around this difficult work of persuasion is an awesome challenge. Against all odds, we will haul our practise into the collaborative space and share our growing thinking process with our sibling inspirators.
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