Abstracts - York St John University

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The proposed practical presentation enacts and interrogates Braidotti’s ‘nonunitary and multi-‐layered vision’ (2011: 5) of the subject through the lens of the live media performer, who activates onstage technical mediums live and in response to the moment of performance. In so doing, she constructs her subjectivity in a number of layered and concurrent mediatised modes, enacting these layers live and existing in a discourse between the controlled activation of media and the mediatised representations generated; a precarious condition. Nicolas Bourriaud defines the precarious object as having ‘no definitive status and an uncertain future or final destiny: it is held in abeyance, waiting, surrounded by irresolution’ (2009). Through self activation of a layered representation of her own subjectivity, which constantly elides and eludes her control, the live media performer enters into discourse with the conditions of precarity cited by Bourriaud, namely ‘flickering’, ‘the indiscernible’ and ‘nomadism’, through the perpetual ‘transcoding’ of form (2009). The ‘lines of flight’ (Braidotti 2011: 7) represented by the diverse gestures constituting both the creation of and manifestation of the subject in this form of performance represent a ‘nomadic intervention’ (9), which though it may be characterised as ‘a creative alternative space of becoming’ is also problematic in terms of the nature and significance of the actual and virtual ‘emerging subjects-‐in-‐process’ (8) it generates. Jo Scott is a teacher, practitioner and researcher whose PhD study involves an investigation of live intermediality in performance. As an international school educator, Jo has taught all over the world and in a variety of contexts, from Singapore to the UK and many places in between. On returning to the UK, Jo undertook an MA in Performance Practices and Research at CSSD. This was the starting point for developing the live intermedial performance practice, which is now the subject of and vehicle for her practice based PhD thesis. Disseminated Choreographies, Nomadic ‘Body-Archives’ Annalisa Piccirillo (University of Naples “L’Orientale”) My paper relies on the theoretical debate about whether/how a dancing event, the ephemeral trace of a ‘virtual’ body gesture, transforms and destabilizes the archival culture (A. Lepecki: 2008; R. Schneider: 2011; D. Taylor: 2012). I will propose the creative and critical concept of the dancing body as a living ‘archive’: the reality that saves, embodies, stratifies, and, at the occurrence, consults and re-‐activates a specific choreographic knowledge. My contribution will focus specifically on the technè of antigravity, a corporeal practice that is ‘lost’ and ‘re-‐found’ throughout the performativity of dance history, a choreographic language that is ‘differed’ and ‘displaced’ – disseminated across temporal recurrences and spatial displacements (J. Derrida: 1972). The creative and critical ‘dissemination’ of the anti-‐gravitational gesture will be presented as an effect of the ‘becoming-‐nomad’ subjectivity of the dancing body. This contemporary body, which can be associated to the nomadic subject “who has relinquished all idea, desire, or nostalgia for fixity” (R. Braidotti: 19949), abandons patriarchal/patri-‐archival pre-‐established norms, subverting the fixed body-‐codifications of time and space. The choreography by Erika Janunger, disseminated on the digital web-‐screen, and later on the liquid urban architecture of Time Square in New York, exemplifies the becoming nomad of the ‘body-‐archive’, re-‐negotiating the female subjective and corporal belonging of the dancer into a ‘Weightless’ spatial context. 11
Annalisa Piccirillo holds a Ph.D in “Cultural and Postcolonial Studies of the Anglophone World” from the Università degli Studi di Napoli “L’Orientale”, Italy. She is a research fellow at the Department of Human and Social Science and is currently working on a project untitled “New Practices of Memory: Mediterranean ‘Matri-‐archives’”. Main areas of research: contemporary theatre/video-‐dance, performance art, theory of choreography, gender studies, postcolonial studies, disability studies, deconstruction. Improvisational relations: Interactive screen practices, refiguring subjectivities Vida L Midgelow (University of Middlesex) This presentation will share some early explorations of a new work in progress by dance researcher Vida L Midgelow (http://www.choreographiclab.org/ & http://danceimprovisationpractice.blogspot.co.uk/) and digital installation artist Nic Sandiland (http://www.nicsandiland.com). Their new collaborative work, generated within the framework of improvised practices, seeks to find modes of interaction and screen image that evoke nomadic subjectivities in the audience/participant. This new interactive screen work is founded in Midgelow’s thinking around improvisation as a nomadic practice. Like nomads, Midgelow has argued, improvisers are comfortable with transitions and change, they do not cling to illusions of permanence and stability in their dance. Improvisation enables subjectivity to be unfixed and deterritorialized, whilst being grounded and located in the materiality of the body and the places in which we dance. This presentation explores the ways it may be possible to extend these ideas, and the ethical relations between dancers evident within improvisation practices, through screen to/with audience. Vida L Midgelow is Professor in Dance and Choreographic Practices at Middlesex University and lives in Derbyshire. She has over 20 years experience facilitating and lecturing in performance. She is Co-‐Director of the movement research organisation 'Choreographic Lab' and Co-‐editor of 'Choreographic Practices' (an internationally peer reviewed Journal). Her movement and video work has been shown internationally and she publishes her research in professional, online and academic journals. including recent essays in; ‘Being’ and experiencing in between the ‘here’ and ‘there’ of digital dancing Kerry Francksen-‐Kelly (De Montfort University) Addressing notions of embodied practice and the ‘unpredictable territory of corporeal perceptual processes’ or ‘perceptual performativity’ (Vaas-‐Rhee 2010), this scholarly paper builds on Erin Manning’s notion of ‘sensing bodies in motion’ (2007) in order to discuss the possibilities for creating intimate exchanges between live and mediated dancing bodies. Drawing on an understanding of the body as a sensory, intelligible, and emotional entity this paper will explore how a conception of a live-‐digital body as an ‘expression (that) happens in the in-‐between of bodies’ (Manning 2007) can offer choreographers and dancers, who are increasingly faced with having to negotiate both live and digital domains, a perceptual framework for understanding how best to develop their sensibilities as both a live and digital body. This paper will, therefore, foreground the dancer’s experience of moving in such environments in order to engage more critically with those ‘perceptual processes’ in order to consider what it means to ‘dance’ in mediated environments. Through an analysis of the author’s own embodied experiences the thrust of the discussion 12
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Abstracts - York St John University

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