Abstracts - York St John University

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written code as a score for vocalisation sounding.js will be performed live at the E-‐POETRY Festival 2013 and attempts to speak a nonverbal language through rehearsed and recited sounds-‐as-‐language. Influenced by F.T. Marinetti's concept of 'words in freedom' and 'the destruction of syntax', Steve McCaffery's 'Voice in Extremis', and Christian Bök's Cyborg Opera, the performance and its construction explores the materiality of electronic textuality as sound poetry. Invented in 1995, Javascript is part of the architectural framework of web browsing. The third level in what developers call 'The Separation of Concerns' which identifies HTML, css & Javascript to make possible the editing of a websites content, aesthetics and behaviour individually. Javascript is extra-‐textual, it is concerned with action, execution and cause. The 'separation of concerns' isolates the content from the behaviour, however, in this performance, the behaviour becomes the content, the code is executed as a sonic dysfunction. Attempting to bring the function and code of the computer to a visible and tangible aurality. Using Alan Golding's term 'transitional materialities', this paper will discuss the temporal and spatial textuality of new media poetics and how, by sounding the code, we can align digital writing practices with performance and sound poetry. Engaging in the theories of Giselle Beiguelman (2006), Rita Raley (2002) and what Ming-‐Qian Ma (2009) calls the 'sound shape of the visual'. Nathan Walker is an artist and writer based in York. He is lecturer in Performance at York St John University and co-‐founder of arts organisation O U I Performance with Victoria Gray. His practice transforms the event of writing into performance, video and collage and has been shown both nationally and internationally in galleries, festivals and theatre spaces. www.nathan-‐walker.co.uk Digital Oedipus: de-structuring the theatre of the subject Hannah Lammin (University of Greenwich/Birmingham Institute of Art and Design) Studio for Electronic Theatre has produced a series of digitally-‐enhanced performance works (ACT Oedipus, 2011; Oedipus - Code Breaker, 2013) re-‐imagining the Oedipus myth in a virtual-‐reality age. These works combine physical performance with audio-‐visual feed-‐ back and augmented reality effects, with the aim of producing a new turn in the tradition of "total theatre" which transforms the experience of time and space, producing a non-‐ representational experiential form. Using the performance pieces as a starting point, this paper will examine the figure of Oedipus as a mythological foundation – both to our understanding of theatre since Sophocles' work was taken as the epitome of tragedy in Aristotle's Poetics, and to modern conceptions of subjectivity, as rooted in Freudian psychoanalysis. I will argue that, by re-‐ staging the ancient tale in a near-‐future telematic environment and highlighting the disjunctures between the virtualized hyper-‐reality of the digital age and the brutalities that persist in the mundane reality of crisis spaces such as the war zone or refugee camp, SET's work figures something of the instability and indeterminacy that constitutes the identity of Oedipus, who is both foreign and native to Thebes, both husband and son to Jocasta. Drawing on Lyotard's libidinal philosophy, which takes the structure of the theatre as the paradigmatic form of subjectivity, I will argue that the non-‐linear, synaesthetic experience of SET's Oedipus generates an intensity that opens onto the fluid surface space Lyotard names the “Great Ephemeral Skin”, thereby energetically de-‐structuring the theatrical architecture of the subject. 17
Hannah Lammin is a performer and researcher with the collective Studio for Electronic Theatre. Originally trained in dance at the London Contemporary Dance School and CalArts, she is currently an AHRC supported PhD candidate in Media Arts Philosophy at the University of Greenwich/Birmingham Institute of Art and Design. Performance: Anatomical Theatres of Mixed Reality Mark Jeffery & Judd Morrissey Anatomical Theatres of Mixed Reality is a durational live performance and installation that engages histories of forensics and anatomical science, placing the crudeness of early surgery in relation to the prevailing 21st century vision of a body enhanced by data and augmented by computation. The work's choreography, text, and overall form and structure are influenced by research into a range of historical archives including the history of anatomical theater, the deductive logic of Sir Arthur Conan Doyle, Francis Glessner Lee's miniature crime scene re-‐enactments known as the Nutshell Studies of Unexplained Death, and archives of personal evidence such as The Stud File, a methodical record of the sexual exploits of Samuel Steward, a 20th century tattoo artist, pornographer, and friend of Gertrude Stein. The core of the performance is an interactive operating table that generates screen-‐based content and distributes virtual overlays that can be viewed through mobile devices throughout the event. The hand-‐built operating table is potentially extended by four additional modular and mobile wooden leaves, eventually transforming into a 10'x16' assemblage that acts as a stage. The spatial choreography of bodies and objects enacts anatomy as both intact whole and distributed data-‐consuming system, as the elevated surface of the work shifts underfoot, fluctuating between references to surgery, torture, sex, solitary confinement, monastic behaviour and banquet. The work is partially supported by a grant from the Chicago Dancemakers Forum and commissioning support from the European research group ELMCIP (Electronic Literature as a Model for Creativity and Innovation in Practice) in collaboration with Edinburgh College of Art and New Media Scotland. The piece has also been supported by artist's workshops at dance4, the Royal Conservatoire of Scotland, and The School of the Art Institute of Chicago. The work is also supported by the National Museum of Health and Medicine Chicago. atom-r (anatomical theaters of mixed reality) is a provisional collective exploring forensics, anatomy, and 21st century embodiment through performance, language and emerging technologies. Participants include Mark Jeffery (choreography), Judd Morrissey (systems), Justin Deschamps, Sam Hertz, Christopher Knowlton, & Blake Russell (collaborators/performers). Mark Jeffery and Judd Morrissey are a collaboration merging live performance and digital literary practices. The work, which is visual, textual and choreographic, evolves through context-‐specific research and practice and always considers the constraints of a given venue or occasion. Site-‐specific considerations extend beyond the performance space to engage place as a living archive by incorporating online data available within a locale. A given piece is a body of material that may have no singular fixed form but is alternately presented as internet art, durational live installation, an ongoing activity, or a performance of fixed length. The two Chicago-‐ based artists are currently in residence at the National Museum of Health and Medicine, working with four male dancers, on Anatomical Theaters of Mixed Reality, a performance that examines the history of anatomy and forensics in conjunction with the 21st century vision of a posthuman body extended by computation. 18
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Abstracts - York St John University

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