Abstracts - York St John University
Abstracts - York St John University
Abstracts - York St John University
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Hannah Lammin is a performer and researcher with the collective <strong>St</strong>udio for Electronic<br />
Theatre. Originally trained in dance at the London Contemporary Dance School and<br />
CalArts, she is currently an AHRC supported PhD candidate in Media Arts Philosophy at the<br />
<strong>University</strong> of Greenwich/Birmingham Institute of Art and Design.<br />
Performance: Anatomical Theatres of Mixed Reality<br />
Mark Jeffery & Judd Morrissey<br />
Anatomical Theatres of Mixed Reality is a durational live performance and installation<br />
that engages histories of forensics and anatomical science, placing the crudeness of early<br />
surgery in relation to the prevailing 21st century vision of a body enhanced by data and<br />
augmented by computation. The work's choreography, text, and overall form and structure<br />
are influenced by research into a range of historical archives including the history of<br />
anatomical theater, the deductive logic of Sir Arthur Conan Doyle, Francis Glessner Lee's<br />
miniature crime scene re-‐enactments known as the Nutshell <strong>St</strong>udies of Unexplained Death,<br />
and archives of personal evidence such as The <strong>St</strong>ud File, a methodical record of the sexual<br />
exploits of Samuel <strong>St</strong>eward, a 20th century tattoo artist, pornographer, and friend of<br />
Gertrude <strong>St</strong>ein.<br />
The core of the performance is an interactive operating table that generates screen-‐based<br />
content and distributes virtual overlays that can be viewed through mobile devices<br />
throughout the event. The hand-‐built operating table is potentially extended by four<br />
additional modular and mobile wooden leaves, eventually transforming into a 10'x16'<br />
assemblage that acts as a stage. The spatial choreography of bodies and objects enacts<br />
anatomy as both intact whole and distributed data-‐consuming system, as the elevated<br />
surface of the work shifts underfoot, fluctuating between references to surgery, torture,<br />
sex, solitary confinement, monastic behaviour and banquet.<br />
The work is partially supported by a grant from the Chicago Dancemakers Forum and<br />
commissioning support from the European research group ELMCIP (Electronic Literature<br />
as a Model for Creativity and Innovation in Practice) in collaboration with Edinburgh<br />
College of Art and New Media Scotland. The piece has also been supported by artist's<br />
workshops at dance4, the Royal Conservatoire of Scotland, and The School of the Art<br />
Institute of Chicago. The work is also supported by the National Museum of Health and<br />
Medicine Chicago. atom-r (anatomical theaters of mixed reality) is a provisional collective<br />
exploring forensics, anatomy, and 21st century embodiment through performance,<br />
language and emerging technologies. Participants include Mark Jeffery (choreography),<br />
Judd Morrissey (systems), Justin Deschamps, Sam Hertz, Christopher Knowlton, &<br />
Blake Russell (collaborators/performers).<br />
Mark Jeffery and Judd Morrissey are a collaboration merging live performance and digital<br />
literary practices. The work, which is visual, textual and choreographic, evolves through<br />
context-‐specific research and practice and always considers the constraints of a given<br />
venue or occasion. Site-‐specific considerations extend beyond the performance space to<br />
engage place as a living archive by incorporating online data available within a locale. A<br />
given piece is a body of material that may have no singular fixed form but is alternately<br />
presented as internet art, durational live installation, an ongoing activity, or a performance<br />
of fixed length. The two Chicago-‐ based artists are currently in residence at the National<br />
Museum of Health and Medicine, working with four male dancers, on Anatomical Theaters<br />
of Mixed Reality, a performance that examines the history of anatomy and forensics in<br />
conjunction with the 21st century vision of a posthuman body extended by computation.<br />
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