Abstracts - York St John University

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Architecture at the University of Lincoln. ‘Liminal’, ‘absurd’, ‘differential’ and ‘marginal’ space are terms that are often attributed to interstitial domains where spatial codifications merge, slip or distort, and it is within this tradition that his research finds a conceptual fix. Angela Bartram is an exhibiting artist who also writes and publishes. This work concerns conceptual and physical thresholds and the notion of animality as acted and/or intuitively behaved by humans. She is a senior lecturer in fine art at the University of Lincoln. Panel 2. Dispersed Intimacies Dissolve Julian Maynard Smith (Royal Central School of Speech and Drama) Dissolve is a telematic performance project led by Julian Maynard Smith, Research Fellow in Telematic Theatre at the Royal Central School of Speech and Drama. It proposes a performance space that achieves solidity only in its online manifestation – at any of its component, physical locations it is partial and transparent. Any performer appears as a transparent wraith in the space until they merge with a performer elsewhere, gaining solidity and agency through combination. Each performer inhabits the other’s image in an intimate sharing of a common fate. Until the spell is broken, a new, third person emerges, living entirely in the online space which itself consists of different spaces overlaid. The space itself is rooted entirely in the physical world but can exist only in an imaginary one, one which is ambivalent visually, apparently physical but breaking the laws of three-‐ dimensional space. Thus person, action and space no longer have a unitary, one-‐to-‐one relationship. The project is being developed with Florian Beigl (Berlin) and Blackhole Theatre (Braunschweig), using straightforward network technologies to achieve its phantasmagorical effect. This simplicity and affordability allows artists and performers around the world to join the project, with the aim of creating a community of inhabited, possessed spaces and people. The presentation at TaPRA would be a concrete step on this path, taking the form of an online gathering where both participants and audience share the merging and dissolving of the person/personality that the project generates. Julian Maynard Smith is the founder and artistic director of Station House Opera, which since 1980 has produced 35 productions around the world. Commissions have marked the centenary of the Brooklyn Bridge (1983), the Bicentenary of the French Revolution (1989) and the Allied bombing of Dresden (1996). In 2004 the company began a series of telematic productions linking performance sites around the world. Recent productions include Dominoes (2009-‐13), an Olympic commission and now being produced throughout the world; and Mind Out (2009-‐11). The company’s next piece is Dissolve, in 2013/14. He is Research Fellow in Telematic Theatre at the Royal Central School of Speech and Drama. Visual interaction among families with an element of dispersion: generating spaces of intimacy between ‘here’ and ‘there’. A case study of Spanish-Irish families living in Ireland. Patricia Prieto Blanco (University of Ireland, Galway) When we link the digitization of photography with the development of telecommunications, we have a new scenario where concepts of distance become obsolete (Manovich, 1996). Nomadic world-‐citizens (Belting, 2001: 39-‐41) engage differently with 5
the physical world as a result of their loss of permanent and tangible links with their environment. They inhabit both physical non-‐places (Auge, 1995:70-‐98), which are surrendered to the temporary and ephemeral, and also telecommunicative virtual spaces (Villi, 2011: 126-‐8), which remain as a constant due to their ubiquity and immediacy. Their proliferation responds to the need of nomadic world-‐citizens of communicating in time rather than over time. The steady betterment of technological conditions has greatly contributed to the rise of visual communication in these telecommunicative virtual spaces: camera-‐phones, webcams, point-‐and-‐shoot cameras. Photography becomes interpersonal and intimate (Villi, 2011: 79) because it is being used as medium of communication (Villi, 2011:60) rather than as medium of representation. We have moved from talking about photographs to talking through photographs. Transnational, nomadic world families use photography to share certain spaces devoted to intimate engagement. At the same time, their spaces of familial intimacy are reconfigured through the digital photographic practice. An open and constant negotiation of intimate spaces takes place. It will be argued, that as a consequence of the digitization process, patterns of image production and consumption have fundamentally changed. This situation has highlighted the role of the digital photographic practice towards a construction of mobile familial homes that overcome physical dispersion of family members. Patricia Prieto Blanco is a videoartist, photographer and PhD media-‐researcher based at the Huston School of Film and Digital Media (NUI Galway). She investigates contemporary image uses from the interplay between theory and praxis, using photography and videoart as part of her investigations. Specifically, she is interested in how the digital photographic practice re-‐configurates spaces of home, how it enables to overcome distance, and how photography is used today to communicate rather than to represent. Her theoretical work has been published in the UK and in Germany, while her practice-‐based research has recently traveled to Kobe, Bradford and Bucharest. The Urban Emotional Antenna: ‘Tuning’ metaphors and actions of the walking artist/flaneur Bill Psarras (Goldsmiths University of London) This paper explores the concept of walking as an aesthetic and embodied media art practice in the 21 st century city. It draws connections between metaphors and actions; between the real and the virtual; between the inside and the outside; between the personal and collective emotion. It focuses on the contemporary walking artist of the city and the interconnections with the concepts of flaneur and psychogeography by presenting interrelations between such concepts and current media art practices. Having them as starting points, this paper aims to explore a sensorial dialogue between metaphors and actions of walking and perceiving the city [spaces of movement] in search of emotions, by emphasizing the notion of in-‐betweeness as potential catalyst for this dialogue. It has been argued that metaphors constitute strategies that people try to understand a world ‘where what is known and unknown is constantly changing’ (Larsen, 2004:30). The ongoing spatial transitions and social stimuli set the contemporary city as a core metaphor to approach personal and collective emotional changes. Such richness in stimuli, situations and data forms a significant palette for the artist to engage with and experience the urban fabric. Throughout the 20 th century, a trajectory of artists and cultural theorists understood 6
Page 2 and 3: Introduction: Nomads, Hybrid Spaces
Page 4 and 5: Sita Popat (University of Leeds) Th
Page 8 and 9: walking as a cultural act. Since th
Page 10 and 11: nightclubs and dance classes, were
Page 12 and 13: The proposed practical presentation
Page 14 and 15: will suggest that the potential for
Page 16 and 17: performance practices with hacking
Page 18 and 19: written code as a score for vocalis
Page 20: Recent works have included The Prec

Abstracts - York St John University

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