Aaron Finbloom's Posts - Performance Philosophy2024-03-28T21:16:03ZAaron Finbloomhttp://performancephilosophy.ning.com/profile/AaronFinbloomhttp://storage.ning.com/topology/rest/1.0/file/get/986088113?profile=original&width=48&height=48&crop=1%3A1http://performancephilosophy.ning.com/profiles/blog/feed?user=29v6gaa2xigsh&xn_auth=noThe School of Making Thinking's Summer 2018 Residency Programstag:performancephilosophy.ning.com,2018-01-09:6528949:BlogPost:486232018-01-09T15:01:18.000ZAaron Finbloomhttp://performancephilosophy.ning.com/profile/AaronFinbloom
<p><span>Hi everyone!</span><br></br><span>I help run an amazing interdisciplinary artist/thinker residency program called The School of Making Thinking based out of the U.S. and I wanted to share our summer programs and encourage Performance Philosophy ppl to apply (as I think many will find them quite interested :- )</span><br></br><br></br><span>see below!</span><br></br><span>best,</span><br></br><span>Aaron</span><br></br><br></br><span>~</span><br></br><br></br><span>The School of Making Thinking hosts Summer Intensives for…</span></p>
<p><span>Hi everyone!</span><br/><span>I help run an amazing interdisciplinary artist/thinker residency program called The School of Making Thinking based out of the U.S. and I wanted to share our summer programs and encourage Performance Philosophy ppl to apply (as I think many will find them quite interested :- )</span><br/><br/><span>see below!</span><br/><span>best,</span><br/><span>Aaron</span><br/><br/><span>~</span><br/><br/><span>The School of Making Thinking hosts Summer Intensives for qualified artists and thinkers to work alongside each other for one to three week sessions. We continually experiment with structure, approaches to programming, and alternative pedagogies. Our residents have included sound and performance artists, poets, philosophers, sculptors, painters, botanists, dancers, playwrights, filmmakers, video artists, documentarians, and historians, among other diverse practices.</span><br/><br/><span>APPLICATION DEADLINE: February 4th</span><br/><a href="http://www.theschoolofmakingthinking.com/">www.theschoolofmakingthinking.com</a><br/><br/><span>~~~short descriptions~~~</span><br/><br/><span>DIALOGICAL EXPERIMENTS v2</span><br/><span>April 19 - April 29</span><br/><span>Krumville, NY</span><br/><span>Session Leaders: Aaron Finbloom, Sharon Mashihi</span><br/><span>Tuition $500* includes food & lodging | tuition and travel subsidies available</span><br/><br/><span>SCORES: Propositions for Notating Performance</span><br/><span>Rochester Folk Arts Guild</span><br/><span>May 21st - June 3rd, 2018</span><br/><span>Session Leaders: Rachel James, Aaron Finbloom, Georgia Wall</span><br/><span>Visiting Artist: Vince Johnson</span><br/><span>Tuition: $600* includes food & lodging | tuition and travel subsidies available</span><br/><br/><span>PERFORMING•PLAYWRITING: An Unfolding and Collectivizing of the (Play)writing Process</span><br/><span>Prattsville Arts Center, Prattsville NY</span><br/><span>June 13th-26th, 2018</span><br/><span>Session Leaders: Ian Fields Stewart, Sophie Traub, Cory Tamler</span><br/><span>Tuition: $600* includes food & lodging | tuition and travel subsidies available</span><br/><br/><span>MEANING'S EDGE: Metaphor, Resonance, Play</span><br/><span>Prattsville Arts Center, Prattsville NY</span><br/><span>June 29th - July 12th</span><br/><span>Session Leaders: Hannah Kaya, Aaron Finbloom</span><br/><span>Tuition: $600* includes food & lodging | tuition and travel subsidies available</span><br/><br/><span>IMMERSION 2.0: “Emplacement” VR Lab</span><br/><span>Cucalorus, Wilmington, NC</span><br/><span>July 7th-27th, 2018</span><br/><span>Session Leaders: Sophie Traub, Naima Ramos-Chapman</span><br/><span>Tuition: $1200* includes food, lodging & technical support for VR production | tuition and travel subsidies available</span><br/><br/><span>~~~full descriptions~~~</span><br/><br/><span>DIALOGICAL EXPERIMENTS v2</span><br/><span>April 19 - April 29</span><br/><span>Krumville, NY</span><br/><span>Session Leaders: Aaron Finbloom, Sharon Mashihi</span><br/><span>Tuition $500* includes food & lodging | tuition and travel subsidies available</span><br/><br/><span>Many thinking and making practices use, shape and implicate conversation. This often involves intentionally structuring the conversation – setting how it happens, when, with whom and where. A symbiotic relationship develops between the content of the conversation, the structure that holds it, the lives of the participants within it and the setting around which it occurs. We are invested in playing with and investigating this relationship.</span><br/><br/><span>For this intensive, we invite anyone who uses dialogue in their creative practice to create a dialogical structure which will be enacted 5 times throughout the session. These structures will exist alongside creative collaboration, workshops, opportunities for revision, daily tasks of living together such as gardening, cooking, eating and cleaning, which will all be folded into a collectively lived conversation.</span><br/><br/><span>Each attendee, will be responsible for designing a 30 minute structured conversation for 2-10 participants which will be slightly revised and adapted after each iteration. Things to consider are: how many people will be involved in the conversation, where it will occur, what rules or structure will guide it, and what kinds of variables will they alter on each iteration? Throughout the session, we will experiment with multimodal and asymmetric ways of generating material to transfer these conversations into archivable/recombinable content.</span><br/><br/><span>People from all backgrounds are welcome to apply including musicians, curators, academics, social practice artists, writers, dancers, activists, cultural mediators, and educators who can propose and engage in creative structures for conversation such as scores, choreographies, prompts for dialogue, interactive interfaces, etc.</span><br/><br/><span>NOTE: while the session is focused around dialogue with words, we encourage alternative and non-word-based understandings of dialogue.</span><br/><br/><span>Bios:</span><br/><br/><span>Aaron Finbloom is a philosopher, performance artist, musician and co-founder of The School of Making Thinking (SMT), an artist/thinker residency program and experimental college. Much of Finbloom's creative practice functions as an attempt to expand the scope of philosophy’s pedagogy via structured conversations, dialogical games, improvisational scores, contemplative audio guides and performative lectures. Finbloom has taught interdisciplinary studies at Concordia University, philosophy at Suffolk County Community College, and curated dozens of courses playing with experimental pedagogy for SMT. He has led numerous interactive workshops and performances at places including: matralab, Senselab, The Centre for Expanded Poetics, The Topological Media Lab, EMERGE Residency Program, The Performance Philosophy Conference and Elsewhere. He holds an M.A. in Philosophy and Art from SUNY Stony Brook and currently working towards his PhD at Concordia University’s Interdisciplinary Humanities program with advisers Sandeep Bhagwati, Erin Manning, and Nathan Brown</span><br/><br/><span>Sharon Mashihi makes movies, radio, and performances. Her work can be heard on the podcasts The Heart, Stranglers, United States of Music, The New Yorker Radio Hour, Snap Judgment, Unfictional, and many others. Her performances and installations have been featured at The Painting Center, The Wassaic Project, Tapefest, The Hearsay Festival in Ireland, and Moogfest. Sharon is co-writer of the 2017 feature film, The Ticket, and story editor of the forthcoming film, Madeline’s Madeline. As an editor, Sharon was a 2017 Peabody Award Finalist. She is a passionate supporter and former board member of SMT. </span><br/><br/><br/><span>***</span><br/><br/></p>
<div>SCORES: Propositions for Notating Performance<br/>Rochester Folk Arts Guild<br/>May 21st - June 3rd, 2018<br/>Session Leaders: Rachel James, Aaron Finbloom, Georgia Wall<br/>Visiting Artist: Vince Johnson<br/>Tuition: $600* includes food & lodging | tuition and travel subsidies available<br/><br/>A score provides instructions for how something should be performed, played, realized and manifested. However a score is not entirely defined by the performance it instructs and exists in its own right – often as a visual or physical object separate from the lived performance. This session explores the unique set of questions scores pose around repetition, continuity, authorship, ownership, and context.<br/><br/>While scores have a long tradition within music practices; during this session we will explore non-traditional scoring practices. Examples include CA Conrad, Carolee Schneemann, Pauline Oliveros, Fluxus, and Sol LeWitt. We invite artists interested in working with scores across mediums and disciplines including but not limited to scores for performance, reading, writing, dance, thought, movement, dialogue, theatre, digital arts, experimental music practices, and the sciences. <br/><br/>By expanding the pedagogical realm of scoring we will collectively consider: What notation techniques are available for scores (graphic, sonic, linguistic, etc...)? How does the way a score is presented affect its performance? Historically, how have artists across disciplines employed scores in their practices? How do scores complicate notions of authorship by changing the relationship between the artist and the performer? <br/><br/>Alongside structured workshops in which we will explore these questions, this session will give each participant a chance to work on an individual score. Time and support will be provided for individuals to perform, revise, collaborate, and experiment as they develop their scores. Our hope is that by the end of the session residents will have a chance to both perform their score and include a written or visual component of their score in a co-authored book. <br/><br/>SCORES will take place in Middlesex, NY near the Finger Lakes region, named for a series of 11 long glacial lakes that resemble human hands. On the property itself, participants will have ample space to explore outside as well as work in two indoor workshop spaces (movement friendly) as well as various smaller indoor spaces. There is access to wifi throughout the property, a pond to swim in, and an outdoor sauna. <br/><br/>Facilitators <br/><br/>SCORES will be facilitated by Georgia Wall and Rachel James, with Aaron Finbloom joining the session for the second week. Visiting artist Vince Johnson will lead an intensive workshop over the weekend of May 25th. <br/><br/>GEORGIA WALL is an artist based in New York. Wall’s videos have been exhibited at Team Gallery, Document Space, Faena Art Center, Anthology Film Archives, Spectacle Theater and Flux Factory. In New York she has presented her performance work at New York Live Arts, HERE, US Blues, Dixon Place, Movement Research at Judson Church, Ortega y Gasset Projects and CATCH at The Invisible Dog. Her work has been written about in publications including, ART-News, Mousse Magazine Online, The New Yorker, Hemispheric Institute E-Misférica and Time Out Chicago. Wall also has a curatorial practice and is part of Bottom which has organized events at Abrons Art Center, Spectacle Theater, Glasshouse Projects and Essex Flowers. Wall holds an MFA from the School of the Art Institute of Chicago. <br/><br/>RACHEL JAMES is an artist and poet with a background in cultural anthropology and experimental ethnography. She has exhibited or performed throughout the United States, Canada and Europe, including at Essex Flowers, La MaMa, Situations, Spectacle, and Recess in New York City, The New Gallery in Calgary, Totaldobze, in Riga, and Kamppi Chapel in Helsinki. She is an MFA Candidate at Bard College’s Milton Avery Graduate School for the Arts and curates exhibitions and performance events in Mexico City and New York, where she lives and works.<br/><br/>AARON FINBLOOM is a philosopher, performance artist, musician and co-founder of The School of Making Thinking. Much of Finbloom's creative practice functions as an attempt to expand the scope of philosophy’s pedagogy via structured conversations, dialogical games, improvisational scores, contemplative audio guides and performative lectures. Finbloom has taught interdisciplinary studies at Concordia University, philosophy at Suffolk County Community College, and curated dozens of courses playing with experimental pedagogy for SMT. He has led numerous interactive workshops and performances at places including: matralab, Senselab, The Centre for Expanded Poetics, The Topological Media Lab, EMERGE Residency Program, The Performance Philosophy Conference and Elsewhere. He holds an M.A. in Philosophy and Art from SUNY Stony Brook and currently working towards his PhD at Concordia University’s Interdisciplinary Humanities program with advisers Sandeep Bhagwati, Erin Manning, and Nathan Brown.<br/><br/>VINCE JOHNSON is a Philadelphia based artist with a BA from Villanova University in Continental Philosophy and Africana Studies. He was a principal dancer for Rennie Harris Puremovement. He has performed under the direction of performance artists and contemporary dance makers like Jaamil Kosoko, Jumatatu Poe/Idiosyncrazy Productions and Brian Sanders Junk. He studied clown under Emmanuel Delpech and has attended workshops at L'Ecole international Jacque Lecoq. Along with painter, Adam Lovitz, he co-founded !!!!!!!!!!!Keepitup, an artist collective dedicated to the production of video and live performance. He is a 2012 Live Arts/Philly Fringe Lab Fellowship recipient and was a resident at MANCC Forward Dialogues' inaugural choreographic laboratory along with his peer cohort, Jazz composer and musician, Francois Zayas. He is founder and owner of Movemakers Philly and Urban Movement Arts.<br/><br/>The score is a prominent feature in Johnson’s work. During the residency Johnson will lead an intensive workshop with the intention of collaboratively applying his scoring practices across varying artistic disciplines. By sharing examples of scoring in past work and current processes, as well as the scores connection to improvisation, Johnson will lead the group to better articulate what he calls “the master regulator”. <br/><br/>***<br/><br/>PERFORMING•PLAYWRITING: production workshop<br/>Prattsville Arts Center, Prattsville NY<br/>June 13th-26th, 2018<br/>$600<br/>Opportunities for tuition and travel subsidies available on application. <br/>Session Leaders: Ian Fields Stewart, Sophie Traub, Cory Tamler <br/><br/>Writing works of live performance often means putting words on paper but also making images, arranging bodies in space, incorporating source material, improvising, and devising. Even a text with a single playwright’s name on it must transition from a solo to a collective writing process in design meetings and the rehearsal room. Can a back-and-forth between solo and collective development deepen, complicate, and strengthen works? How can performers be skilled contributors and creative agents in the writing process? How can curated, hybrid playwriting and devising processes best serve the piece produced? <br/><br/>Performing•Playwriting will provide a setting for playwrights and performance devisers to develop works in a collaborative environment, with a goal of supporting diverse and ideal play-development processes. We will work within a variety of collaborative structures to develop works in progress as well as pieces anew. Artists will be encouraged to develop imaginative and unique approaches to their writing process, as well as take part in collective development structures and ensemble work. <br/><br/>Participants will consider the methodology of playwrights, directors, and ensembles that incorporate some form of collective writing into their work and performance (for example: Mary Zimmerman, The Civilians, Cornerstone, She She Pop). The session will examine and subvert traditional and historical power dynamics within rehearsals, audition rooms, and theater spaces. Workshops drawing on performance techniques (for example: Viewpoints, Clown, Theater of the Oppressed, Action Theater, Meisner, and Grotowski) will explore the process of turning text into action. Mutual mentorship, deep workshopping of material, group staging, solo-writing, devising, and improvisation will be employed in the process of development and creation. There will be an opportunity to show work produced at the end of the residency.<br/><br/>BIOS<br/><br/>Cory Tamler has created and participated in research-based performance projects in the United States and internationally, and translates German and Serbo-Croatian performance and art-related texts. As a Fulbright Scholar, she focused on post-migrant and collaborative theatre practices in Berlin. Currently a doctoral student at the CUNY Graduate Center, her scholarly work focuses on site-based, participatory, and civic performance projects. Cory is a lead artist with In Kinship, an ongoing series of performance actions, dialogues, and community-artist partnerships shaped by Maine's Penobscot River.<br/><br/>Ian Fields Stewart (pronouns: they/them/their) is a black, queer, and Transfeminine New York based storyteller working at the intersection of theatre and activism. A native of Birmingham, AL, their work is centered in deconstructing mainstream media forms and rebuilding them to amplify and include the voices of marginalized people in our local and global communities. By day, Ian works with viBe Theater Experience helping young black women create original work about issues that effect them and their communities. As a performer, Ian has worked consistently in productions at NYC venues such as Manhattan Rep, NYC Fringe Festival ’16, Shapiro Theatre, and more. In the spring of 2017, Ian performed an excerpt of their one-person show, On the Train to Nowhere in Particular, at the legendary Joe's Pub. Ian can also be seen on Buzzfeed LGBT, the You Had Me at Black podcast, the #Safewordsociety podcast, and the Is it Transphobic Podcast. When they're not in the theatre or studio, Ian serves on the council of the group @Salon which is a monthly discussion group that invites thought-leaders to introduce LGBTQ-centered topics through personal narrative. One of Ian's most transformative experiences occurred in the summer of 2017 when they were selected out of over 500 applicants to be one of the 15 US Fellows for Humanity in Action's 2017 John Lewis Fellowship. For the month of July, Ian shared space with and learned from various historic and current civil rights leaders in Atlanta, GA in order to better understand the legacy of the Civil Rights Movement and develop strategies for implementing effective change in contemporary political and social movements. To Learn More Please Follow Them At: <a href="https://www.ianfieldsstewart.com/">https://www.ianfieldsstewart.com/</a> . <br/><br/>Sophie Traub is a performing artist, actor, dramaturg, and arts organizer from Toronto, with a second home in Brooklyn. Her performance work focuses on group process, conflict studies, anti-oppression, improvisation, and embodiment. As a performance artist, Sophie has performed at DUMBO Arts Festival, Dixon Place, White Rabbit Festival, the Norman Felix Gallery, Artscape Gibralter Point, the Microscope Gallery, Medicine Show Theater, and The Last Weekend Arts Festival. Film credits include Thou Wast Mild and Lovely (Decker), Fugue (Torres-Torres), Mother's Day (Adina Smith), Bite Radius (Parsons), Tenderness (Polson), and The Interpreter (Pollack). Theatre acting, devising, and directing credits include This Is How I Don't Know How To Dance (SITI Company/Barrow Street Theatre), Won't Be a Ghost (Prelude 2014, Dixon Place 2015, The Brick 2016), The Beach Eagle (Dixon Place 2013), Asterion (Schafer 2013). Sophie has studied at the Neighborhood Playhouse, HB Studio, Studio 303, Stonestreet Studios, SITI Company Conservatory, NYU, and is currently working on her Masters in Theatre and Performance Studies at York.<br/><br/>***<br/><br/>Meaning’s Edge: Metaphor, Resonance, Play<br/>Prattsville Arts Center, Prattsville NY<br/>June 29th - July 12th<br/>Session Leaders: Hannah Kaya, Aaron Finbloom<br/><br/>This two week session will provide residents with a collaborative exploration of Jan Zwicky’s “Wisdom and Metaphor”. Artists and thinkers of all disciplines are invited to develop a creative project which resonates with, actualizes, manifests, questions and/or explores ideas within this experimental text. Our hope is that the session will form a community of inquiry and dialogue which will provide fodder for interdisciplinary thinking and making.<br/><br/>Jan Zwicky’s “Wisdom and Metaphor” is an aphoristic book which explores metaphorical thinking, meaning, and language through a diverse assemblage of philosophy, mathematics, poetry, music, and haiku. We are particularly excited by the ways in which participants will be able to draw artistic inspiration from Zwicky’s multivocal and poetically structured text, which offers multiple points of access and departure, stretches meaning to its cognitive limits, and can serve to disturb the traditional divide between thinking and making. <br/><br/>We anticipate that our session will involve activities such as: shared readings and discussions, philosophical walks, workshops dedicated to testing out methods of textual activation and manifestation of ideas, ample time for individual work and research, and sharing work in-progress. Residents can either arrive with a project in mind or develop one on-site; however everyone is encouraged to develop a project proposal for their work and to set individuated rubrics for one’s own completion.<br/><br/><a href="https://books.google.ca/books/about/Wisdom_Metaphor.html?id=yl8rAwAAQBAJ"><i>Preview Zwicky’s “Wisdom and Metaphor”</i></a><br/><br/>BIOS</div>
<div><br/>Aaron Finbloom is a philosopher, performance artist, musician and co-founder of The School of Making Thinking (SMT), an artist/thinker residency program and experimental college. Much of Finbloom's creative practice functions as an attempt to expand the scope of philosophy’s pedagogy via structured conversations, dialogical games, improvisational scores, contemplative audio guides and performative lectures. Finbloom has taught interdisciplinary studies at Concordia University, philosophy at Suffolk County Community College, and curated dozens of courses playing with experimental pedagogy for SMT. He has led numerous interactive workshops and performances at places including: matralab, Senselab, The Centre for Expanded Poetics, The Topological Media Lab, EMERGE Residency Program, The Performance Philosophy Conference and Elsewhere. He holds an M.A. in Philosophy and Art from SUNY Stony Brook and currently working towards his PhD at Concordia University’s Interdisciplinary Humanities program with advisers Sandeep Bhagwati, Erin Manning, and Nathan Brown<br/><br/>Hannah Kaya is a thinker, performer, and activist based in Montreal. Her work offers ludic, participatory, and performative methods of enacting radical imagination. She is a co-founder of the Fishbowl Collective (a rad-femme, glitter-punk clown company promoting insurrectional and intimate dialogue), The Togethering Lab (an ongoing, participatory experiment that plays with ways of being together), and frequently collaborates with the [elephants] collective. Her work has been featured in: Outside the March (Vitals; Outstanding Independent Production and Outstanding Original Play Dora Mavor Moore Award Recipient 2014); The McGill Daily (“Not Quite the Rev, But We’re Getting Closer”); Expat Expo Berlin; the London Academy of Music and Dramatic Arts; Paprika Festival; Tuesday Night Cafe Theatre; the Edinburgh, Toronto, and Montreal Fringe; the National Arts Centre of Canada; the Great Canadian Theatre Company, etc. <br/><br/>***<br/><br/>IMMERSION 2.0: “Emplacement” VR Lab<br/>Cucalorus, Wilmington, NC<br/>July 7th-27th, 2018<br/>$1200 (includes food, lodging and technical support for production of Virtual Reality pieces)<br/>Opportunities for tuition and travel subsidies available on application. <br/>Session Leaders: Sophie Traub, Naima Ramos-Chapman, and another leader tbd.<br/><br/>In 2017, The School of Making Thinking led our first IMMERSION Lab at Cucalorus in Wilmington, North Carolina. In partnership with ExpectVR, we provided residents access to 360° cameras, intensive workshops on the theme of "immersion”, and curated structures for collaboration. The Virtual Reality video pieces that emerged were tremendous: work born of intensive collective experience, focused idea incubation, and participation in challenging conversations in community. <br/><br/>This summer, we will run IMMERSION 2.0, in which we will develop site specific and emplaced immersive works. What layers of historical, cultural, colonial, personal, oppressive and social fabrics layer our movements in a space? How might we engage these realities actually, and virtually? We will conduct micro research projects within Wilmington in order to develop context and content for the pieces produced. We will engage the history of our surroundings, wonder about the standing communities, observe architecture and local lore, acknowledge the original caretakers of the land, and the legacies of cultural production that make Wilmington what it is today. <br/><br/>This session will explore at once the philosophical implications of immersive experience and emplacement -- as sensual, embodied, social, historical, and colonial -- as well as the implications in art making practices and art forms. The first week of the session will be devoted to these investigations as well as workshops, group conversation, and production planning. In the second week, employing our research as source material, we will create immersive pieces of performance and Virtual Reality in chosen locations throughout the city. The third week will be devoted to post production of the Virtual Reality pieces created, building a place-based platform for our work in collaboration with ToasterLab. <br/><br/>Prior experience with VR cameras and technology will not be required. Session participants will have access to Virtual Reality cameras as well as technical support. Pieces created at the residency will be the centerpiece of the VR Expo at the Cucalorus Film Festival in November. Residents will be encouraged to return to participate as exhibiting artists.<br/><br/>BIOS<br/><br/>Naima Ramos-Chapman makes movement with body, word, image, silence, sound, and technology, that tell stories of transformation and understated bravery. Her stories stem from true events, incorporate magical realism, and seek to render psycho-spiritual realities we can not see and fits that un-neatly alongside the brutal mundanities of everyday life. Her first short, AND NOTHING HAPPENED, explores the psychological aftermath of sexualized violence and premiered at the 2016 Slamdance Film Festival.<br/><br/>Sophie Traub is a performing artist, actor, dramaturg, and arts organizer from Toronto, with a second home in Brooklyn. Her performance work focuses on group process, conflict studies, anti-oppression, improvisation, and embodiment. As a performance artist, Sophie has performed at DUMBO Arts Festival, Dixon Place, White Rabbit Festival, the Norman Felix Gallery, Artscape Gibralter Point, the Microscope Gallery, Medicine Show Theater, and The Last Weekend Arts Festival. Film credits include Thou Wast Mild and Lovely (Decker), Fugue (Torres-Torres), Mother's Day (Adina Smith), Bite Radius (Parsons) Tenderness (Polson), and The Interpreter (Pollack). Theatre acting, devising, and directing credits include This Is How I Don't Know How To Dance (SITI Company/Barrow Street Theatre), Won't Be a Ghost (Prelude 2014, Dixon Place 2015, The Brick 2016), The Beach Eagle (Dixon Place 2013), Asterion (Schafer 2013). Sophie has studied at the Neighborhood Playhouse, HB Studio, Studio 303, Stonestreet Studios, SITI Company Conservatory, NYU, and is currently working on her Masters in Theatre and Performance Studies at York.</div>Experimental Residency Programs for Artists & Academics (Spring/Summer 2017)tag:performancephilosophy.ning.com,2017-02-07:6528949:BlogPost:417062017-02-07T16:46:49.000ZAaron Finbloomhttp://performancephilosophy.ning.com/profile/AaronFinbloom
<div>The School of Making Thinking hosts a summer residency program for qualified artists and thinkers to work alongside each other for one to three week sessions. We continually experiment with structure, approaches to programming, and alternative pedagogies. Our residents have included sound and performance artists, poets, philosophers, painters, botanists, dancers, playwrights, filmmakers, video artists, documentarians, and historians, among other diverse practices.</div>
<div>Applications…</div>
<div>The School of Making Thinking hosts a summer residency program for qualified artists and thinkers to work alongside each other for one to three week sessions. We continually experiment with structure, approaches to programming, and alternative pedagogies. Our residents have included sound and performance artists, poets, philosophers, painters, botanists, dancers, playwrights, filmmakers, video artists, documentarians, and historians, among other diverse practices.</div>
<div>Applications are now open. <span>The deadline to apply is March 1st, 2017. </span></div>
<div>Residency fees include food and lodging. <span>Partially subsidized tuitions are available for each session (see application for more details).</span></div>
<div>All information can be found on our website:</div>
<div><a href="http://www.theschoolofmakingthinking.com/" target="_blank">www.theschoolofmakingthinking.com</a></div>
<div>Or can be viewed below.</div>
<div>~</div>
<div><b>DIALOGICAL EXPERIMENTS: </b>A 4-DAY CONVERSATION<br/><i>April 19 – 24, 2017 </i><div><i>Krumville, NY </i></div>
<div><i>$300</i></div>
<div>For this extended weekend intensive, we invite anyone that uses dialogue in their thinking/moving/making practice to create a 4-day dialogical structure, which will be enacted once per day for 4 days. These structures alongside daily tasks of living together such as gardening, cooking, eating and cleaning will all be folded into an entire world of conversation, the conditions of which will be our dialogical playground.<br/><br/>People from all backgrounds are welcome to apply including musicians, curators, academics, social practice artists, writers, dancers, activists, cultural mediators, and educators who can propose and engage in creative structures for conversation such as scores, choreographies, prompts for dialogue, interactive interfaces, etc.<br/><br/>Many thinking and making practices use, shape and implicate conversation. Those that do, often involve intentionally structuring this conversation – setting how it happens, when, with whom and where. A symbiotic relationship develops between the content of the conversation and the structure that holds it. We are interested in experimenting with how creating a playful arrangement of conditions and context for dialogue can shape a conversation’s meaning within that relationship. <br/><br/>Each attendee, will be responsible for designing a 20 minute structured conversation for 1-4 participants and for deciding how their structure will shift from day to day. This will include determining: how many people will be involved in the conversation, where it will occur, what rules or structure will guide it, and what kinds of variables will they alter on each iteration? Throughout the weekend, the organizers will experiment with multimodal and asymmetric ways of generating material to transfer these conversations into archivable/recombinable content, which will then be compiled into a publication in the coming year. </div>
<div><i>Session Organizers: Aaron Finbloom, Lina Moreno, Ana Ratner<br/></i></div>
</div>
<p><b>CON/TEXT: </b><span>A RADICAL RECONSIDERATION OF THE PERFORMANCE OF THE WRITTEN WORD IN ARTISTIC PRACTICE</span><br/><i>May 22 – June 4, 2017 </i></p>
<div><i>Summit, NY </i></div>
<div><i>$600</i><br/><br/>Conceived of through discussions between a philosopher, a poet, and a performer, this 3-week session occupies the space where artistic practices intersect with text in embodied ways. Taking an interdisciplinary approach, we will mine territories where artists and writers have offered radical reconsiderations of the materiality and embodiment of language and the written word.<br/><br/>How does a text perform itself on the page? What happens if we put embodied practices in conversation with theoretical practices? What might it mean to read theory somatically? How can movement be a mode of philosophical analysis? How might we challenge our notions of what the primary meaning-making aspect of a text is?<br/><br/>Discrete disciplines – both in the arts and academia – offer isolated responses to questions of textual engagement. We will not ignore these answers, just politely hear them out and keep walking. We invite applications from all artists, writers, thinkers, and movers interested in pursuing interdisciplinary textual experimentation.<br/><br/>This session will involve three structured components:<br/><br/>SEMINARS Here we will explore theoretical underpinnings of the connection between the written mark and its embodied environment. Writing can seem to exist distanced from the lived world -- unread, unseen, withheld from action, forgotten; however, this distance is always only temporary. As soon as we engage a text, we return it to the world. But exactly how do we do this? How is a text read? How are our bodies engaged? How is a text sounded? Where are we? Where are you? What is around us? Meetings will involve lecture, discussion of readings, and experimental ways of activating theoretical content (including: Eve Kosofsky Sedgwick, Jacques Derrida, Plato, Gayatri Spivak, Emile Benveniste, Judith Butler, Jacques Rancière).<br/><br/>CASE STUDIES A close investigation of works which involve experimentation around textual performance. Together we will take inspiration from various artistic practices to ask how text disrupts and is disrupted by embodied experience. From CA Conrad’s (soma)tic poetry rituals to Richard Foreman’s stream of consciousness notebooks to the danced philosophical inquiry of Miguel Gutierrez to Laurie Anderson’s performance poems, how does language live in space? Other artists to consider include Fred Moten, Genesis Breyer P-Orridge, Spalding Grey, Jenny Holzer, John Cage, Douglas Kearney, Velemir Khlebnikov, Edwin Torres, Tracy Morris, Samuel Beckett, Jackson Mac Low, Antonio Ramos and more.<br/><br/>WORKING SESSIONS Each resident will have the opportunity to perform regularly for an audience of fellow residents and discuss their discoveries. These sessions will involve prompts and structures to facilitate unique approaches to textual activation. Residents will also have the option of participating in a daily practice of guided free writes, movement, and morning readings.<br/><br/><i>Session Organizers: Aaron Finbloom, Alexandra Tatarsky, Rachel James<br/></i></div>
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<div><b>IMMERSION: </b>A LAB INVESTIGATING THE IMMERSIVE ART EXPERIENCE</div>
<div>July 10 – July 30 , 2017 </div>
<div>Wilmington, NC </div>
<div>$900<br/><br/>What captivates us about immersion? Why are encompassing aesthetic experiences, such as immersive theater (Sleep No More, Then She Fell, Doomocracy) and Virtual Reality (VR), so popular? What is it to be immersed, and why is it so compelling? In what ways does our inherent immersion -- in our collectivity, and our sensual and sensing bodies -- inform and complicate a more artificial immersion?<br/><br/>This session will explore at once the philosophical implications of immersive experience -- as sensual, embodied, and social experiences -- as well as in art making practices and art forms. During the first week of the residency, we will delve into these inquiries through theory, embodiment practices and group exercises. We will explore texts from David Abram, Sarah Ahmed, Caroline Jones, Matthew Ghoulish, and Brian Massumi among others. We will generate ideas and seeds of content through encountering and responding to our own and one another's work. PLEASE NOTE: We will ask applicants to include source material in their application. We are particularly interested in material concerned with social justice and human rights. This source material can be a book, a body of research, a person of inspiration, artifacts, videos, fields of interest, or some other form you might use as a “source”, which will provide the groundwork for the content of the pieces made.<br/><br/>The second half of the residency we will produce immersive theater and VR pieces, drawing on our emergent culture and think tank of the previous week. Prior experience with VR cameras and technology will not be required. We will approach this work with a broad definition of what immersive theater means, and providing opportunity for invention within the young field of VR. Some, if not all, of the pieces will be realized in both mediums.<br/><br/>Session participants will have access to Virtual Reality cameras as well as technical support. Pieces created at the residency will have the opportunity to be submitted and shown at <a href="http://www.cucalorus.org/" target="_blank">Cucalorus Film Festival 2017</a>. <br/><br/><i>Session Organizers: Josephine Decker, Naima Ramos & Sophie Traub<br/></i><br/><br/><br/><div><b>PERFORMING • PLAYWRITING — </b>AN UNFOLDING AND COLLECTIVIZING OF THE (PLAY)WRITING PROCESS</div>
<div><i>Aug 10– Aug 30, 2017 </i></div>
<div><i>Summit, NY </i></div>
<div><i>$900</i></div>
<div><br/>Writing works of live performance often means not just putting words on paper but also making images, arranging bodies in space, incorporating source material, improvising, and devising. Even a text with a single playwright’s name on it must transition from a solo to a collective writing process in design meetings and the rehearsal room. This session will consider, from the very beginning, what it means to incorporate the back-and-forth between solo and collective writing into the process. How does collective writing deepen, complicate, and strengthen works? How can performers be skilled contributors and creative agents in the writing process?<br/><br/>The session will lessen the divide between playwriting and workshopping, and performance ensemble building and devising. We will invite up to five playwrights, who will apply with a project proposal or early draft of a script along with a rationale for how it might benefit from a collective approach to revision. Ten performers will also join the session, both as subjects and as active agents and interlocutors, to simultaneously contribute to the development of the written work and undergo focused performance training and ensemble building. Within a collective writing process, we will be exploring the autonomy of the actor as artist and author, as well as subject. Our session will examine and subvert traditional and historical power dynamics within rehearsals, audition rooms, and theater spaces.<br/><br/>Participants will consider the methodology of playwrights, directors, and ensembles that incorporate some form of collective writing into their work and performance (for example: Mary Zimmerman, The Civilians, Cornerstone, She She Pop), and experiment with applying various techniques to their own voice and practice. Workshops drawing on performance techniques (for example: Meisner, Viewpoints and Suzuki, Clown, Theater of the Oppressed, Applied Theater, Action Theater, Butoh, and Grotowski) will explore the process of turning text into action, the possibilities of performance as activism, and the actor as advocate for social change.<br/><br/>Mutual mentorship, deep workshopping of material, group staging, devising, re-imagining, and improvisation will lead to the development of pieces of theater and live performance over the course of the residency. The pieces produced at the residency will have the opportunity to be performed in New York in the fall of 2017 at a notable theater to be announced, hosted by the School of Making Thinking. **Residents will be responsible for their own production costs.**<br/><br/><i>Session Organizers: Cory Tamler, Ian Fields Stewart & Sophie Traub</i></div>
</div>Call For Proposals: Words & [ ] — a Durational Conference of Art & Thoughttag:performancephilosophy.ning.com,2016-01-21:6528949:BlogPost:352622016-01-21T19:07:47.000ZAaron Finbloomhttp://performancephilosophy.ning.com/profile/AaronFinbloom
<p>Hey Everyone! </p>
<p>We are very very very excited about a 56-hour Durational Conference that The School of Making Thinking is hosting at a major Contemporary Arts Center in Montreal called The Darling Foundry. We are looking for unusual/experimental proposals that performatively explore the fissures between making and thinking. Deadline is Feburary 15th.</p>
<p>Read more:</p>
<p><b><u>Call for Proposals:</u></b></p>
<p><b><u>Words & [ ] — a…</u></b></p>
<p>Hey Everyone! </p>
<p>We are very very very excited about a 56-hour Durational Conference that The School of Making Thinking is hosting at a major Contemporary Arts Center in Montreal called The Darling Foundry. We are looking for unusual/experimental proposals that performatively explore the fissures between making and thinking. Deadline is Feburary 15th.</p>
<p>Read more:</p>
<p><b><u>Call for Proposals:</u></b></p>
<p><b><u>Words & [ ] — a Durational Conference of Art & Thought</u></b></p>
<div>
<[English Version, French Below]<br />
</div>
<p></p>
<p dir="ltr"><span><b>When</b>: Friday May 6th 10am - Sunday May 8th 6pm (2016)</span></p>
<p dir="ltr"><span><b>Where</b>: The Darling Foundry, Montreal (QC)</span></p>
<p dir="ltr"><span><b>Cost</b>: $10/day suggested donation (for all participants)</span></p>
<p dir="ltr"><span><b>Accommodations</b>: Presenters will receive free communal accommodations in the gallery</span></p>
<p dir="ltr"><span><b>Deadline for Submissions</b>: February 15th, 2016 11:59PM EST</span></p>
<p dir="ltr"><span><b>Website</b>: <a href="http://www.theschoolofmakingthinking.com/#!conference/cdu4" target="_blank">http://www.theschoolofmakingthinking.com/#!conference/cdu4</a></span></p>
<p></p>
<p dir="ltr"><a href="http://www.theschoolofmakingthinking.com/" target="_blank"><span>The School of Making Thinking</span></a> <span>is thrilled to present “Words & [ ] — a Durational Conference of Art & Thought” to take place at</span> <a href="http://fonderiedarling.org/" target="_blank"><span>The Darling Foundry</span></a> <span>May 6 - 8 2016. This bilingual [French/English] conference is a 56-hour art and thought marathon with round-the-clock live programming featuring presentations exploring the connections and fissures between thinking and art-making practices. We hope to dynamically explode the conference format through vibrant intermingling of art and thought, eroding the barriers between individuals, disciplines, methods, and cultures via Dionysian exhaustion.</span></p>
<p></p>
<p dir="ltr"><span>We invite both audience and presenters to partake in the entirety of the event, sleeping and feasting together, fostering a philosophical community born out of an ephemeral maximalist, deep-absorption. What kinds of work</span> <span>might emerge when we enter creative overload together? What new pathways of care might be opened within this methodological breakdown?</span></p>
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<p dir="ltr"><span style="text-decoration: underline;">Content Streams</span></p>
<p></p>
<p dir="ltr">Our theme “Words & [ ]”, unpacked in our streams below, rubs against the boundary-lines between art and thought, sensuous and conceptual, intuitive and intellectual. We encourage artists and thinkers to submit unusual/unconventional proposals which lightly or tightly touch on these themes; presentations that exist besides, alongside, in-sight of, the word and the non-word.</p>
<p></p>
<p dir="ltr"><span><strong>Between Words and Not Words</strong> </span><span>What are words? Pieces of a verbal or written language? What separates the word from what it is not? What is the non-worded? Are words and not words of the same ilk (both are signs?) or are they radically different? How thick or thin is this boundary? Where do words and nonwords blend into one-another? Is math words? Is geometry? Is hieroglyphics? What about poetry, theater, film, performance? </span></p>
<p></p>
<p dir="ltr"><span><strong>The Word/Not-Word battleground</strong> </span><span>Sometimes the word can violently crash against the non-word. If words and non-words are a battleground, has thinking taken sides? Can we think without words? Does thinking with words always come from the not-worded? Was art born of the not-worded? Is worded art less artful? Why are artists so often asked to word their not-words? Have artists incorporated more words into their art than thinkers have incorporated not-words into their thoughts? If thinking and making have become a battleground, what parts of that violent geography are productive and what parts paralyzing?</span></p>
<p></p>
<p dir="ltr"><span><strong>The Outside</strong> </span><span>Is there anything outside of words and not words?</span></p>
<p></p>
<p dir="ltr"><span><strong>Traces</strong> (How to Read & Write) </span><span>Words and not-words are often known as such via their traces (whether worded or otherwise): sound echoing, lines on the page, glyphs, diagrams, bodily sensation, performance remains, objects, scores, etc. The technology of writing surfaces as a question</span> <span>—</span> <span>writing? Which in turn surfaces the question of reading those traces</span> <span>—</span> <span>reading? In attempting to unknow and encounter anew reading and writing, might we create new openings into thinking and making? In this stream, we’d like to engage with practices of performative reading and the trace-creating practices of writing, scoring, choreographing, graphics/visuals, etc. How does the event ask to be traced? How does the trace ask to be encountered?</span></p>
<p></p>
<p dir="ltr"><strong>Dream Events</strong> <span>The above questions all presuppose a waking mind; how do the above questions shift when we enter dreamland? Given that our conference will take place on two evenings between the hours of 1am and 6am, we are excited about presentations which explore these themes alongside actual dreaming. What is it to present a talk in a dream? How can a workshop work on the dream-state? See the Rubin’s Dream-Over for inspiration</span> <span><a href="http://rubinmuseum.org/events/event/dream-over-05-30-2015" target="_blank">http://rubinmuseum.org/events/event/dream-over-05-30-2015</a><font color="#000000">.</font></span></p>
<p></p>
<p dir="ltr"><strong>Geniuses of the Highest Class</strong> <a href="http://perfectvacuum.neocities.org/Genius.pdf" target="_blank"><span>http://perfectvacuum.neocities.org/Genius.pdf</span></a></p>
<p></p>
<p dir="ltr"><strong>Forgetting Your Mother Tongue</strong><span><strong>:</strong> What would it be to forget your primary language? Are you your mother tongue? How was language your own to begin with, if language is already fundamentally composed of that which is other? How do the networks of words one uses determine self/and/other? Would forgetting your primary language erase your own culture? Would it imprison you in your own identity? Can the self ever be forgotten? Can we will to forget? What is gained through this forgetting? What is lost? </span></p>
<p></p>
<p dir="ltr"><span>“So much to forget, so little time.” -Margaret Dragu, On her technique of Active Forgetting</span></p>
<p></p>
<p dir="ltr"><span>This stream is directly inspired by and will take place in the exhibition of Marie-Michelle Deschamps presented by The Fonderie Darling (<a href="http://www.mmdeschamps.net/" target="_blank">http://www.mmdeschamps.net</a>).</span></p>
<p></p>
<p dir="ltr"><strong>W(ord)[and]ering</strong><span>: How do words wander? How does wandering word? Can you identify wandering without the worded? In order to wander in our neoliberal capitalism era, one must deviate from the</span> <span>straight</span> <span>path of the “should” (sara ahmed) -- is the should-path worded? Can not[words] deviate? What traces do our wanderings leave behind? If we wander the path-traces of another, are we still wandering? How in wandering do we l i s t e n to pulls (that which pulls us?) in ways different than in the not-wander? What are the surroundings of our wanderings? The city/nature binary crumbles when cuddled close, but the Surround does contain difference. How does the Surround we wander through, body? Do words/not|words body?</span></p>
<p dir="ltr"><span><br></span> <span>This stream is directly inspired by and will take place in the exhibition of Lorna Bauer presented by The Fonderie Darling (<a href="http://www.lornabauer.com/" target="_blank">http://www.lornabauer.com</a>).</span></p>
<p></p>
<p dir="ltr"><span style="text-decoration: underline;">[plat]Forms</span></p>
<p></p>
<p dir="ltr"><span>We are excited to accept proposals that engage with the content of the above streams or the overarching theme of the conference across a wide variety of forms. The following are a few ideas that we offer but we expect that there are many other amazing forms and structures that you may come up with and propose:</span></p>
<p></p>
<p dir="ltr"><span>•</span><span>Performance</span><span>: a performative enactment or a theatrical presentation. NOTE: Organizers have a particular interest in and dedication to performance art as well as extensive experience in programming this kind of work which we dearly welcome. Extended duration works might also be interesting to propose given the unusual time-frame of this conference!</span></p>
<p dir="ltr"><span>•</span><span>Workshop</span><span>: leading a group of people through an immersive, interactive experience.</span></p>
<p dir="ltr"><span>•</span><span>Structured Talks / Performative Lectures</span><span>: while we will accept standard academic presentations, we are most excited about artists or thinkers giving talks which go beyond the traditional format of standing up, reading a paper and showing images.</span></p>
<p dir="ltr"><span>•</span><span>Reading Group</span><span>: reading a short secondary text together with guided discussion.</span></p>
<p dir="ltr"><span>•</span><span>Perambulatory</span><span>: a presentation that moves bodies through multiple spaces while it occurs (either indoors or outdoors)</span></p>
<p dir="ltr"><span>•</span><span>Sounding</span><span>: sound making/listening.</span></p>
<p dir="ltr"><span>•</span><span>Installation</span><span>: while it is possible for us to have visual or sculptural work installed, we do not have the capacity to support works that are fragile and we are also not able to provide support in installing or de-installing works, which would need to happen on the first morning of the conference. Consider the context as one that may be more suitable to in-process creations that cannot be “ruined” and especially those with a co-creation/“participatory” component.</span></p>
<p dir="ltr"><span>•</span><span>Screenings</span><span>: movies, videos or film. </span></p>
<p dir="ltr"><span>•Other:</span> <span>please propose a platform that interests you</span></p>
<p></p>
<p dir="ltr"><span>NOTE: Feel free to propose a presentation that entails multiple iterations, variations and space use.</span></p>
<p></p>
<p dir="ltr"><span style="text-decoration: underline;">Submission Instructions:</span></p>
<p></p>
<p dir="ltr"><span>DEADLINE TO RECEIVE SUBMISSIONS IS February 15th, 2016 11:59PM EST</span></p>
<p></p>
<p dir="ltr"><span>Please email your submissions to</span> <span><a href="mailto:theschoolofmakingthinking@gmail.com" target="_blank">theschoolofmakingthinking@gmail.com</a></span> <span>with the words “2016 Conference Proposal.” In this email please attach a separate document (if it is a written document, .doc is preferable to .PDF so that we can better translate it).</span></p>
<p dir="ltr"><span><br></span> <span>Please include, worded or not worded, the following:</span></p>
<ol>
<li dir="ltr"><p dir="ltr"><span>Choose a Content Stream from above or create your own.</span></p> </li>
<li dir="ltr"><p dir="ltr"><span>Choose a (plat)Form from above or create your own.</span></p> </li>
<li dir="ltr"><p dir="ltr"><span>Your proposal (i.e. tell us what you want to do with items 1 and 2)</span></p> </li>
<li dir="ltr"><p dir="ltr"><span>Do you have any technical/material/or other set-up needs that you expect the conference organizers to help you with? (Please note here that we have very limited capacity to help with extensive set-up or tech needs but we will absolutely do what we can!)</span></p> </li>
<li dir="ltr"><p dir="ltr"><span>Temporal preferences: how long will your presentation be, what dates of the conference are you available? The conference will take place from Friday May 6th at 10am until Sunday May 8th at 7pm. *Note: Conference organizers strongly encourage participants to be available for the entire duration of the conference when possible.</span></p> </li>
<li dir="ltr"><span>All of the above should be under 500 words</span></li>
<li dir="ltr"><p dir="ltr"><span>Optional: CV (max. 3 pages) and/or Short Bio</span></p> </li>
</ol>
<p></p>
<p dir="ltr"><span style="text-decoration: underline;">A Note on Economic Exchanges</span></p>
<p dir="ltr"><span>Presenters and organizers do not pay and are not paid to attend the conference. We ask that participants contribute a few hours of time to the household-running of this ephemeral community (this might include unloading, cooking, door-minding, etc). The conference will be open to the public, who will be asked for a small donation at the door to cover expenses. Further details can be found on our website.</span></p>
<p><br> <span>******</span><br></p>
<p dir="ltr"><span>FRENCH VERSION</span></p>
<p></p>
<p dir="ltr"><span><b>Quand</b>: Vendredi 6 mai à 10h - Dimanche 8 mai à 6h (2016)</span></p>
<p dir="ltr"><span><b>Où</b>: Fonderie Darling, Montréal (QC)</span></p>
<p dir="ltr"><span><b>Coût</b>: $10/jour - prix suggéré (pour tous les participants)</span></p>
<p dir="ltr"><span><b>Logements</b>: les participants retenus pourront dormir gratuitement à la Fonderie Darling</span></p>
<p dir="ltr"><span><b>Date limite pour soumettre les dossiers</b>: 15 février à midi</span></p>
<p dir="ltr"><span><b>Site web</b>: <a href="http://www.theschoolofmakingthinking.com/#!conference/cdu4" target="_blank">http://www.theschoolofmakingthinking.com/#!conference/cdu4</a></span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>The School of Making Thinking (L'École Faire et Penser) est ravie de présenter "Mots & [ ]" (Mots & Non-Mots) - une conférence continue entremêlant Art et Pensée qui aura lieu à la Fonderie Darling du 6 au 8 mai 2016. Cette conférence bilingue [français / anglais] est un marathon d'art et de philosophie qui se déroule pendant 56 heures consécutives, 24 heures sur 24, une programmation en direct mettant en vedette des présentations explorant les liens et les fissures entre la pensée et la création. Le but de cette conférence est d’exploser de façon dynamique le format de la conférence à travers un brassage vibrant de l'art et de la pensée, cherchant à éroder les barrières entre individus, disciplines, méthodes et cultures, par l'intermédiaire de l'épuisement dionysiaque.</span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Nous invitons présentateurs, artistes et public à prendre part à l'intégralité de l'évènement, donc à dormir et à festoyer ensemble. L'évènement vise à encourager l’émergence d’une communauté philosophique née d'une absorption profonde, d’un maximum éphémère. Quels genres de travaux pourront émerger lorsque nous entrons dans la surcharge créative ensemble?</span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Les Courants de Contenu</span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Notre thème “Les Mots & [ ],” décortiqué ci-dessous, côtoie les frontières de l’art et de la pensée, du sensuel et du conceptuel, de l’intuition et de l’intellect. Nous encourageons les artistes et les penseurs à présenter des propositions inhabituelles et non-conventionnelles qui effleurent ou empoignent les thèmes ci-dessous – des présentations qui existent à côté, le long, à portée de vue, sur l’horizon du mot et du non-mot.</span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Entre mots et non-mots</span> <span>Que sont les mots? Des morceaux d’un langage parlé ou écrit? Qu’est-ce qui sépare le mot de ce qu’il n’est pas? Qu’est le non-dit? Les mots et les non-mots sont-ils de la même étoffe (chacun un signe?) ou sont-ils radicalement différents? Quelle est l’épaisseur ou la finesse de la frontière qui les sépare? Où se mêlent mots et non-mots? Les mathématiques sont-elles composées de mots? Et la géométrie? Les hiéroglyphiques? Qu’en est-il pour la poésie, le théâtre, le film, la performance?</span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Le Champ de Bataille Entre le Mot et le Non-Mot</span> <span>Le mot entre-t-il en collision violente avec le non-mot? Si le mot et le non-mot forment un champ de bataille, est-ce-que la pensée choisit un camp? Peut-on penser sans mots? La pensée avec les mots se présente-t-elle toujours avec ou depuis le non-articulé? L’art est-il né du non-articulé? L’art articulé est-il moins artistique? Pourquoi demande-t-on souvent aux artistes d’articuler leurs non-mots? Les artistes ont-ils incorporé plus de mots dans leur art que les penseurs des non-mots dans leur pensée? Si la pensée et la fabrication/création sont devenues des champs de bataille, quelle partie de cette géographie violente est productive et quelle autre est paralysante?</span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Le Dehors</span> <span>Y a-t-il quelque chose en dehors des mots et des non-mots?</span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Les Traces (Comment Lire et Écrire)</span> <span>Les mots et les non-mots sont souvent reconnus comme tels à travers leur traces (soit articulés, ou autrement): l’écho des sons, les lignes sur une page, les glyphes, les diagrammes, les sensations corporelles, les restes d’une performance, les objets, les partitions de musique, etc. La technologie de l’écriture apparait comme une question – l’écriture? Qui à son tour fait surgir la question de lire ces traces – la lecture? En essayant d’oublier et de rencontrer de nouveau la lecture et l’écriture, peut-on créer des ouvertures dans la pensée et dans la création? Dans ce courant de contenu, les pratiques de lecture performative sont encouragées ainsi que les pratiques créant des traces d’écriture, de notation, de chorégraphie, d’objets visuels, de graphiques, etc. Comment l’évènement demande à être tracé? Comment la trace demande-t-elle à être rencontrée?</span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Les Évènements-Rêve</span> <span>Les questions ci-dessus présupposent un esprit réveillé; comment ces questions changent-elles quand nous entrons dans le monde des rêves? Étant donné que notre conférence aura lieu pendant deux soirées et nuits entre les heures de 1h et 6h du matin, nous sommes très intéressés par les présentations qui veulent explorer ces thèmes à travers le rêve et son expérience vécue. Qu’est-ce que présenter un discours dans un rêve? Comment un atelier peut-il travailler dans un état de rêve? (Consulter le “Dream-Over” au Musée de Rubin pour trouver de l’inspiration:</span> <a href="http://rubinmuseum.org/events/event/dream-over-05-30-2015" target="_blank"><span>http://rubinmuseum.org/events/event/dream-over-05-30-2015</span></a><span>)</span></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Les Génies de Première Classe?</span> <a href="http://perfectvacuum.neocities.org/Genius.pdf" target="_blank"><span>http://perfectvacuum.neocities.org/Genius.pdf</span></a></p>
<p dir="ltr"></p>
<p dir="ltr"><span>Oublier votre langue maternelle</span><span>: Comment cela serait-il d'oublier sa langue maternelle? Est-on sa langue maternelle? Comment était votre propre langage au commencement, quand une langue est déjà composée fondamentalement de ce qui est l'autre? Comment les réseaux de mots qu'on utilise déterminent "le moi”/ et /" l'autre"? Est-ce-que le fait d’oublier sa langue maternelle met en péril sa culture? Est-ce que cet oubli emprisonnerait l’identité? Est-ce que "le moi" peut être à jamais oublié? Pouvons-nous utiliser notre libre arbitre pour oublier? Qu'est-ce-que l'on gagne à oublier? Qu'est-ce que l'on perd?</span></p>
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<p dir="ltr"><span>"Tant de choses à oublier, si peu de temps." -Margaret Dragu, sur sa technique d'oubli actif.</span></p>
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<p dir="ltr"><span>Ce flux est directement inspiré par</span> <span>Marie-Michelle Deschamps</span> <span>et aura lieu dans l'exposition qui lui est dédiée et présentée par La Fonderie Darling (</span><a href="http://www.mmdeschamps.net/" target="_blank"><span>http://www.mmdeschamps.net/</span></a><span>)</span></p>
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<p dir="ltr"><span>W (ORD) [et] eRing</span><span>: Comment les mots errent-ils? Comment l’errance produit-elle des mots? Pouvez-vous identifier l'errant sans sa définition, son libellé? Afin d'errer dans notre ère de capitalisme néolibéral, il faut s'écarter de la trajectoire rectiligne du “devrait” (Sara Ahmed) - Est-ce-que le chemin du "devrait’ peut être formulé par des mots? Les non-mots dévient-ils ce chemin? Quelles traces les errances laissent-elles derrière elles? Si nous errons sur des traces laissées par d’autres, sommes-nous toujours dans l’errance? Comment, en errance, écoutons-nous ce qui nous attire, nous motive? Quelle différence avec une trajectoire établie? Quels sont les environs de nos errances? La binarité ville/nature se désagrège quand elle est étreinte, mais l'environnement contient toujours la différence. Quels sont les contours de notre errance? Est-ce notre corps? Est-ce que les mots et les non-mots compose notre corps?</span></p>
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<p dir="ltr"><span>Ce courant de contenu est directement inspiré par Lorna Bauer et aura lieu dans l'exposition qui lui est dédiée et présentée par La Fonderie Darling (</span><a href="http://www.lornabauer.com/" target="_blank"><span>http://www.lornabauer.com</span></a><span>).</span></p>
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<p dir="ltr"><span>Les plate-formes</span></p>
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<p dir="ltr"><span>Nous sommes ravis d'accepter des propositions qui explorent les courants de contenu décrits ci-dessus. Par ailleurs, le thème général de la conférence peut aussi être exploré à travers une grande variété de formes - les suivantes sont quelques idées que nous offrons. Cependant, nous nous attendons à ce qu’il y ait beaucoup, beaucoup d'autres structures étonnantes que vous pouvez imaginer et proposer!</span></p>
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<p dir="ltr"><span>•</span> <span>Performance</span><span>: une action performative ou une présentation théâtrale. NOTE: Les organisateurs ont un intérêt particulier et un dévouement à l'art de la performance ainsi qu'une vaste expérience dans la programmation de ce genre de travail: nous accueillons tendrement ces propositions. Des travaux de durée prolongée pourraient également nous intéresser étant donné la période prolongée et inhabituelle de cette conférence.</span></p>
<p dir="ltr"><span>•</span> <span>Atelier</span><span>: guider un groupe de personnes à travers une expérience immersive et interactive.</span></p>
<p dir="ltr"><span>•</span> <span>Entretiens structurés / Cours performatifs</span><span>: Nous sommes heureux d’encourager les artistes et les penseurs à proposer des conférences qui vont au-delà du format traditionnel de se tenir debout, en lisant un papier et en montrant quelques images bien que ces propositions seront aussi considérées.</span></p>
<p dir="ltr"><span>•</span> <span>Groupe de lecture</span><span>: la lecture d'un texte secondaire court avec discussion guidée.</span></p>
<p dir="ltr"><span>•</span> <span>Para-ambulant</span><span>: une présentation qui se déplace à travers de multiples espaces (à l'intérieur ou à l'extérieur)</span></p>
<p dir="ltr"><span>•</span> <span>Son</span><span>: création / écoute sonore</span></p>
<p dir="ltr"><span>•</span> <span>Installation</span><span>: Alors qu'il est possible pour nous d'avoir des pièces visuelles ou sculpturales installées dans l'espace, nous ne disposons pas des moyens nécessaires pour soutenir et encadrer des œuvres fragiles. Aussi, nous ne sommes pas en mesure d’offrir un soutien pour l'installation et le démontage qui auraient besoin de se produire lors de la conférence puisque nous n'avons pas accès à l'espace préalablement. Le contexte de cette conférence est plus adapté à des créations en cours de fabrication qui ne peuvent pas être "ruinées" ou détruites, et surtout, à celles qui ont un élément participatif ou de création coopérative.</span></p>
<p dir="ltr"><span>•</span> <span>Projections</span><span>: courts-métrages, vidéos, animations, films.</span></p>
<p dir="ltr"><span>•</span> <span>Autre</span><span>: s'il vous plaît proposez une plate-forme qui vous intéresse</span></p>
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<p dir="ltr"><span>NOTE: Il est possible de présenter des propositions qui contiennent plusieurs itérations, variations ou utilisations d’espace.</span></p>
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<p dir="ltr"><span>Informations utiles pour les soumissions:</span></p>
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<p dir="ltr"><span>DATE LIMITE: 15 FÉVRIER À MIDI</span></p>
<p></p>
<p dir="ltr"><span>S'il vous plait inclure, exprimé ou non, les éléments suivants:</span></p>
<p dir="ltr"><span> </span></p>
<p dir="ltr"><span>1. Choisissez un courant de contenu ci-dessus ou créez le vôtre.</span></p>
<p dir="ltr"><span>2. Choisissez une plate-forme ci-dessus ou créer la vôtre.</span></p>
<p dir="ltr"><span>3. Votre proposition (dites-nous ce que vous voulez faire en rapport avec le courant de contenu et la forme).</span></p>
<p dir="ltr"><span>4. Avez-vous besoin d'aide technique/matérielle/ou autre que vous prévoyez demander aux organisateurs.</span></p>
<p dir="ltr"><span>5. Préférences temporelles: indiquez le temps dont vous avez besoin pour la présentation, performance, atelier...etc. et quelles sont les dates de conférence où vous êtes disponible?</span></p>
<p dir="ltr"><span>6. Optionnel: CV (maximum 3 pages) et une courte biographie.</span></p>
<p dir="ltr"><span> </span></p>
<p dir="ltr"><span>Une note sur les échanges économiques</span></p>
<p dir="ltr"><span>Les participants ainsi que les organisateurs ne paient pas et ne sont pas payés pour assister à la conférence. Nous demandons aux participants de contribuer quelques heures pour la mise en place de cette communauté éphémère (cela peut inclure le déplacement de matériels, la cuisine, l'accueil du public), etc. La conférence sera ouverte au public qui sera encouragé à donner un petit montant d'argent aux portes pour couvrir les dépenses usuelles. Pour plus de détails, consultez notre site web.</span></p>
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<p dir="ltr"><span><a href="http://storage.ning.com/topology/rest/1.0/file/get/409584490?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409584490?profile=RESIZE_1024x1024" width="750" class="align-left"></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585632?profile=original" target="_self"><br></a></span></p>Quiddle Pre-Launch and Call for Submissionstag:performancephilosophy.ning.com,2015-11-17:6528949:BlogPost:343402015-11-17T20:48:42.000ZAaron Finbloomhttp://performancephilosophy.ning.com/profile/AaronFinbloom
<p><span><a href="http://www.theschoolofmakingthinking.com/" target="_blank">The School of Making Thinking</a> is delighted to announce the pre-launch of <i>Quiddle</i>.<br></br><br></br><i>Quiddle</i> is an interdisciplinary and multi-media journal that aims to enliven and expand our experience of the traditional academic platform. We maintain a strong commitment to inquiry while welcoming creative methods which elude the structures of the standard scholarly journal. Serving as a site for both…</span></p>
<p><span><a href="http://www.theschoolofmakingthinking.com/" target="_blank">The School of Making Thinking</a> is delighted to announce the pre-launch of <i>Quiddle</i>.<br/><br/><i>Quiddle</i> is an interdisciplinary and multi-media journal that aims to enliven and expand our experience of the traditional academic platform. We maintain a strong commitment to inquiry while welcoming creative methods which elude the structures of the standard scholarly journal. Serving as a site for both critique and innovation, <i>Quiddle</i> affirms the transformative potential of putting on a silly hat while sitting with a serious thought.<br/><br/>In the spirit of the silly-serious, <a href="http://www.theschoolofmakingthinking.com/#!call-for-syllabi/c1qul" target="_blank">we invite you to submit</a> to our <i>Quiddle</i> Pre-Issue: “Syllabus, Impossible.”</span></p>
<div><b>Syllabus, Impossible</b><br/><br/>The humble syllabus is a hybrid creature of unacknowledged creative potential.<br/><br/>At once a pedagogical apparatus and an inspiring map of projected insights to come, it oscillates between administrative routine and expanded flights of intellectual imagination. It can be the most exciting part of a course, existing prior to the real and before any physical limitation, suggesting futures of transformative epiphany.<br/><br/>In this special <i>Quiddle</i> pre-issue, we’d like to release the syllabus from its practical responsibilities and the constraints of our material world. What if the syllabus were to become a purely imaginative form?<br/><br/>We invite artists and thinkers to send us syllabi for classes or workshops which fantastically explode the disciplinary boundaries of art and thought: syllabi that bend the surfaces of the possible and the true, pedagogies that make productive use of obscurity and paradox, and lesson outlines that assign works of implausible challenge and impossible beauty.<br/><br/>We welcome syllabi that could not possibly be actualized. Or put otherwise: what possible world would your syllabus make true?<br/><br/>We are especially excited to receive <span class="il">submissions</span> that include a course title and outline, assigned readings – whether real or invented – and an explication of the pedagogical activities and actions your imagined course would involve.<br/><br/><u><b>Instructions</b></u>: The deadline for <span class="il">Submissions</span> is Tuesday Dec 1st 2015. Proposals should be emailed to theschoolofmakingthinking<AT> and should include "Quiddle Syllabus" in the subject line. Please keep your <span class="il">submissions</span> under 1500 words. Attach <span class="il">submissions</span> as a .doc or .docx file and please do not include your name in the document itself. </div>