Abstracts - York St John University

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Introduction: Nomads, Hybrid Spaces, Liquid Architectures, And Online Domains Eirini Nedelkopoulou (York St John University)& Maria Chatzichristodoulou (University of Hull) Eirini Nedelkopoulou is Lecturer in Theatre at York St John University. She has published on digital practices in performance, participation and new media theatre through the scope of phenomenology and theories of perception and embodiment. Eirini is co-‐editor of a forthcoming special issue of International Journal of Performance Arts & Digital Media (Intellect Press) on “Hybridity: The intersections between Performance and Science”. She is currently working on a co-‐edited book project, which explores the interventions between phenomenology and performance. She is co-‐convenor of TaPRA’s Performance and New Technologies Working Group. Maria Chatzichristodoulou [aka Maria X] is a cultural practitioner (curator, performer, producer, writer) and Lecturer in Performance and New Media at the Department of Drama and Music (Drama), University of Hull. Maria worked as a Community Officer at The Albany in South London. She was co-‐founder of the international media art festival Medi@terra and co-‐director of Fournos Centre for Digital Culture (1996-‐2002, Athens, Greece); co-‐director of the festival and symposium Intimacy Across Visceral and Digital Performance (London, 2007); director of the symposium Black Box to Second Life: Theatre and Performance in Virtual Worlds (Scarborough, 2011), and co-‐convener of the conference Live Interfaces (Leeds, 2012). Maria is co-‐editor of the volumes Interfaces of Performance (Ashgate, 2009) and Intimacy Across Visceral and Digital Performance (Palgrave MacMillan). She has lectured and published widely, including journal articles, book chapters and invited lectures at MIT, Yale University and Georgia Institute of Technology (USA). She is currently working on a monograph which explores performance practices that develop within networked environments. Keynote Address: Becoming martyr in the age of digital technology Maaike Bleeker (Utrecht University) The global emergence of technological media and electronic networks has caused an epochal shift in the citational network of discourses and turned Derrida´s iterability into a condition of life. As Jon McKenzie (Perform or Else, 22) puts it: ` Highly localized ensembles of words and gestures can now be broken apart, recombined and hyperlinked to different ensembles in ways unlike anything in the past at speeds incredible from all perspectives except those of the future.` These perspectives from the future will be my concern, and how they are part of the ‘becoming nomad’ of subjects, bodies and ideas that occurs within our contemporary globalised, mediatised, augmented and distributed environments. Such becoming nomad, I will argue, is not merely a matter of freedom and liberation but also, and at the same time, ´necessarily implies a certain level of terror, whether soft or hard: be operational (that is: commensurable) or disappear´ (Lyotard, The Postmodern Condition, xxiv). I will approach this subject and the questions it raises from a work by Lebanese performance maker Rabih Mroué, titled On Three Posters. Reflection on a video-performance by Rabih Mroué. In this video lecture Mroué reflects on an earlier work he created together with Elias Khoury, titled Three Posters. This performance in its turn presented an embodied reflection on the video tapes left behind by a Lebanese freedom fighter. These tapes, as Mroué observes, present the freedom fighter as the martyr he would become and thus produce the proof of something that had not happened yet at the time of the recording. 1
This potential of video recordings to perform something that was not yet there would later be the reason that Mroué decided to stop performing Three Posters when after 9/11 the audience started to see the video testimonies in a different way. This potential however, I will argue, is characteristic for how in a situation of ´incredulity towards metanarratives´ (Lyotard) performativity replaces traditional goals of knowledge, truth and liberation. In this situation, the performance of the freedom fighter trembling in the face of the camera that will challenge him forth as martyr, is the example par excellence of the terror observed by Lyotard, the terror described by McKenzie as the pressure to perform-‐-‐or else. Maaike Bleeker is a professor of Theatre Studies at Utrecht University. She graduated in Art History, Theatre Studies and Philosophy and received her PhD from the Amsterdam School for Cultural Analysis. She combines her academic work with a practice as dramaturge in theatre and dance. She is the author of Visuality in the Theatre. The Locus of Looking (Palgrave MacMillan) and editor of (among others) Anatomy Live. Performance and the Operating Theatre. She is President of Performance Studies international (PSi). Panel 1. Liquid Spaces, Performative Architectures Concepts towards the realisation of the Technophenomenological Being: the liquid dimensionality of kinaesthetic self and immersive worlds Craig Vear (De Montfort University) This paper will discuss current research in the development of a performance concept of the Technophenomenological Being; a theoretical concept inspired by Amelia Jones’ notion of the ‘metaphysical transcendence of mind-‐expanding machines’ (Jones 1998: 205). It will discuss this concept from three perspectives: 1) the development of a technically mediated environment using immersive VR and binaural sound image; 2) Natural Interfaces for fluid immersion, and 3) a framework for the cognitive-‐creative development of the performer. It will draw together seemingly disparate discourse from audience modalities of Digital Opera, performance practice of hyper-‐instruments, fluid immersion in online gaming and McGonigal’s notion of the gaming Gesamtkunstwerk, linking into philosophical frameworks from Antonio Damasio’s work into consciousness and Merleau-‐Ponty’s phenomenology including the question ‘where are we to put the limit between body and the world, since the world is flesh?’ Drawing these together with current practice-‐as-‐research from the Intermediality and Performance Research Group (De Montfort University), I aim to articulate my imperative and arrive at the concept of the Technophenomenological Being that is not dwelling “within” the relationship between technology and human performer (such as juxtaposition) or “among” this relationship (such as a second skin) or even the “prosthetic God”; but is rather as. Craig Vear is a senior lecturer in Performing Arts specialising in music and digital arts within the School of Art. He is an internationally recognised composer working within performance and technology. He is chair of the Intermediality and Performance research group and full member of the DORG: Digital Opera Research Group, and MTI: Music, Technology and Innovation. He won an Olivier award in 2012, went to Antarctica as composer-‐in-‐residence with the British Antarctic Survey (2003-‐4), and sold over 350,000 albums with his band Cousteau. Cartesian Bodies and Euclidean Spaces 2
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Abstracts - York St John University

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