Performance Art

Glasgow 1997, South Africa 1900

by Psychogeography from 'Transgressions'

by The Urban Research Group, 'Transgressions: A Journal of Urban Exploration', 1998, number 4

'Psychogeography from 'Transgressions'' brings you classic pieces from the early days of the psychogeography revival

Darton, Pontefract and Beyond

by Psychogeography from 'Transgressions'

by Roger Boyle, 'Transgressions: A Journal of Urban Exploration', 1998, number 4

'Psychogeography from 'Transgressions'' brings you classic pieces from the early days of the psychogeography revival

‘Bodily Remembrances: The Performance of Memory in Recent Works by Amanda Coogan’, Artefact: The Journal of the Irish Association of Art Historians, Issue 3, 2009.

by Kate Antosik Parsons

Cybernetics in Art and the Myth of the Cyborg Artist

by Tom Tenney

This paper argues that artists calling themselves “cyborg artists” represent only a small fraction of the ways in... more This paper argues that artists calling themselves “cyborg artists” represent only a small fraction of the ways in which cybernetics has infiltrated art and ideas about art, and that, in fact, their work often isn’t cybernetic at all, if we adhere to Norbert Wiener’s definition. The “artist as cyborg,” can refer not only to the materiality of the forms used to create art (i.e. machines and/or new media technology) but also to an aesthetic which is modeled on the core principles of cybernetics: negative feedback used within a system to achieve a goal. This is a perceptual shift away from thinking of “cyborg art” exclusively as those that utilize new media technology, and towards a more holistic theory that situates art in Wiener’s more inclusive theory of cybernetics

This was made to end all parties

by Melle Kromhout

Mounting Without Language: The Political Resistance To Signifier In Harold Pinter’s Mountain Language

by Arka Chattopadhyay

It's a paper I presented in my Post-grads days in JU on Harold Pinter's last play Mountain Language. It was meant to... more It's a paper I presented in my Post-grads days in JU on Harold Pinter's last play Mountain Language. It was meant to be a tribute to the playwright who had died that year only.

I upload it as a work in progress piece without a bibliography!

The paper seeks to analyze the political function of silence in Mountain Language not only in terms of the issue of the Kurdish language which is the political context for the composition of the play but also in terms of Pinter's complex response to and critique of realism. I refer to certain performances of the play too in order to further my point. Drawing on Beckett's insight into the torture mechanism, I try to bring out the autonomous outside to the process of torture that is constructed through a silence of resistance. It is also about resisting an imposed notion of liberty and Pinter's fascinating use of words that qualify and inform what I call his political resistance to the signifier. There are passing references to other Pinter plays, especially belonging to his last and overtly political period.

Can Photographs Make It So? Several Outbreaks of Valie Export’s Genital Panic,” in Hilde van Gelder and Helen Weestgeest, eds., Photography between Poetics and Politics. (Leuven: University Press Leuven, 2008)

by Mechtild Widrich

Differs in some parts from the revised version of 2012, particularly at the end.

Employing the term "performative" I look at the Marina Abramovic's restaging of Valie Export's Genital Panic... more Employing the term "performative" I look at the Marina Abramovic's restaging of Valie Export's Genital Panic at the Guggenheim Museum--I discuss the relationship between the photographs that were staged in the photographer's studio in Vienna, the claims of an actual action (first said to have happened in a porn cinema, a story later changed to "art cinema"--with various dates), and Abramovic's decisions to include the historiography of the piece in her performance. The text is relevant for the discussion of photography versus live event, but I am also trying to figure out how the imagine a performance as ONE work through sometimes conflicting fragments.

Interview with Leila Nadir and Cary Peppermint of Ecoarttech

by Leila C. Nadir

Furtherfield.org Interview with Sophia Kosmaoglou - 20/04/2012

Refusing to regard technology merely as a tool, Ecoarttech expand the uses of mobile technology and digital networks... more Refusing to regard technology merely as a tool, Ecoarttech expand the uses of mobile technology and digital networks revealing them to be fundamental components of the way we experience our environment. Their most recent work Indeterminate Hikes + (IH +) is a phone app that maps a series of trails through the city. IH + can be accessed globally, or wherever users have access to Google Maps on their mobile phones. After identifying the users’ location, IH + generates a route along random “Scenic Vistas" within urban spaces. Users are directed to perform a series of tasks along the trail and provide feedback in the form of snapshots generating an ongoing, open-ended dialogue. But the experience of their work is primarily an encounter with technology. Since 2005, Leila Nadir and Cary Peppermint of Ecoarttech have been engaged in an artistic exploration of environmental sustainability and convergent media. By drawing our attention to the increasing replacement or mediation of physical experiences by technology, Ecoarttech challenge the widely reproduced distinction between nature and culture. They present their work in the form of videos, digital networks, blogs, performance and installations. Their early video-based work (Wilderness Trouble and Frontier Mythology) plays out a performative and ironic encounter with the natural environment as a historically constructed concept. In the summer of 2005 Ecoarttech made A Series of Practical Performances in the Wilderness (2005) a database networked performance in QuickTime (DVD and Podcast).

'Cartoline Da Samoa' (2009) Written by Daniela Morera

by Shigeyuki Kihara

'Cartoline Da Samoa' (2009) Written by Daniela Morera. Published in Rollingstones Magazine, taly.

'Shigeyuki Kihara's Fa'afafine in a manner of a woman' ; the Photographic Theatre of Cross-Cultural Encounter' Written by Erika Wolf

by Shigeyuki Kihara

'Shigeyuki Kihara's Fa'afafine in a manner of a woman' ; the Photographic Theatre of Cross-Cultural Encounter' Written by Erika Wolf, University of Otago. Published in Pacific Arts Association Journal.

'From Full Tusk to Full Dusk; Reimagining the 'Dusky Maiden' through the Visual Arts' (2010) Written by A Marata Tamaira

by Shigeyuki Kihara

'From Full Tusk to Full Dusk; Reimagining the 'Dusky Maiden' (2010) through the Visual Arts' Written by A Marata Tamaira published in Contemporary Pacific Journal, University of Hawai'i Press. The article focuses on 3 contemporary artists, including Shigeyuki Kihara.

'Gender and Identity; Samoa's Narratives' (2008)

by Shigeyuki Kihara

'Gender and Identity; Samoa's Narratives' (2008) Written by Celeste Federico for Aesthetica Magazine (UK)

Everyone's a Hero in Valhalla

by Tom Penney

Describes and Illustrates an honours project

“I long to be many selves distributed through the networks... I AM many selves... A distribution of consciousness... I... more “I long to be many selves distributed through the networks... I AM many selves... A distribution of consciousness... I want to recognise my potential of being immortal in that sense”. (Roy Ascot, 1998)

Throughout the project Everyone’s a Hero in Valhalla, my intention has been to question techno-utopian postmodernism. Specifically I am interested in the way subjectivities ‘perform’ as entities: lost, confused, split, merged, unwrapped or appropriated by their translation into virtual space.

Using an interdisciplinary approach, I navigate this world as a schizophrenic and shamanic figure. From an irreverent state of precariousness between a system of binaries: the ‘real’ and the ‘not real’, the ‘self’ and the ‘not self’, or the ‘screen’ and ‘the body’ - I play as a liminal trickster, capitalising on a sunny irony and sense of humour.

Using this strategic persona, a technomadic “one person art making machine” (Amerika, 2008); I become many beings, and give birth to even more. By using my own body or clay, I imagine how psychologies contained within these ‘materials’ can be either immortalised or fragmented when subjected to the computer.

My interest lies in the paradoxical nature of the post-digital age. Is the screen beneficial or consuming? Are we empowered or narcissistic? Can spirituality form from a symbiosis with technology, or is this kind of hope lost? When we voraciously consume our own images in the form of profile pictures or video game avatars, are we building a stronger sense of ‘self’ or merely consuming disposable, digitised, projected ‘versions’ of ‘self’?

Manifesto for a Theatre of Immanence: Parts I & II

by Laura Cull

Presented as part of ‘Manifesto for a theatre of immanence: Deleuze and the problem of representation’, 4th International Deleuze Studies Conference: Creation, Crisis, Critique, Copenhagen Business School, June 27 – 29 2011

Krpič, T. 2010. Medical Performances: The Politics of Body-Home. PAJ – A Journal of Performance and Art 32 (1): 36-43.

by Tomaž Krpič

Understanding Manipulative Performance Art

by Christopher Bartel

Philosophical Frontiers, vol. 5 (1): pp. 43-54.

Some pieces of performance art are inherently manipulative—that is, they inherently involve the manipulation of... more Some pieces of performance art are inherently manipulative—that is, they inherently involve the manipulation of unsuspecting passersby. But what does it mean for a piece of performance art to be inherently manipulative? By distinguishing first-order from second-order kinds of attention, an inherently manipulative work is one that depends on an engagement with the second-order kind of attention for a proper understanding or appreciation of that work. Such works may be inherently manipulative, but it remains to be seen whether such qualities of the work should thereby count as moral or aesthetic flaws of the work.

Design Processes for Sustainable Performances: a Model and a Method

by Antonella Longo

MAVIE/MYLIFE: AN ONLINE ‘NET ART’ RELATIONAL GAME ABOUT DAILY LIFE

by Geneviève Gilbert-Quach

Thesis requested as part of requirement a Master's degree in Communication

This work of Net Art is a relational art performance in which a player (or interactor) engages in a dialogue with the... more This work of Net Art is a relational art performance in which a player (or interactor) engages in a dialogue with the interface. This game is available online at http://kastorfakto.com/game. Its interactive journey is a social experience through simple daily life activities.

Exploring the interactive game (Chevassu, 1995, p.136), the interactor gets to know the protagonists and watches them perform three routine activities. In an entertaining and engaging spirit, the interactor can get involved and listen as I speak to three different persons. They can mix with ‘Simon’,‘Pascale’or ‘Patrick’ and watch as these participants groom themselves and wait before eventually meeting me. These ordinary activities lead to a fun and spontaneous exchange. The protagonists agreed to be the guinea pigs in my exploration of the operative process of desire in daily life. When entering the game, the interactors can select a scene. They collect points by manipulating visual and audio elements, and discover videos hidden behind some of the artefacts. They are able to experiment with the game either to improve their score, or just for the pleasure of exploring the three stages.

This interactive online work results from several developmental versions, and has been tested by various control groups. A research report has been conducted and the target audience age ranges between 13 and 33 years old.

KEYWORDS : INTERNET – NET ART – WEB ART – GAME – GAME SOFTWARE – COMMUNICATION – INTERACTION – INDIE – RELATIONAL – ART – PERFORMANCE – DAILY LIFE – MULTIMEDIA – DESIGN – VIDEO.

New Filmmakers New York 2012 is showing Osteo in March

by Geneviève Gilbert-Quach

MAVIE/MYLIFE: UN JEU NET ART RELATIONNEL SUR LE THÉÂTRE DU QUOTIDIEN

by Geneviève Gilbert-Quach

Mémoire présenté comme exigence partielle de la maîtrise en communication, Université du Québec à Montréal

RESUME
Cette oeuvre d’art web (Net Art), est une performance d’art relationnel où un joueur ou interacteur entre... more RESUME
Cette oeuvre d’art web (Net Art), est une performance d’art relationnel où un joueur ou interacteur entre dans un dialogue, par le jeu, avec l’interface. Mon dispositif enligne est accessible sur le site http://www.genevievegilbert.com. Ce jeu-parcours interactif se veut être une expérience sociale à partir de certaines actions de la vie quotidienne.

En explorant ce téléjeu (Chevassu, 1995, p.136), l’interacteur apprend à connaître les participants à des performances filmées pendant trois rituels banals de la vie de tous les jours. Dans un esprit ludique et participatif, l’interacteur peut choisir d’interagir et d’écouter les rencontres entre les trois protagonistes et moi-même. Il côtoie Pascale, Patrick ou Simon et les observe passer par des étapes d'attente, de toilettage et enfin, de rendez-vous : des actions banales qui mènent à un échange souvent drôle, spontané et inattendu. Les participants ont accepté d’être les cobayes de mon investigation sur les processus opératifs du désir dans le quotidien. Au sein du ludiciel, l’interacteur peut choisir dans quel ordre franchir les scènes. Il accumule des points en manipulant
des éléments visuels et sonores, et découvre quelques vignettes vidéo cachées derrière un certain nombre d’artefacts. Il peut donc expérimenter le jeu dans le but d’accumuler des points ou simplement en déambulant de manière exploratoire dans chacun des trois mondes.

Cette oeuvre interactive utilisant les techniques et supports reliés à l’Internet à été précédée de plusieurs prototypes, et testée par des groupes témoins. Un rapport d’enquête a été mené à terme et le public cible de choix se trouve âgé de treize à trente-trois ans.

MOTS-CLEFS: INTERNET, NET ART, WEBART, JEU, LUDICIEL,
COMMUNICATION, INTERACTION, PARTICIPATION, RELATION, ART,PERFORMANCE, THÉÂTRE QUOTIDIEN, MULTIMÉDIA, DESIGN, VIDÉO.