Everyone's Blog Posts - Performance Philosophy2024-03-19T13:36:42Zhttps://performancephilosophy.ning.com/profiles/blog/feed?xn_auth=noHOW NOT TO MISS THE 'MISSING' IN THE UNIVERSE AROUND UStag:performancephilosophy.ning.com,2020-05-13:6528949:BlogPost:585102020-05-13T13:27:53.000ZAnirban Kumarhttps://performancephilosophy.ning.com/profile/AnirbanKumar
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<p align="center" class="western" style="margin-bottom: 0cm; line-height: 100%;">(Fig. i)*…</p>
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<p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="center">(Fig. i)*</p>
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<p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="center"><font style="font-size: 10pt;" size="2">Smolded through ages, as a lifeless form</font></p>
<p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="center"><font style="font-size: 10pt;" size="2">Colorful but yet chaotic</font></p>
<p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="center"><font style="font-size: 10pt;" size="2">Born but yet symbiotic</font></p>
<p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="center"><font style="font-size: 10pt;" size="2">Caged in green lush, as a unique uniform</font></p>
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<p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="center"><font style="font-size: 10pt;" size="2">At the stroke of creator's fulgaration</font></p>
<p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="center"><font style="font-size: 10pt;" size="2">Morbid smolder of chalk</font> <font style="font-size: 10pt;" size="2"><span lang="en-US" xml:lang="en-US">pours</span></font></p>
<p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="center"><font style="font-size: 10pt;" size="2">Over the meadow of mountain in scores</font></p>
<p class="western" style="margin-bottom: 0cm; line-height: 100%;" align="center"><font style="font-size: 10pt;" size="2">As if planted in time, through curator’s dilation</font></p>
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<p class="western" style="margin-bottom: 0cm; line-height: 100%;" lang="en-US" align="justify" xml:lang="en-US"></p>
<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify">Lets take an example. On the bus route (Flixbus) from Berlin to Venice near northern Italy, there is a stretch of mountain range. One can recognize it as “mountain-like”. In effect this recognition involves an act of identification which is to see the stretch of mountain range as “mountain-like”. And without an aorta of doubt the process of recognition, or that of naming, conspicuously incorporates all the elements of cognition, sensorium, sense, referent, and everyother concept that has an associative principle with recognition.</p>
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<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify">Herein, when the naming of mountain as a mountain is carried out in terms of a classification or a recognition, an identification which can be linked with an acknowledgement of <i>missing</i> rocks that might open up a moment of ‘decision’. And how is this decision approached ? François Laruelle argues that philosophy contends itself by giving a prescription by means of “an auto-position which is titular” to ascertain an <i>a priori</i> in the first place (2013, 4). A statement like, “that the <i>missing</i> constitutes the real,” then does have to be taken as a rhetoric, just by the sheer logic of rhetoric itself. The ‘decision’ to constitute the very performance of <i>missing</i> coming-into-being is absolutely to extrapolate the very nature of the ‘whole’, which if not said, misses the idea of the ‘whole’. Now there can be a seeming juxtaposition of the ‘whole’ and the ‘part’ or even the topical conundrum of surface vis-à-vis depth.</p>
<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify"></p>
<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify">At this point its needed to zero-down on the ‘like-ness’ of a structure akin to that of a mountain. One can opine that a mountain is made up of many small rocks and which are indispensable to the whole of what we identify as a mountain, as a single unit.<a class="sdendnoteanc" name="sdendnote1anc" href="#sdendnote1sym" id="sdendnote1anc"><sup>i</sup></a> These mountains also have green trees covering the outer layer. But can we say that a mountain is made up of trees !!? The anwser might inflect a prompt – may be the mountains are made up of trees instead of rocks. If this is the answer then a person is cancelling out the ‘knowledge’ that these “rock-like” stones are the building block of a mountain. But if the answer is seriously vouching for trees then a moment of pause demands to think over the response, precisely because a consideration of ‘one-ness’ which puts a rock and a tree at the same pedastal of life-form instills an imagination of the <i>missing</i> present in both.</p>
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<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify">The aforementioned ‘common-ness’ between a rock and a tree is explicated through two performative figures – obfuscator and dabbler. A rock professes a function like an obfuscator who impedes and <span lang="en-IN" xml:lang="en-IN">withholds</span> an information, whereas a tree imbibes the carefree attitude of an amateur who follows her passion without being called a ‘professional’. On one hand, through the <span lang="en-IN" xml:lang="en-IN">gesture</span> of an obfuscator, a visual extension of grandeur invokes halting scale of the mountain. And on the other hand, a <span lang="en-IN" xml:lang="en-IN">dabbler proposes</span> a communication between ‘oneself’ and ‘one-ness’ by breathing life into the ecosystem. Therein, a dabbler’s communication is felt at a level more affectively than the prescriptive <span lang="en-IN" xml:lang="en-IN">conflation of an obfuscator,</span> this mediation of ‘oneself’ with ‘one-ness’ carries forward an extrapolative commitment in a communicative manner. The dabbler communicates<sup><a class="sdendnoteanc" name="sdendnote2anc" href="#sdendnote2sym" id="sdendnote2anc">ii</a></sup> not with a transcendental self but finds a ‘technique in <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">method’</span></span> of her own to be in sync <i>with-though</i> time.</p>
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<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify">Although the necessity of fulfilment in mediation ensure an encounter of the ‘self’ with the feeling, a dabbler contests and struggles against the ‘feeling’ of necessity and prunes it in a verbose way. As the dabbler lops off the contestation generated from feeling, it positions the periphery as <span lang="en-IN" xml:lang="en-IN">excess</span> to the barks of the stem on which it sits. The posture of dabbler sitting on <span lang="en-IN" xml:lang="en-IN">this extension</span> of stems, gradually develops a mannerism, while performing the act of pruning. But when a strong wind blows from all around, the dabbler has no cover. It runs for the dead branches at the ground. While under the shed of <span lang="en-IN" xml:lang="en-IN">makeshift</span> cover, the dabbler goes through a moment of <span lang="en-IN" xml:lang="en-IN"><i>ehs</i></span><span lang="en-GB" xml:lang="en-GB"><i>ā</i></span><span lang="en-IN" xml:lang="en-IN"><i>s-bodh</i></span> wherein this moment of impasse presents a gift in the form of a gale within. It hears to the noise of this gale carefully without the need of grace being conferred upon.</p>
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<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify"><span style="font-style: normal;">Therein, a dabbler is least bothered by the dispensation around but has a unique sense of</span> <span lang="en-GB" xml:lang="en-GB"><i>ehsās-bodh</i></span><span style="font-style: normal;">.</span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">A dabbler’s</span></span> <span lang="en-GB" xml:lang="en-GB"><i>ehsās</i></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">has</span></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">a moment of realisation that the</span></span> <span lang="en-GB" xml:lang="en-GB"><i>missing</i></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">pervades the whole of mountain and thereby revises a relationship with delimitation. Because an acknowledgement of</span></span> <span lang="en-GB" xml:lang="en-GB"><i>missing</i></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">then have both, a recognition and identification at the same time. And therefore in order to follow through the simultaneous movement, dabbler’s method involves a technique at the same time. It comes out as an interjection “aahhaa”. The dabbler’s expression of ‘aahhaa’ simultaneously register one note of contemplative realisation, while at the same time listens to revelation by appreciating this</span></span> <span lang="en-IN" xml:lang="en-IN"><i>ehsās-bodh</i></span><span lang="en-GB" xml:lang="en-GB"><i>.</i></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">It vibrates all the way from within and says the most crucial aspect about everything happening in the present world.</span></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">As there appears to be an encounter with a revelatory information, a singular moment in epiphany conditions the</span></span> <span lang="en-IN" xml:lang="en-IN"><i>ehs</i></span><span lang="en-GB" xml:lang="en-GB"><i>ā</i></span><span lang="en-IN" xml:lang="en-IN"><i>s</i></span><span lang="en-GB" xml:lang="en-GB"><i>-</i></span><span lang="en-IN" xml:lang="en-IN"><i>bodh</i></span> <span lang="en-IN" xml:lang="en-IN"><span style="font-style: normal;">that there can be a possibility of novelty in store to come.</span></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">Although an insatiable separation in registering and listening does</span></span> <span lang="en-IN" xml:lang="en-IN"><span style="font-style: normal;">initiate</span></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">a paradox of realisation, the predicament of novelty propel a dimension of concealment in the courtship of epiphany. This paradox of realisation as a separate entity is replete of</span></span> <span lang="en-GB" xml:lang="en-GB"><i>missing energy</i></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">which is</span></span> <span lang="en-GB" xml:lang="en-GB"><span style="font-style: normal;">as present as it is in its absence.</span></span></p>
<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify"></p>
<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify"><span lang="en-GB" xml:lang="en-GB">An active and participatory traversal in this moment of realization/illumination proffer a unique characteristic to the medium, i.e. the medium becomes a mediator. It is like a transmission through the membrane of an eardrum that makes a covenant with sound in air, without being internecine (mutually destructive) to the world of vibrations that it creates. As much as the membrane qualifies for the</span> <span lang="en-GB" xml:lang="en-GB"><i>tarīkā</i></span> <span lang="en-GB" xml:lang="en-GB">of converting sound in air, its forte rests with the conviviality of amplification. Because the hospitable quality has already inculcated a maneuver of listening to imperception, the exhalation is meant to stabilize the variation in pressure. Once the stabilization is incurred in the process of expounding a synergetic level in hearing, the cross hyperventilation runs</span> <span lang="en-IN" xml:lang="en-IN"><i>with-through</i></span> <span lang="en-GB" xml:lang="en-GB">a spasm like situation, technically. In return the influence</span> <span lang="en-IN" xml:lang="en-IN">it</span> <span lang="en-GB" xml:lang="en-GB">creates is a permeable exasperation which allows listening to ‘the voice from within’. This puts the amplification in a position of transience, wherein the volume of breathing is listening to its rate of</span> <span lang="en-IN" xml:lang="en-IN">palpitation</span><span lang="en-GB" xml:lang="en-GB">. The contraction though stems out as something which can exhume an antipathy for exasperation, but the</span> <span lang="en-IN" xml:lang="en-IN">uniqueness</span> <span lang="en-GB" xml:lang="en-GB">of this</span> <span lang="en-GB" xml:lang="en-GB"><i>lafz</i></span> <span lang="en-GB" xml:lang="en-GB">‘aahhaa’ calibrates the medium to become a mediator.</span></p>
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<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify">All at once, a diptych opens up – one side registers the dabbler’s experience of what she has done while cutting off the branches and second side, scrolls down an awry instance of realization that simultaneously glances over her experience. Since the diptych <span lang="en-IN" xml:lang="en-IN">ungoverns</span> a procedural norm of experience, the <span lang="en-IN" xml:lang="en-IN">realization expressed as ‘aahhaa’,</span> attempts to process the problem of commonality in between the noise of the gale and that which sways her off the ground from a knowledge system. <span lang="en-GB" xml:lang="en-GB">Knowing the method of</span> <span lang="en-IN" xml:lang="en-IN">process,</span> <span lang="en-GB" xml:lang="en-GB">the two distinct registers acknowledge, what ought to be in the courtship of acquired determination. The rarity in epiphany involves a simultaneous innovation, its significance in the manner of ‘commonness’ in realising the gale, initiate a sublative predicate rather than substitution. The common gale gets off the mark and originate in the the dabbler by exuding a ‘rumbling from within’ and that too without a necessary</span> <span lang="en-IN" xml:lang="en-IN">self loathing</span><span lang="en-GB" xml:lang="en-GB">. Because</span> <span lang="en-IN" xml:lang="en-IN">otherwise</span> <span lang="en-GB" xml:lang="en-GB">it can muster up only one thing, a</span> <span lang="en-IN" xml:lang="en-IN">self accusatory</span> <span lang="en-GB" xml:lang="en-GB">imposition of sin being benevolently bestowed as an orientation by default. So the dabbler has an answer in the form of</span> <span lang="en-IN" xml:lang="en-IN"><i>ehs</i></span><span lang="en-GB" xml:lang="en-GB"><i>ā</i></span><span lang="en-IN" xml:lang="en-IN"><i>s-bodh</i></span> <span lang="en-GB" xml:lang="en-GB">who rectifies the image of gale by creating a real</span> <span lang="en-IN" xml:lang="en-IN">gale</span> <span lang="en-GB" xml:lang="en-GB">that virtually exists both in the dabbler and the obfuscator.</span></p>
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<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify">The question is not to only keep on brooding that why there is a dichotomy of ‘part’/‘whole’ or ‘surface’/‘depth’ but in order to think of the wholeness, one CAN think of a partness. Part is not the <i>missing</i> element of the ‘whole’, instead <i>missing</i> is the ‘whole’ which is common to both the ‘whole’ and the ‘part’ to say the least. <i>Missing</i> is the force, the vibration, the dark energy that holds the <i>partness</i> of the rock at the quantum level and the wholeness of the mountain with “co-relation” to any part of the rock. This holds true not only in the case of mountains on Earth but also as a paradox within the logic of the <i>Universe.</i> <span style="font-style: normal;">A</span> <span style="font-style: normal;">“co-relation” of the part with that of the ‘whole’ and vice-versa is not a circumventing</span> <i>finite-ness</i> <span style="font-style: normal;">instead, the realness of the Universe</span><i>.</i><sup><span style="font-style: normal;"><a class="sdendnoteanc" name="sdendnote3anc" href="#sdendnote3sym" id="sdendnote3anc">iii</a></span></sup></p>
<p class="western" style="margin-bottom: 0cm; line-height: 200%; page-break-before: auto; page-break-after: auto;" align="justify"></p>
<p class="western" style="margin-bottom: 0cm; line-height: 200%;" align="justify">* <font color="#00000A"><font style="font-size: 10pt;" size="2"><span lang="en-US" xml:lang="en-US">Fig. (i) Near Northern Italy to Venice, 2 Aug 2016.</span></font></font></p>
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<p class="western" style="margin-bottom: 0cm; line-height: 200%; text-align: center;" align="justify"><span style="font-size: 10pt;"><strong><font color="#00000A"><font size="2"><span lang="en-US" xml:lang="en-US">NOTES</span></font></font></strong></span></p>
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<div id="sdendnote1"><p class="sdfootnote-western" align="justify"><a class="sdendnotesym" name="sdendnote1sym" href="#sdendnote1anc" id="sdendnote1sym">i</a> In the modern discipline of Geology there are many theories about the formation and of how mountains came into being. The study of rocks, sedimentation and mountain ranges have been an area of focus for Naturalists right from the days of Leonardo da Vinci. It was none other than da Vinci himself who drew out starkling inferences from his careful observation of the marine fossils found on the mountains of Parma and Piacenza. He inferred that “parts of earth’s crust had collased into large subtarranean cavities filled with water. The displaced water would itself push other parts of the crust up” (David Bressan, (2015) “How Geologists Determined The Way That Mountains Formed”)</p>
<p class="sdfootnote-western" align="justify"><font color="#000080"><span lang="zxx" xml:lang="zxx"><u><a href="https://www.forbes.com/sites/davidbressan/2015/09/29/how-geologists-determined-the-way-that-mountains-formed/#54ecc658453c">https://www.forbes.com/sites/davidbressan/2015/09/29/how-geologists-determined-the-way-that-mountains-formed/#54ecc658453c</a></u></span></font>, accessed August 23, 2019.</p>
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<div id="sdendnote2"><p class="sdendnote-western" align="justify"><a class="sdendnotesym" name="sdendnote2sym" href="#sdendnote2anc" id="sdendnote2sym">ii</a> <i>Etymology Dictionary Online</i><span style="font-style: normal;">, s.v. “Communication,” accessed September 13, 2017,</span> <font color="#000080"><span lang="zxx" xml:lang="zxx"><u><a href="http://www.etymonline.com/index.php?allowed_in_frame=0&search=communication"><span style="font-style: normal;">http://www.etymonline.com/index.php?allowed_in_frame=0&search=communication</span></a></u></span></font><span style="font-style: normal;">.</span></p>
<p class="sdendnote-western" align="justify"><i>Saṃpreṣaṇ</i> means to get across a word, idea or emotion. The closest term used as a translated expression in English for <i>saṃpreṣaṇ</i> is communication. Although the word has an etymological commonality with '<font face="Lohit Devanagari"><span lang="hi-IN" xml:lang="hi-IN">सं</span></font>' and ‘Co’, both of them differ in their respective application, when put to in the means of derivation. Because the logic of derivation is what makes them stand affront to each other. The word '<font face="Lohit Devanagari"><span lang="hi-IN" xml:lang="hi-IN">सं</span></font>' adds to the form of the medium which transmits the sense of what needs to be communicated. Therefore, it simultaneously issues a nominative and accusative characteristics to the formulation of appendage in '<font face="Lohit Devanagari"><span lang="hi-IN" xml:lang="hi-IN">सं</span></font>'. Whereas, ‘Co’ initiates the combination onto a “noun of action from past participles stem of communicare (French)” which means, to make common.</p>
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<div id="sdendnote3"><p class="sdfootnote-western" align="justify"><a class="sdendnotesym" name="sdendnote3sym" href="#sdendnote3anc" id="sdendnote3sym">iii</a> <span style="font-style: normal;">G.W.</span> <span style="font-style: normal;">Leibnitz, “Reflection on the Doctrine of a Single Universal Spirit 1702,”</span> <i>Philosophical Papers and Letters</i><span style="font-style: normal;">, Vol. 2, Second Edition Second Print (ed. & trans.) Leroy E. Loemker, (Dordrecht; Boston; London: Kluwer Academic Publishers, 1989), 558.</span></p>
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</div>"Further Evidence on the Meaning of Musical Performance" Working Papertag:performancephilosophy.ning.com,2020-01-15:6528949:BlogPost:597012020-01-15T21:28:08.000ZPhillip Cartwrighthttps://performancephilosophy.ning.com/profile/PhillipCartwright
<p></p>
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<p><span><a href="https://storage.ning.com/topology/rest/1.0/file/get/3821283626?profile=original" rel="noopener" target="_blank"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/3821283626?profile=RESIZE_710x"></img></a> Karolina Nevoina and I are pleased to announce availability of our working paper, "Further Evidence on the Meaning of Musical Performance". Special thanks to Professor Aaron Williamon and the Royal College of Music, Centre for Performance Science.…</span></p>
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<p><span><a href="https://storage.ning.com/topology/rest/1.0/file/get/3821283626?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/3821283626?profile=RESIZE_710x" class="align-center"/></a>Karolina Nevoina and I are pleased to announce availability of our working paper, "Further Evidence on the Meaning of Musical Performance". Special thanks to Professor Aaron Williamon and the Royal College of Music, Centre for Performance Science.</span></p>
<p><span><a href="https://www.academia.edu/41642364/Working_Paper_Further_Evidence_on_the_Meaning_of_Musical_Performance_Cartwright_Nevoina_15012020">https://www.academia.edu/41642364/Working_Paper_Further_Evidence_on_the_Meaning_of_Musical_Performance_Cartwright_Nevoina_15012020</a></span></p>Aproximaciones teóricas a la danzatag:performancephilosophy.ning.com,2019-12-06:6528949:BlogPost:593392019-12-06T20:01:07.000ZCarlos Eduardo Sanabriahttps://performancephilosophy.ning.com/profile/CarlosEduardoSanabria
<p><a href="https://www.researchgate.net/publication/337647302_Aproximaciones_teoricas_a_la_danza" target="_blank" rel="noopener">https://www.researchgate.net/publication/337647302_Aproximaciones_teoricas_a_la_danza</a></p>
<p><a href="https://www.researchgate.net/publication/337647302_Aproximaciones_teoricas_a_la_danza" target="_blank" rel="noopener">https://www.researchgate.net/publication/337647302_Aproximaciones_teoricas_a_la_danza</a></p>Division of Labor - Denis Beauboistag:performancephilosophy.ning.com,2018-02-23:6528949:BlogPost:492732018-02-23T00:36:28.000ZGabrielle Senzahttps://performancephilosophy.ning.com/profile/GabrielleSenza
<p>I just came across Denis Beaubois, an Australian multidisciplinary artist whose work, <a href="http://www.denisbeaubois.com/DivisionofLabour/divisionoflabourCurrency.html" rel="noopener" target="_blank">Currency - Division of Labor</a> might be of interest to researchers here.</p>
<p>It is a series of video/performance works that use the division of labor model in capitalism as a structural tool for performance.</p>
<p>From his website:</p>
<p><em>The Division of labour</em> work explores…</p>
<p>I just came across Denis Beaubois, an Australian multidisciplinary artist whose work, <a href="http://www.denisbeaubois.com/DivisionofLabour/divisionoflabourCurrency.html" target="_blank" rel="noopener">Currency - Division of Labor</a> might be of interest to researchers here.</p>
<p>It is a series of video/performance works that use the division of labor model in capitalism as a structural tool for performance.</p>
<p>From his website:</p>
<p><em>The Division of labour</em> work explores the idea of fulfilling a role through circumstance. In this case it is the role of the unsuspecting (non theatrical) performer driven by economic necessity. It raises the question that authenticity in performance cannot be achieved through a body that is aware of its role as performer.</p>
<p><a href="http://www.denisbeaubois.com/DivisionofLabour/divisionoflabourCurrency.html">http://www.denisbeaubois.com/DivisionofLabour/divisionoflabourCurrency.html</a></p>The School of Making Thinking's Summer 2018 Residency Programstag:performancephilosophy.ning.com,2018-01-09:6528949:BlogPost:486232018-01-09T15:01:18.000ZAaron Finbloomhttps://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>Playing with Virtual Realities - Performances and Symposiumtag:performancephilosophy.ning.com,2017-11-18:6528949:BlogPost:473372017-11-18T13:14:25.000ZEinav Katan-Schmidhttps://performancephilosophy.ning.com/profile/Einavkatan
<div><div><table border="0" width="100%">
<tbody><tr><td class="m_-1232945884932582290gmail-fontgenre">PREMIERE</td>
<td colspan="3"><strong>Playing with Virtual Realities</strong></td>
<td> </td>
</tr>
<tr><td valign="top"><strong>25. bis 28.01.2018</strong></td>
<td colspan="3" valign="top">A research project of the Cluster of Excellence Image Knowledge Gestaltung, Humboldt-University of Berlin </td>
<td> …</td>
</tr>
</tbody>
</table>
</div>
</div>
<div><div><table width="100%" border="0">
<tbody><tr><td class="m_-1232945884932582290gmail-fontgenre">PREMIERE</td>
<td colspan="3"><strong>Playing with Virtual Realities</strong></td>
<td> </td>
</tr>
<tr><td valign="top"><strong>25. bis 28.01.2018</strong></td>
<td colspan="3" valign="top">A research project of the Cluster of Excellence Image Knowledge Gestaltung, Humboldt-University of Berlin </td>
<td> </td>
</tr>
<tr><td valign="top" class="m_-1232945884932582290gmail-fontgenre">DANCE<br/>PERFORMANCE</td>
<td valign="top"></td>
<td><strong>at DOCK 11</strong></td>
<td colspan="2"> </td>
</tr>
</tbody>
</table>
<p><img src="https://ci6.googleusercontent.com/proxy/i8eUPjiDhsVDMpNPPJEeZHhYC_Yy9Wnps-1KEgmCuRJSTBLVy01rD5iLJhIY7NklwJxQvH5ZOt1adgJdCk_8FejvH-jQe7naL2vkRnc=s0-d-e1-ft#%3Ca%20href="/>http://www.dock11-berlin.de/images/PlayingVR-32_130.jpg" alt="Playing with Virtual Realities" class="CToWUd a6T" tabindex="0" /></p>
<p><span class="m_-1232945884932582290gmail-fontcolor">Playing with Virtual Realities</span></p>
<p>Dates:</p>
<p><strong>Symposium:</strong><strong> 25.01.2018, 13:00-20:45 </strong><br/><b><span>Performances: </span></b><b><font color="#272727" face="Arial"><span>26., 27. and 28. January 2018, at 19.00</span></font></b></p>
<p><strong>Symposium: Free Entrance. </strong>Limited places.<strong> </strong>For registration please write<strong>: </strong><a href="mailto:playing.vr.dance@gmail.com" target="_blank">playing.vr.dance@gmail.com</a><strong><br/><br/>Performances: </strong>Tickets: 8.- Euro<br/>Reservations: <a href="mailto:ticket@dock11-berlin.de" target="_blank">ticket@dock11-berlin.de</a>, 030-35120312<span><br/></span></p>
<p>DOCK11, Kastanienallee 79, 10435 Berlin<br/><br/></p>
<p>What moves you? How does playfulness affect knowing? How do you use the virtual space in everyday life? Is there a virtual space, which is not technological? What do techniques of the body share in common with technology? How do ideas emerge? Are there possible limits for imagination? How does imagination affect and constitute the actual world? Can technology extend human qualities? What makes dancers mediators of imageries?<br/>These questions both lead and were developed in the project Playing with Virtual Realities. Playing with Virtual Realities stages dancers as gamers in VR. We explore how VR-technology and the embodied practices of gaming and dancing enact and design imagination and perceptual experience. <br/>The creation is a result of an interdisciplinary labor. It is a mutual intervention of dancing, gaming, VR design, philosophy of technology, embodied philosophies of perception, and performance philosophy. In the process we start to notice the emergence of ideas as joint-imagination. Technology, games, dancers, researchers, and experience-designers share their curiosities, expertise, and opinions in playful and joyful manners. We find that although technology may offer a concrete image to follow, human imagination never ceases. We also become aware to the benefit of playfulness within all media and to the influence of virtual realm on actual discoveries within all disciplines. </p>
<p>Director: Einav Katan-Schmid<br/>Creative team: Christian Stein, Sabiha Ghellal, Thomas Lilge, Ramona Mosse<br/>Dance: Nitsan Margaliot, Lisanne Goodhue<br/>Technical assistance: Meik Ramey, Nobert Schröck<br/>Photo: Alexander Katan-Schmid</p>
<p>Playing with Virtual Realities has been realized by Image Knowledge Gestaltung, Cluster of Excellence of Humboldt-Universität zu Berlin, funded by the German Research Foundation (DFG)<br/>The project takes place in the research group gamelab.berlin, in collaboration with Institut für Games, Hochschule der Medien Stuttgart, and in association with the international network Performance Philosophy. <br/>We are grateful for the support of Mo.Ré; a collective for movement research.</p>
<p> </p>
<p><strong>Symposium, </strong><span> </span><span>25.01.2018, 13:00-20:45 </span></p>
<p>The symposium of Playing with Virtual Realities brings together key researchers from the disciplines of dance and theatre studies, performance philosophy, VR, game design, cultural studies, and philosophy of technology into discussions.</p>
<p>Our topics for consideration are:<br/>• The relationship between quality of performance and immersion within all disciplines<br/>• The challenges of technology and techniques in assisting immersive performances <br/>• Aspects of interdisciplinary research<br/>• The role dance and gaming may have in interdisciplinary and transdisciplinary collaborations <br/>• The relationship between imagination and embodied sensitivity<br/>• The mutual effect of virtual realms and the actual world</p>
<p> The panels include demonstrations of the dancers in VR.</p>
<p>13:00<br/><strong>Opening</strong></p>
<p>13:30-15:30<br/><strong><u>Panel 1: Immersion and performance</u></strong><br/>Moderation: <br/><strong>Tom Lilge</strong>, Philosophy and Theatre Studies, gamelab.berlin <br/>Panelists:<br/><strong>Melissa Blanco Borelli</strong>, Senior Lecturer in Dance, Department of Drama, Theatre & Dance, Royal Holloway University of London, 2017-18 Fellow at International Research Center, "Interweaving Performance Cultures," Freie Universitat Berlin <br/><strong>Sabiha Ghellal</strong>, Professor for Experience & Game Design, Hochschule der Medien, University of Applied Science, Stuttgart. <br/><strong>Friedrich Kirschner</strong>, Professor für digitale Medien, Hochschule für Schauspielkunst Ernst Busch.<br/><strong>Ruthie Abeliovich</strong>, The Theatre Department, The School of Arts, Haifa University.</p>
<p><br/>16:15-18:15<br/><strong><u>Panel 2: Interdisciplinary Research</u></strong><br/>Moderation: <br/><strong>Christian Stein</strong>, Computer Science and Linguistics, gamelab.berlin<br/>Panelists:<br/><strong>Janice Ross</strong>, Professor at the department of Theatre and Performance Studies <br/>Stanford University, 2018 Faculty-In-Residence at Stanford’s Berlin Center.<br/><strong>Wolfgang Schäffner</strong>, Director of Cluster of Excellence “Image Knowledge Gestaltung”, Professor for the Cultural History of Knowledge, Humboldt Universität zu Berlin<br/><strong>Scott DeLahunta </strong>Centre for Dance Research, Coventry University (UK) Deakin Motion.Lab, Deakin University (AUS), co-director of MotionBank, Hochschule Mainz University of Applied Sciences. <br/><strong>Thorsten S. Wiedemann</strong>, Founder and Director, A MAZE. GmbH; Games, Playful Media and Other Realities</p>
<p><br/>18:45-20:45<br/><strong><u>Panel 3: Virtual and Actual Worlds</u></strong><br/>Moderation: <br/><strong>Einav Katan-Schmid</strong>, Philosophy and Dance Practice, gamelab.berlin<br/>Panelists:<br/><strong>Gabriele Brandstetter</strong>, Professor for Dance Studies, Institut für Theaterwissenschaft, Freie Universität Berlin<br/><strong>Aud Sissel Hoel</strong>, Professor of Media Studies and Visual Culture, Norwegian University of Science and Technology (NTNU)<br/><strong>Sara Lisa Vogl</strong>, VR Shaman for longterm VR experiences, VR Base.<br/><strong>Alice Lagaay</strong> Interim Professor of Aesthetics and Cultural Philosophy at Hamburg University of Applied Science. Core Convener, Performance Philosophy.</p>
<p>Dancers: <br/><strong>Lisanne Goodhue, Nitsan Margaliot</strong>.</p>
<p><span><br/> <img src="https://ci4.googleusercontent.com/proxy/8R5UerpJ8lnojWYjS2W6e-BKcwwlP7aunMeMfnC51PHN6Ta0CUxgOMJzR0ogn272r0X3LOOhzfNDCZOtk5LSrVyT9Yu09sGFxMnnEvAJw_DoSg=s0-d-e1-ft#%3Ca%20href="/>http://www.dock11-berlin.de/images/logos/VR/gamelab-logo.jpg" alt="" width="200" class="CToWUd" /> </span><span><img src="https://mail.google.com/mail/u/0/?ui=2&ik=8a9ca59606&view=fimg&th=15fcf11fb5751df3&attid=0.1&disp=emb&realattid=ii_15fcf05f4e144d37&attbid=ANGjdJ9_xgYqJQ0sTNEg5jaruE3UsKCceYY-v4XHQi0as9pO4kj1h0JdAXf1T_Wu8nZ24OpIjU7HPtI6UXvnMxqEGtoqLwc4eqqSHcsT4dkMZlZG2r5vZSSBxd2VIrE&sz=w468-h66&ats=1511010530133&rm=15fcf11fb5751df3&zw&atsh=1" alt="Inline image 1" width="234" height="33" class="CToWUd"/></span><span><br/></span></p>
<p><img src="https://ci5.googleusercontent.com/proxy/Kgib7oLlPXal0xfkjcShOB5OkVdJ1S-Abzf_GpDuooBO55Q16qm9MIGBdGutq6Mni_yQwfhxIMyl5ABUI_RY-ECEvZWR0mo4HLuZbvBaUAr6r_hJ=s0-d-e1-ft#%3Ca%20href="/>http://www.dock11-berlin.de/images/logos/VR/Logo%20Cluster.jpg" width="400" height="72" alt="" class="CToWUd" /></p>
<p><img src="https://ci6.googleusercontent.com/proxy/g1ZOanF0rreCgFZWNPmuwOhOrSXHY6yTr2CyZyLk8jygYTB7XWvrl-JqOmsE1Uc0hsmrh53IpyRJwPaQqt0OKEMF44j0ETPEfKvjF3DG4LokgHaFJqYG=s0-d-e1-ft#%3Ca%20href="/>http://www.dock11-berlin.de/images/logos/VR/Logo%20hochschule.jpg" width="100" height="90" alt="" class="CToWUd" /> <img src="https://ci6.googleusercontent.com/proxy/-dfO8vnMSc2kgJvyJGEMS_iHz58HYgNYFfD7M9BfNJCAgxFzMWMSqxcNZ0hr2iFrr04EmKez0FK83zfRvf49P2lcvpb7NmXL-X4bOl154rq_ePW4GtY=s0-d-e1-ft#%3Ca%20href="/>http://www.dock11-berlin.de/images/logos/VR/Logo%20IFG_klein.jpg" width="100" height="100" alt="" class="CToWUd" /> <img src="https://ci4.googleusercontent.com/proxy/2ZKBhGaU9GPtKeDSWYbEDV9dnEArml9sNAo3Z5qzu9WU5FIYPYjZ3Xou-mTfzy-iQBPlnmE0mmNYP85_OzDifG55V4fv-HPQ2yCJJRRbFoIcdQ=s0-d-e1-ft#%3Ca%20href="/>http://www.dock11-berlin.de/images/logos/VR/Logo%20Mo_Re.jpg" width="100" height="100" alt="" class="CToWUd" /> <img src="https://ci3.googleusercontent.com/proxy/jRtj8JQL9v3L6ePX7KhGVMr0wdZnb_WhPGVSq8s5GKR6Ije6wv3duJeosmMBBZXEj06VzQqHuk1FrqLSgpOQ2vUXvKRVZzowlqTatAskbA=s0-d-e1-ft#%3Ca%20href="/>http://www.dock11-berlin.de/images/logos/VR/Logo%20PP.jpg" width="100" height="133" alt="" class="CToWUd" /></p>
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<p></p>2nd International Symposium Performance Philosophy School of Athens at EMST (SEPT 2017)tag:performancephilosophy.ning.com,2017-11-17:6528949:BlogPost:470382017-11-17T11:30:00.000ZStella Dimitrakopoulouhttps://performancephilosophy.ning.com/profile/StellaDimitrakopoulou
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409588012?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/409588012?profile=RESIZE_1024x1024" width="750"></img></a> <a href="http://storage.ning.com/topology/rest/1.0/file/get/409589209?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/409589209?profile=RESIZE_1024x1024" width="750"></img></a> <a href="http://storage.ning.com/topology/rest/1.0/file/get/409590420?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/409590420?profile=RESIZE_1024x1024" width="750"></img></a> <a href="http://storage.ning.com/topology/rest/1.0/file/get/409592137?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/409592137?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409588012?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409588012?profile=RESIZE_1024x1024" width="750" class="align-full"></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/409589209?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409589209?profile=RESIZE_1024x1024" width="750" class="align-full"></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/409590420?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409590420?profile=RESIZE_1024x1024" width="750" class="align-full"></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/409592137?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409592137?profile=RESIZE_1024x1024" width="750" class="align-full"></a><a href="http://storage.ning.com/topology/rest/1.0/file/get/409593284?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409593284?profile=RESIZE_1024x1024" width="750" class="align-full"></a></p>
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<p>2nd International Symposium Performance Philosophy School of Athens at EMST (23-24 SEPT 2017):</p>
<p><a href="https://www.facebook.com/events/116175955738142/">https://www.facebook.com/events/116175955738142/</a></p>
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<p></p>looking or people/events/conferences etctag:performancephilosophy.ning.com,2017-11-11:6528949:BlogPost:471132017-11-11T16:52:26.000ZVeronica Marina Fazzio Welfhttps://performancephilosophy.ning.com/profile/VeronicaMarinaFazzioWelf
<p>I am working on my Phd Thesis and looking for people that works with concepts of post humanism, post anthropocene & social sculpture, I am from Buenos Aires, based in Miami Beach, doing my phD in Plymouth University, UK...not sure if I should start a new group...any suggestions?</p>
<p>I am working on my Phd Thesis and looking for people that works with concepts of post humanism, post anthropocene & social sculpture, I am from Buenos Aires, based in Miami Beach, doing my phD in Plymouth University, UK...not sure if I should start a new group...any suggestions?</p>Aesthetics of Contemplation: Poetry Leavestag:performancephilosophy.ning.com,2017-10-03:6528949:BlogPost:460632017-10-03T13:06:51.000ZJack Beglinhttps://performancephilosophy.ning.com/profile/JackBeglin
<p style="text-align: center;"><em><a href="http://storage.ning.com/topology/rest/1.0/file/get/409586588?profile=original" target="_self"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/409586588?profile=RESIZE_1024x1024" width="750"></img></a></em></p>
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<p style="text-align: center;"><em>He met her in the foyer of a theatre, novel in her hand, clip board in his hand,</em></p>
<p style="text-align: center;"><em>Market research on the tip of his tongue,</em></p>
<p style="text-align: center;"><br></br> <em>He says ‘ Are you here to watch Within…</em></p>
<p style="text-align: center;"><em><a href="http://storage.ning.com/topology/rest/1.0/file/get/409586588?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409586588?profile=RESIZE_1024x1024" width="750" class="align-center"></a></em></p>
<p style="text-align: center;"></p>
<p style="text-align: center;"><em>He met her in the foyer of a theatre, novel in her hand, clip board in his hand,</em></p>
<p style="text-align: center;"><em>Market research on the tip of his tongue,</em></p>
<p style="text-align: center;"><br> <em>He says ‘ Are you here to watch Within Rooms’</em></p>
<p style="text-align: center;"><em>She says ‘No’</em></p>
<p style="text-align: center;"><em>He says ‘Susan Songtang?’</em></p>
<p style="text-align: center;"><em>‘Yes but it’s not philosophy’ says she</em></p>
<p style="text-align: center;"><em>‘It might be philosophical’ says he</em></p>
<p style="text-align: center;"><em>‘Yes but it’s not Foucault’ says she</em></p>
<p style="text-align: center;"><em>‘Ah, Pul - Michel - Foucault, french philosopher, historian of ideas, social theorist and literary critic’</em></p>
<p style="text-align: center;"><em>He didn’t really say that</em></p>
<p style="text-align: center;"><em>He said ‘Ah, Foucault, the bald dude’</em></p>
<p style="text-align: center;"><em>She said ‘Yes the blond dude’</em></p>
<p style="text-align: center;"><em>He made her laugh, he made her smile. She’s German - French.</em></p>
<p style="text-align: center;"><em>‘A real European’ he replies</em></p>
<p style="text-align: center;"><em>‘A really real European’ she replies</em></p>
<p style="text-align: center;"><br> <em>Now he’s on the cold beach, writing this poem on fallen autumn leaves</em></p>
<p style="text-align: center;"><em>Ink on his hand, now the statues of his psyche dance at the idea of a new romance</em></p>
<p style="text-align: center;"><em>The setting sun in his heart rises over the horizon at the thought of that really real European</em></p>
<p style="text-align: center;"><em>reading Songtang.</em></p>Playing with Virtual Realities - Introductiontag:performancephilosophy.ning.com,2017-09-25:6528949:BlogPost:461402017-09-25T16:00:00.000ZEinav Katan-Schmidhttps://performancephilosophy.ning.com/profile/Einavkatan
<p> </p>
<p>The project <strong><span style="color: #333399;">Playing with Virtual Realities</span></strong> takes place in the research group gamelab.berlin, at the Excellence Cluster an Interdisciplinary Laboratory, Humboldt University of Berlin. <br></br> The project explores how VR-technology and the embodied practices of gaming and dancing enact and design imagination and perceptual experience. The project is a collaboration of gaming, dancing, VR design, philosophy of…</p>
<p> </p>
<p>The project <strong><span style="color: #333399;">Playing with Virtual Realities</span></strong> takes place in the research group gamelab.berlin, at the Excellence Cluster an Interdisciplinary Laboratory, Humboldt University of Berlin. <br> The project explores how VR-technology and the embodied practices of gaming and dancing enact and design imagination and perceptual experience. The project is a collaboration of gaming, dancing, VR design, philosophy of technology, embodied philosophies of perception, and performance philosophy.</p>
<p><strong><span style="color: #333399;">Playing with Virtual Realities</span></strong> questions and experiments the embodied practices of dancing and gaming. We inquire how physical techniques and technology of the game provoke and solve challenges for perception. We aim to reflect the intersection of technology and technique within processes of design.</p>
<p>Both VR design and dance techniques deal with the challenge of how to facilitate an immersive experience that imitates the fluidity of everyday life behavior, while both dancing and gaming are embodied practices that transgress everyday patterns of movement and perception.</p>
<p>Dancing is a design of space, rather than merely acting within an already given realm. Thus, dancers “methodically” ignore the real space and relate their decisions of movements according to imaginary rules of game. At the same time, dancers lead their movements according to what the actual space and their physical capacities enable. Integrating the actual and the virtual, dancers constantly further shape and extend their actual movement capacities. For those reasons, we see in the aesthetic labor of dancing a source for researching creative patterns of perception. Thus, the trained dancers hold an archive of knowledgeable techniques for movement, imagination, perceptual problem solving, and creativity.</p>
<p>In addition, the most recent developments of VR design enable for the actors within the virtual reality to see and act within an imaginary world that visually comes into life. Nevertheless, the rest of the physical senses, especially the sense of equilibrium, proprioception, and the sense of touch act according to the actual space, which is beyond the virtual vision. For those reasons, we see in VR technology an interesting case of extended cognition (see Andy Clark and David Chalmers, 1998) that affects not just the visions and the patterns of movements of its actors, but also their perceptual schemata and their embodied techniques.</p>
<p>In <strong><span style="color: #333399;">Playing with Virtual Realities</span></strong> we research the relationship between vision and movement, as well as the cognitive, physical, and perceptual challenges appear when vision and movement are dissociated. We deal with the role of imagination in designing new ways of knowing and with how imagination and a virtual realm enact actual perception within creative experience. </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409587241?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409587241?profile=RESIZE_1024x1024" width="750" class="align-left"></a></p>
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<p><strong><br> <br> <br></strong></p>
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<p><span class="font-size-3" style="color: #333399;"><strong>Partners</strong></span><br> <span style="color: #333399;"><strong>gamelab.berlin, An Interdisciplinary Laboratory Image Knowledge Gestaltung</strong></span><br> <span style="color: #333399;"><strong>DOCK11 Berlin</strong></span><br> <span style="color: #333399;"><strong>Performance Philosophy</strong></span><br> <span style="color: #333399;"><strong>Institut für Games, Hochschule der Medien, Stuttgart.</strong></span></p>
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<p><span class="font-size-3"><strong>Schedule:</strong></span><br> First research phase:<br> 26-29 September 2017<br> Second research phase: <br> 29-30 November, 1 December 2017<br> Third research phase:<br> 10-12 January 2018<br> <strong>Residency at DOCK11: 22-28 January 2018</strong></p>
<p><span class="font-size-3" style="color: #993300;"><strong>Tomorrow we start!</strong></span></p>
<p></p>Dance movement therapy contextualised within a Shambhala Buddhist Vision of Enlightened Society.tag:performancephilosophy.ning.com,2017-09-23:6528949:BlogPost:461342017-09-23T16:30:00.000ZJack Beglinhttps://performancephilosophy.ning.com/profile/JackBeglin
<p><strong><a href="http://storage.ning.com/topology/rest/1.0/file/get/409586913?profile=original" target="_self"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/409586913?profile=original" width="400"></img></a></strong></p>
<p style="text-align: center;"><em><strong>Context :</strong></em></p>
<p style="text-align: center;"><em>This essay was written during my visiting scholarship to Naropa University, Boulder, Colorado U.S.A, August - December 2016. Naropa is a Buddhist inspired University founded in 1974 by Chogyam Trungpa Rinpoche. Naropa combines a Tibetan Science of…</em></p>
<p><strong><a href="http://storage.ning.com/topology/rest/1.0/file/get/409586913?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409586913?profile=original" width="400" class="align-center"></a></strong></p>
<p style="text-align: center;"><em><strong>Context :</strong></em></p>
<p style="text-align: center;"><em>This essay was written during my visiting scholarship to Naropa University, Boulder, Colorado U.S.A, August - December 2016. Naropa is a Buddhist inspired University founded in 1974 by Chogyam Trungpa Rinpoche. Naropa combines a Tibetan Science of Mind with a third level western education. I had the opportunity to audit classes in; Dance Movement Therapy, Ikebana traditional Japanese Flower Arranging, Mudra Space Awareness Ensemble Actor Training and Shambhala Meditation Practicum: An Introduction To Meditation Practice and Dharma Reading . Please note, I am not a dance movement therapist and therefor the ideas discussed in this essay are from an outside observer perspective. Perhaps they can facilitate discussion between the practice of dance movement therapy and the psychological metaphors employed within Shambhala Culture.</em></p>
<p>This paper intends to frame dance movement therapy within the context of Shambhala Culture. I suggest that this vocabulary can function as psychological metaphors in the therapeutic process. I suggest that movement practices, such as contact improvisation, can be considered Shamatha - Vipassana meditation in the same way as sitting and walking practices are within the Shambhala tradition. I also suggest that Dance Movement Therapy is a Dharma Art, that it uplifts the human soul and restores the inherent dignity of the human being. Additionally I detail Trugpa’s idea of Authentic Presence and how this may relate the notion of ‘presence as protest’ from an embodied dance perspective.</p>
<p style="text-align: center;"><em>‘The way of cowardice is to embed ourselves in a cocoon, in which we perpetrate our habitual patterns of behaviour and thought. We never have to leap into fresh air or onto fresh ground. (Trungpa: 1984: 51)</em></p>
<p>Trugpa describes the cocoon as those habitual patterns that condition human behaviour into fixed ways of thinking and doing. From a dance movement therapy perspective, the cocoon may provide a metaphor for those habitual patterns of behaviour exhibited in a patience’s movement. A patient’s ‘movement cocoon’ could be an index of deeper psychological and emotional trauma. While the cocoon plays an important developmental role in child rearing, as adults we have a tendency to repeat the same ways of thinking and doing over and over again to the point of becoming redundant - we make the same mistakes over and over again - A dance movement therapist could use the metaphor and image of the cocoon as a movement stimulus allowing patient’s to explore their cocoon kinaesthetically in the space.</p>
<p style="text-align: left;">In Shambhala culture the Cocoon relates to Jung’s notion of the Shadow - those least desirable aspects of our personality that we ignore due to their ‘unsavoury’ nature. In fact, the Cocoon may be those defence mechanisms that shelter us from our Shadow, our neurosis. A classical Buddhist metaphor for realising one’s inherent enlightened nature is the lotus flower blooming from the mud. The mud is a metaphor for the Shadow that contains the seeds for our own self - actualisation. Again Shambhala culture provides dance movement therapists with a practical metaphor for exploring the shadow through the kinaesthetic sense. A dance movement practitioner is also given sage advice as to how to work with their own and other’s shadow - with genuine sympathy-.</p>
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<p style="text-align: center;"><em>‘Basic Goodness is very closely connected with the idea of Bodichitta in the Buddhist tradition. Bodhi means “awake” or “wakeful” and “citta” means heart, so Bodichitta is “awakened heart”. Such awakened heart comes from being willing to face your state of mind’</em> <br> <em>(Trugpa: 1984 : 30)</em></p>
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<p>Basic Goodness my provide a therapist with a general ethics of best practice and way of relating to their patient. Basic Goodness is the natural state of the human being as compassionate, intelligent and wise. From this perspective, any neurosis exhibited by the patient is merely their unresolved shadow expressed through their ‘cocoonish' behaviour. Of course, from a clinical point of view this may be a naive statement. It may be that there are some people that are born with a genetic disposition towards perverse behaviour, yet, the basic attitude of Basic Goodness remains valid - that no human is beyond repair and fully capable of realising their virtue. The symbol for Basic Goodness is the Sun which is the universal sign for divine wisdom. This symbol can be traced back to the Egyptian king of the Gods Ra. Again, Shambhala offers a useful metaphor for creative arts therapists, the journey from the mud to the sun, the inner battle with the shadow to discover the light.</p>
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<p style="text-align: center;"><em>‘The Great Eastern Sun world is a flowering plant that grows up towards the sun… Setting Sun hierarchy is a lid that flattens you and keeps you in your place’</em> <br> <em>(Trugpa: 1984: 48)</em></p>
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<p>Trungpa’s notion of the Great Eastern Sun is contrasted with the Setting Sun. These metaphors operate as a dualism and function both on the personal and cultural level. The Setting Sun is an attitude that dons’t respect life or acknowledge death. A Setting Sun attitude seeks to fan the flames of neurosis; passion, aggression and ignorance where as the wisdom of The Great Eastern Sun cuts through the shadow towards the dignity of the human heart.</p>
<p>Embodying Basic Goodness is to realise The Great Eastern Sun. To realise one’s inherent human dignity independent of external materialism. A society that organises itself around The Great Eastern Sun cultivates a natural hierarchy where human society collaborates, preserves, and learns from the natural environment. A Setting Sun Vision of the world, perpetuates a wasteful and materialist culture that privileges the self serving and individualistic ‘I’ at the expense of others and the natural environment. Such a culture creates arbitrary social hierarchies that bolster the privilege of the few over suffering minorities.</p>
<p>From a dance movement therapy perspective, the attitude of The Setting Sun perpetuates the systems of class - race and environmental oppression that affects the most vulnerable. Setting Sun may be described as collective neurosis (society /culture) where as the cocoon in the individual’s neurosis. Yet from a Buddhist perspective, there is no difference between the individual and the society, ‘the darkness or light I see in the world in a reflection of my heart’ . Movement therapists are given a rich metaphor - moving from the Setting Sun to the Rising Sun. The metaphor illustrates the individual and collective journey towards virtue.</p>
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<p style="text-align: center;"><em>‘Acknowledging fear is not a cause of depression or discouragement, because we poses such fear we are also potentially entitled to experience fearlessness. Fearlessness is not the reduction of fear but going beyond it’ (Trugpa: 1984 : 33)</em></p>
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<p>In order to unpack one’s cocoon and to jump into the fresh ground of Basic Goodness to realise the dawning of The Great Eastern Sun, therapist and patient alike must embody courage to encounter one’s fear in-order to convert it into insight. In this respect, patient and therapist are Shambhala Warriors in that they are willing to meet the shadow of their mind with gentleness.</p>
<p>In Summery, Shambhala culture offers useful psychological metaphors for dance movement therapists to explore with their patients kinaesthetically in space. At a rational level these metaphors may seem naive and simplistic. Yet Shambhala symbols aren’t rational, like dream images, they function as way to access the unconscious mind . They are metaphors to be actively contemplated and personalised. <br> <br> The Shambhala symbols are used by Trungpa to effectively communicate The Teachings of The Buddha to a western audience. In Tibetan Buddhism, The Dharma - the eternal law of the cosmos, inherent in the very nature of things - is discovered through intellectual learning and the embodied practice of meditation. Studying the teachings of the Buddha and practicing Meditation are described as the two wings of the Dharmic Path. From a western perceptive, this is the dialogue between theory and practice. Ideas and concepts are actively explored and tested through practical inquiry . ‘The Truth’ or ‘The Dharma’ is realised through this ongoing dialogue between the rational mind and the embodied experience.</p>
<p>Shamatha - Vipassana or Mindfulness - Awarenes meditation is an example of one such embodied practice. Shamatha is translated from Sanskrit as ‘calm’ or ‘peaceful’ ‘abiding’ were as Vipassana is the Sanskrit for ‘awareness’ or ‘insight’. Shamatha - Vipassana practice hinges upon the individual’s innate ability to focus the mind on an object of concentration e.g the body or breath. In doing so, the individual recognises the difference between bare attention - non conceptual embodiment of one’s senses - and conceptual mind - the ideological thoughts, images and narratives that attempt to justify and codify the raw emotion or sensation.</p>
<p>The process of unpacking the cocoon is to embody the raw emotional landscape of one’s psyche rather than fulling the story line of discursive thoughts around the raw emotion or sensation. Meditation teaches the individual that they are not their thoughts or emotions, that these feelings and inner monologues are transitory - like clouds passing through the sky.</p>
<p><br> Contemplative dance my provide a dance movement therapist with a Shamatha - Vipassana meditation analogous to the practice of sitting and walking meditation in Shambhala Culture. For example, The Four Foundations of Mindfulness as handed down from Siddhārtha Buddha places an emphasis on the following;</p>
<p style="text-align: center;"><br> <em>Body - awareness of physical form and it’s sensations</em></p>
<p style="text-align: center;"><em>Feeling - awareness of one’s emotional landscape</em></p>
<p style="text-align: center;"><em>Mind - awareness of one’s thoughts</em></p>
<p style="text-align: center;"><em>Sense Perceptions - awareness of ones sense of: touch, smell - taste, hearing and sight</em></p>
<p style="text-align: center;"><br> <em>(Fergeson: 2009 : 25)</em></p>
<p><br> These classical Buddhist instructions - the For Foundations of Mindfulness - refer to sitting meditation within Shambhala and Buddhist Culture, however, I suggest that they are useful instructions within a dance movement therapy session. My experience of contact improvisation is that the object of attention becomes the sense of touch which then gives access to smell - taste, hearing and sight. Once the body has been sensitised through a heightening of the sense perceptions then the subtler aspects of the emotional and mental body can be felt.</p>
<p>The dance movement therapist would work with the patient through this practice as a means of unpacking the patient’s cocoon and helping them to realise their basic goodness. In this way patient and therapist are practicing the principles of Shambhala Warriorship by synchronising mind and body.</p>
<p></p>
<p style="text-align: center;"><em>‘The basic idea of authentic presence is that, because you achieve some merit or virtue, therefore that virtue begins to be reflected in your being, your presence'</em></p>
<p style="text-align: center;"><br> <em>(Trungpa :2007:183)</em></p>
<p></p>
<p>In Shambhala Culture, Outer Authentic Presence is achieved through right moral action - contributing to the uplifting of society through the practice of virtuous actions. Inner Authentic Presence is generated by realising one’a personal ethics. In both cases, mediation and the synchronisation of mind and body is required to facilitate of introspection. The feeling of authentic presence for me is experienced as if the space of the mind where encompassing neurosis. Life becomes a workable joy. Many a time after a contact improvisation session or after a meditation I feel this Authentic Presence . My internal monologue is quite, my body is relaxed and strong, my senses are heightened and I perceive an inherent beauty in all that I see. This state of being described by Trungpa as Authentic Presence may provide individuals with a personal protest against the neurosis and confusion of the world. During a Dance Movement Therapy Class at Naropa University, the lecture, Wendy Allen, suggested to the class that;</p>
<p></p>
<p style="text-align: center;"><em>‘In these times of uncertainty’</em></p>
<p style="text-align: center;"><br> <em>( Trump had just been inaugurated into office)</em></p>
<p style="text-align: center;"><br> <em>My protest is to stay grounded’.</em></p>
<p style="text-align: center;"><br> <em>(Allen: Naropa University: 2016)</em></p>
<p style="text-align: center;"></p>
<p>Perhaps Wendy’s sentiments resonate with Turngpa’s notion of Authentic Presence. That the most powerful thing to do in the face of confusion is to stay ‘earthed’, ’rooted’ and to maintain the mindbody connection through the breath. In Trungpa’s, terms to maintain ‘Basic Sanity’. Again, we see a similarity between Shambhala Culture and Dance Movement Therapy - to return the human being to their original state of being that is basically good, fundamentally wakeful and simply alive. In this respect Dance Movement Therapy and Shmahbala Culture are Dharma Arts, which is;</p>
<p style="text-align: center;"></p>
<p style="text-align: center;"><em>‘..simply the activity of non - aggression..’</em><br> <em>(Trungpa:1994: 2)</em></p>
<p><br> <br> In conclusion, dance movement therapists can contextualise their work within a Shambhala View of Enlightened Society. Shambhala offers a rich vocabulary of phycological metaphors that can be used to plumb the depth of the unconscious mind through kinaesthetic play. Contemplative dance, such a contact improv, can function as Shamatha - Vipassana practice for the cultivation of peaceful abiding and insight. The Four Foundations of Mindfulness provide a structure in which this exploration can take place. The synchronisation of body and mind brings about a Natural Elegance that is the best kind of protest in the face of the confusion in the world. By encountering their Cocoon or Shadow, patients and movement therapists are Shambhala Warriors because they have the courage to accept and transcend their neurosis. In this regard dance movement therapy is a Dharma Art - a way in which to realise one’s inherent virtue.</p>
<p><br> <strong>References:</strong><br> <br> Allen, W (2016), Introduction to Dance Movement Therapy, Naropa University, Paramita Campus, Boulder, C.A, U.S.A</p>
<p>Ferguson, G, (2009), Natural Wakefulness: Discovering The Wisdom Were Born With, Boston, Shambhala Publications Inc</p>
<p>Trungpa C. R, (1992), True Perception: The Path of Dharma Art, Boston, Shambhala Publications Inc</p>
<p>Trungpa C. R, (2007), Shambhala: The Sacred Path of The Warrior, Boston, Shambhala Publications Inc</p>International University “Global Theatre Experience” The Ostrenko Brothers and Embodied Statues of the Psychetag:performancephilosophy.ning.com,2017-09-15:6528949:BlogPost:462052017-09-15T16:30:00.000ZJack Beglinhttps://performancephilosophy.ning.com/profile/JackBeglin
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409587658?profile=original" target="_self"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/409587658?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p>ArtUniverse is an international arts agency created in 2006 in Great Britain with the mission;</p>
<p><em>‘ To develop transnational cultural collaboration and exchange between arts and culture workers, to strengthen international cultural links through artistic expression and to assist artists in the development of projects of a high professional level and…</em></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409587658?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409587658?profile=RESIZE_1024x1024" width="750" class="align-center"></a></p>
<p>ArtUniverse is an international arts agency created in 2006 in Great Britain with the mission;</p>
<p><em>‘ To develop transnational cultural collaboration and exchange between arts and culture workers, to strengthen international cultural links through artistic expression and to assist artists in the development of projects of a high professional level and significant artistic and sociocultural value’</em></p>
<p style="text-align: center;">(<a href="http://www.artuniverse.org/home">http://www.artuniverse.org/home</a>, accessed; 09/092017)</p>
<p> \ufffc<br> \ufffcIn order to facilitate and realise it’s vision, Arts Universe are spearheading, IUGTE - the International University “Global Theatre Experience”. IUGTE was founded in 2000 with the purpose of exploring the bridge between world theatre traditions and contemporary performance. I had the opportunity to participate in IUGTE’s <em>Movement: Directing and Teaching Lab</em> with Sergei and Gennady Ostrenko at The Retzhof Educational Institute, Lebnitz, Austria, August 22 - 28th, 2017.</p>
<p>Sergei Ostrenko, is a Russian director, choreographer, teacher and the head of IUGTE’s Russian Theatre Department. His professional career started in 1976, after graduating from the Academy of Arts as a stage designer. Then Ostrenko continued his education as an actor and then later as a director. Sergei’s biography reads like an alchemicalist’s cook book for the performer’s craft. Conducting international, interdisciplinary and cross cultural research since 1988, Sergei has traversed a kaleidoscope of embodied practice to arrive at the formation of his unique approach - The Ostrenko Method. An approach that:</p>
<p style="text-align: center;"><em>‘Guides the performers through the development of a physical culture, a form of self exploration that provides a fully alive, fresh presence on stage and originates a spontaneous blossom in each artist’</em></p>
<p style="text-align: center;">(<a href="http://www.iugte.com/documents/ostrenko">http://www.iugte.com/documents/ostrenko</a>, accessed: 09/092017)</p>
<p>Gennady Ostrenko, is a choreographer, set designer, theatre artist, costume designer, educator and painter, from Ukraine. Like his brother’s biography , Gennady’s resume reads like an encyclopaedia for the performing and scenic arts. Practicing Tai Chi Quan since 1990, Gennady’s approach to performer training combines meditative and transcendental techniques with modern methods of embodiment such as Butho dance and contact improvisation. For Gennady, he sees the future of performing arts practice as rooted in contact improvisation;</p>
<p style="text-align: center;">‘One touch with a partner can give you the whole history of your partner’s life and his world, it is so full of emotional content...working with a partner, feeling him and communicating with him, even without words... Words could not pass the information about you, your life and your emotions as it does a dance’</p>
<p style="text-align: center;"><em>(<a href="http://www.iugte.com/documents/gennady-ostrenko">http://www.iugte.com/documents/gennady-ostrenko</a>, accessed: 09/092017) \ufffc</em></p>
<p style="text-align: left;"><br> \ufffcssisting the Ostrenko Brother’s is Veronika Zhuk, a Master of Arts Student in Responsible Management of ICRM at Steinbeis University, Berlin. She is administrator and translator to the Ostrenko Brothers.</p>
<p style="text-align: left;">My first encounter with Sergei and Gennady takes place in Seminar Room three of The Retzhof Educational Institute; a fifteenth century refurbished castle where the melodic sound of statue chiseling and the humid heat of the Austrian summer envelope a central courtyard of fountains overlooked by open eyed balconies.</p>
<p style="text-align: left;">As Sergie’s Russian sentences braid themselves amongst Veronika’s English translations, I look around the circle at a cast of multi cultural actors and dancers. India, North America, Germany, Poland, England, Iceland, Italy and Ireland all represented. A United Nations of artists united trough the kinaesthetic sense and the embodiment of the ever present moment. I am in a country where words dissolve and the imagination speaks through the body.</p>
<p style="text-align: left;">The research at the movement lab consisted of three phases scheduled between Breakfast, Lunch and Dinner. A typical working day was scheduled accordingly;</p>
<p style="text-align: left;">7 - 8: 00: Warm up in nature</p>
<p style="text-align: left;">8 - 9:00: Breakfast</p>
<p style="text-align: left;">10 - 12: 00: Practical Training</p>
<p style="text-align: left;">12 - 13:00: Lunch</p>
<p style="text-align: left;">13 - 14: 00: Break</p>
<p style="text-align: left;">14 - 18:00: Practical Training</p>
<p style="text-align: left;">18 - 19: 00: Dinner</p>
<p style="text-align: left;">19 - 19: 30: Break</p>
<p style="text-align: left;">19: 30 - 21: 00: Creative Diary </p>
<p style="text-align: left;">\ufffccheduling the program in this way struck a healthy balance between intensive movement exploration, eating, reflecting and socialising. The work consisted of three passes;</p>
<p style="text-align: left;">\ufffc. Warm up in Nature: an introduction to Meyerhold’s biomechanics. A pre - expressive training to prepare the bodymind for performance. Flowing through the pendulum like swinging movements and the iconic etudes of; shooting from the bow and throwing a stone, I felt as if I was in a Soviet Mural. I mimed the ergonomic movements of hammering a train spike into the railroad and taking cover from falling derby on the factory floor.</p>
<p style="text-align: left;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/409588660?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409588660?profile=RESIZE_1024x1024" width="750" class="align-left"></a></p>
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<p style="text-align: left;">2: Practical Training: ensemble building through contact improvisation techniques. With a partner, eyes closed and then open, we led and followed one another in space through the kinsathetic sense. Eventually the difference between the leader and the follower dissolved as the duos dialogues became articulate in their corporal conversations. Sergei and Gennady would then encourage us to build simple group choreographies based on pictures of classical resonance art. These moving tableaux’s where enriched by embodying them through the imagination - given circumstances - and presented to audience members accompanied by epic music from Segie’s boom box. These tableaux became moving statues of the psyche, tapping into a collective world of archetypes that told the hopes and fears of man in moving pictures. Practical training also involved approaches to composition, physical scores and text. \ufffc/p>
<p style="text-align: left;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/409588927?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409588927?profile=RESIZE_1024x1024" width="750" class="align-full"></a></p>
<p style="text-align: left;"><br> \ufffc3. Creative Diary: an introduction to devising and compositional work. Segie would set us simple creative tasks for us to devise in groups. This was an opportunity for us to incorporate the devising structures that we learnt during the practical training into the making of a short sketch. Here we learnt how to structure a sequence of actions to tell a story. We learnt that the more limited the creative choices the more freedom there was to explore their possibilities. We also came to the conclusion that it is always better to devise material and place it in real time and space first rather than talking about an abstract ‘concept’ or ‘vision’ . Any performer devising a performance will be familiar with the torturous loop of never-ending conversation that ensues when an ensemble come together to create a performance. Segie’s method by passes the rational mind in favour for a pragmatic and embodied approach to devising. In this way, performers produce material first and reflect upon their experience afterwards.</p>
<p style="text-align: center;"><em>‘Words could not pass the information about you, your life and your emotions as it does a dance’</em></p>
<p style="text-align: center;">(<a href="http://www.iugte.com/documents/gennady-ostrenko">http://www.iugte.com/documents/gennady-ostrenko</a>, accessed: 09/092017)</p>
<p style="text-align: left;">Gennady’s sentiments ring true as I finish our last creative session and make my way back to my hotel room 205. I insert my key into the key hole as I look up at a picture of Freud. (The Retzhof Castle Hotel is lined with portraits of famous artists, activist and academics). I open the door and walk into my room. I ask myself what would Carl Jung say about this experience? The answer was on the tip of my tough and hovered somewhere between a sound and a gesture. I recall a moment in the practical training when we where creating ensemble choreographies through classical pictures of renaissance art . I am working with a talented Indian actress, Kiran, and Gennady. Transitioning from one image to the other, as I move from a depiction of Jesus in Mary’s arms, to the depiction of Pan chasing a naked woman, I clock eyes with Kiran. Our eye contact is intense . The epic music culminates as we exercise our imagination through the given circumstances. A single tear drops from her eye. We transition into the next image; Jesus is giving Judgment over a Roman soldier and a Priest . Gennady as the Roman soldier holds in his hand an upside-down baby while as a Priest, I look up with clasped hands at Kiran, playing Jesus. She is sitting on a thrown wearing an orange garb holding her fingers in a Mudra. Tears are now streaming down her face.</p>
<p style="text-align: left;"><br> \ufffcater in conversation with Kirnan, she said that this devising work struck a cord in her heart that she could not understand. The pictures, the physicality, the music and the imagination taped into a part of her that that she was otherwise unaware of. I’m sure Jung would be able to comment on this experience.</p>
<p style="text-align: left;">For me, this was the important moment in the program. These moving tableaux’s became embodied statues of the psyche that connected us to a collective unconscious. A world of archetypes animated by theatrical performance.</p>
<p style="text-align: left;">ArtUniverse, IUGTE and the Ostrenko brothers are doing a brave thing. In a world of increasing materialism they are investing in the technologies of the imagination and the human heart. They are connecting international dancers, actors and live performers through the universal language of the moving body. Through their work;</p>
<p style="text-align: center;"><em>‘originates a spontaneous blossom in each artist’</em></p>
<p style="text-align: center;">(<a href="http://www.iugte.com/documents/ostrenko">http://www.iugte.com/documents/ostrenko</a>, accessed: 09/092017)</p>
<p style="text-align: center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/409589922?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409589922?profile=RESIZE_1024x1024" width="750" class="align-left"></a></p>2-year Postdoctoral Research Fellowship on “Aesthetics of Performative Environments: Immersivity, Agency, Avatar” - University of Milantag:performancephilosophy.ning.com,2017-09-10:6528949:BlogPost:455822017-09-10T21:36:39.000ZEmmanuel Alloahttps://performancephilosophy.ning.com/profile/EmmanuelAlloa
<p></p>
<p> </p>
<p>The Department of Philosophy at the University of Milan offers a Postdoctoral Research Fellowship on “<b>Aesthetics of Performative Environments: Immersivity, Agency, Avatar</b>”</p>
<p> </p>
<p>The Fellow will carry out the activities at the Department of Philosophy of the Università degli Studi di Milano under the supervision of Andrea Pinotti and Chiara Cappelletto.</p>
<p> </p>
<p><b>Description of the research project</b>: Immersive environments impact on artistic…</p>
<p></p>
<p> </p>
<p>The Department of Philosophy at the University of Milan offers a Postdoctoral Research Fellowship on “<b>Aesthetics of Performative Environments: Immersivity, Agency, Avatar</b>”</p>
<p> </p>
<p>The Fellow will carry out the activities at the Department of Philosophy of the Università degli Studi di Milano under the supervision of Andrea Pinotti and Chiara Cappelletto.</p>
<p> </p>
<p><b>Description of the research project</b>: Immersive environments impact on artistic practices, professional applications, and everyday life. They convey a sense of embodiment, presence, and augmented existence. Interactivity via avatars opens up new affordances and agencies: novel forms of subjectivity are performed by theatrical and fictional experiences. Drawing on image-theory, theatre and performance studies, the candidate shall explore the phenomenological and epistemological implications of performative environments.</p>
<p> </p>
<p>Knowledge of Italian is not required.</p>
<p> </p>
<p>The <b>DEADLINE</b> for applications is <b>OCTOBER 16<sup>th</sup>, 2017 at noon</b>. All documents must be received by this date. </p>
<p><b>Duration</b>: Two-year renewable.</p>
<p><b>Grant</b>: €21.000 gross per year. This sum is tax free.</p>
<p><b>Application forms:</b> the candidates must fill in the application form available on-line at <br/> <a href="https://air.unimi.it/rm/public/postDocFellowship.htm?&rand=0.38724092993364034" target="_BLANK">https://air.unimi.it/rm/public/postDocFellowship.htm?&rand=0.38724092993364034</a></p>
<p><b>All the application details</b> may be found at the following link:<br/> <a href="http://www.unimi.it/ricerca/assegni_ricerca/1260.htm" target="_BLANK">http://www.unimi.it/ricerca/assegni_ricerca/1260.htm</a></p>
<p>For further information please contact: Chiara Cappelletto (email: <u><a href="mailto:chiara.cappelletto@unimi.it">chiara.cappelletto@unimi.it</a></u>) and Andrea Pinotti (e-mail: <a href="mailto:paolo.spinicci@unimi.it">andrea.pinotti</a><u>@unimi.it</u>)</p>MA Performancetag:performancephilosophy.ning.com,2017-08-03:6528949:BlogPost:453262017-08-03T08:27:57.000Zsilvia battistahttps://performancephilosophy.ning.com/profile/silviabattista
<p>Dear all</p>
<p>Liverpool Hope University is now accepting applications for its new postgraduate programme in performance. I would appreciate if you could pass this information to any graduates who might be interested.</p>
<p>This MA programme offers an interdisciplinary and multicultural perspective on contemporary performance practice and research. It is primarily addressed to practitioners, curators and researches interested in performance as an expanded field of cultural and critical…</p>
<p>Dear all</p>
<p>Liverpool Hope University is now accepting applications for its new postgraduate programme in performance. I would appreciate if you could pass this information to any graduates who might be interested.</p>
<p>This MA programme offers an interdisciplinary and multicultural perspective on contemporary performance practice and research. It is primarily addressed to practitioners, curators and researches interested in performance as an expanded field of cultural and critical activity bringing together the arts with post-human, technology and ritual studies.</p>
<p>More information can be found online <a href="http://www.hope.ac.uk/postgraduate/postgraduatecourses/performancema/" target="_blank">http://www.hope.ac.uk/postgraduate/postgraduatecourses/performancema/</a></p>
<p>For further information, feel free to email Dr Annalaura Alifuoco at <a href="mailto:alifuoa@hope.ac.uk" target="_blank">alifuoa@hope.ac.uk</a> or Dr Silvia Battista at <a href="mailto:battiss@hope.ac.uk" target="_blank">battiss@hope.ac.uk</a>.</p>OPEN CALL: Symposium Performance Philosophy School of Athens IItag:performancephilosophy.ning.com,2017-07-20:6528949:BlogPost:454062017-07-20T16:30:00.000ZStella Dimitrakopoulouhttps://performancephilosophy.ning.com/profile/StellaDimitrakopoulou
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<tbody><tr><td><p><strong>Athens, <span class="aBn"><span class="aQJ">23-24 September 2017</span></span></strong></p>
<p>Performance Philosophy School of Athens II, is a two-day symposium, organised by Stefania Mylona and Stella Dimitrakopoulou, in association with the Performance Philosophy network. This year will focus on Performance Dance, performances of all kinds that stand in-between dance and performance art or more broadly the visual arts world. The symposium…</p>
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<tbody><tr><td><p><strong>Athens, <span class="aBn"><span class="aQJ">23-24 September 2017</span></span></strong></p>
<p>Performance Philosophy School of Athens II, is a two-day symposium, organised by Stefania Mylona and Stella Dimitrakopoulou, in association with the Performance Philosophy network. This year will focus on Performance Dance, performances of all kinds that stand in-between dance and performance art or more broadly the visual arts world. The symposium invites workshops, performances and papers that examine the relationship between dance movement, visual art and philosophy. Some of the questions to be addressed are the following:</p>
<p><em>• In what ways do dance movement and the visual arts intertwine?</em></p>
<p><em>• How do dance images make us think?</em></p>
<p><em>• How does sculpture come into play?</em></p>
<p><em>• How does the relationship between dance movement, visual arts and philosophy benefit or influence these fields?</em></p>
<p><em>• What are the aesthetics of performance dance?</em></p>
<p><em>• What might performance dance offer the emerging field of performance philosophy and vice versa?</em></p>
<p>We invite artists, choreographers, dancers and scholars both from the dance world and from the visual arts world to showcase their work, to offer workshops, performances or papers that address performance dance in relation to performance philosophy.</p>
<p>Please send your proposals to <a href="mailto:ppsoaii@gmail.com" target="_blank" rel="noopener noreferrer">ppsoaii@gmail.com</a> by the <strong>31st of July 2017</strong>.</p>
<p>Stefania Mylona, artist and scholar in performance philosophy and performance dance studied communication at the American College of Greece, performed with Magnitis Dance Company and was awarded the national diploma in dance studies in Athens (GR). On a scholarship awarded from The State Scholarships Foundation of Greece (I.K.Y.) she completed an MA in European Dance Theatre Practices at Trinity LABAN and a practice-based PhD in performance studies entitled Dancing Sculptures: Contractions of an Intercorporeal Aesthetic (2011) at the University of Surrey. During her PhD study, she lectured in dance at the Dance and Cultures HE program and became an associate of The British Higher Education Academy. She received the Glynne Wickham Award from SCUDD (UK) and the Graduate Award from SDHS (US) while presenting her research and performance practice internationally. In 2014 she organized Performance Philosophy School of Athens, a two-day symposium in association with Performance Philosophy. Currently she is working as a freelance movement teacher, artist and scholar.</p>
<p>Stella Dimitrakopoulou, a performance artist and researcher, co-runs the research project 'Philosophy on our feet' (2014) within which she has co-convened several Performance Philosophy workshops in Athens, London, Southampton and Trondheim. She is co-founder of the performance collective Trio (2009), a member of LUNA PARK Dance Company and often collaborates with other artists as assistant director (LUNA PARK 2017, Anna Adhal 2015, Tino Sehgal 2014) and dramaturg (A priori dance co. 2016). In her practice-based PhD inCreative Practice: Dance (Trinity Laban, 2016) she looked into ‘(Ιl)legitimate Performances: Copying, Authorship and the Canon’ whereas during her MA in Dance Theatre: The body in performance she worked with food as a means of investigating the intermingling of public and private spaces. As performer she has worked with Les Gens d’Uterpan (Documenta 14, 2017), Tino Sehgal (Palais De Tokyo 2016, TATE Modern 2012), William Hunt (Siobhan Davies Studios 2013) and others. IKY, NEON and DanceWEB have supported her academic and artistic work. </p>
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</table>THE OBJECT TURNED INSIDE OUTtag:performancephilosophy.ning.com,2017-06-16:6528949:BlogPost:438172017-06-16T16:36:47.000ZAllen Alain Viguierhttps://performancephilosophy.ning.com/profile/AllenAlainViguier
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409586452?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/409586452?profile=original" width="142"></img></a> Object art is entirely processual and performative. No object preexists a perspective, a context and a participant-observer. The object post-object was not has been turned on its head, and turned inside out. A site dedicated to second order observation.<a href="http://specspeceditions.wixsite.com/object-art" target="_blank">Object…</a></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409586452?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409586452?profile=original" width="142" class="align-full"></a>Object art is entirely processual and performative. No object preexists a perspective, a context and a participant-observer. The object post-object was not has been turned on its head, and turned inside out. A site dedicated to second order observation.<a href="http://specspeceditions.wixsite.com/object-art" target="_blank">Object art</a></p>Notes on Performance art, the Body and the Political.pdftag:performancephilosophy.ning.com,2017-03-12:6528949:BlogPost:418592017-03-12T15:54:13.000ZAndrea Pagnes (VestAndPage)https://performancephilosophy.ning.com/profile/AndreaPagnes
<p><span>For anyone interested, I have linked </span>on my page profile at the voice 'texts' my curatorial and post event catalogue text of the 2nd Live art exhibition project <em>Venice International Performance Art Week: Ritual Body-Political Body (</em>Venice, 2014).</p>
<p><span>For anyone interested, I have linked </span>on my page profile at the voice 'texts' my curatorial and post event catalogue text of the 2nd Live art exhibition project <em>Venice International Performance Art Week: Ritual Body-Political Body (</em>Venice, 2014).</p>DAAD Faculty Summer Seminar on Performance Theory/Performance Practicetag:performancephilosophy.ning.com,2017-02-20:6528949:BlogPost:419202017-02-20T21:17:44.000ZDavid J Levinhttps://performancephilosophy.ning.com/profile/DavidJLevin
<p>Hi All, a quick note to remind everyone that applications for the DAAD Faculty Summer Seminar on Performance Theory & Performance Practice to be held on the campus of the University of Chicago are due March 1. The seminar, organized in cooperation with the Chicago Performance Lab, will take place from June 19, 2017-July 15, 2017. Information on stipends & applications can be found …</p>
<p>Hi All, a quick note to remind everyone that applications for the DAAD Faculty Summer Seminar on Performance Theory & Performance Practice to be held on the campus of the University of Chicago are due March 1. The seminar, organized in cooperation with the Chicago Performance Lab, will take place from June 19, 2017-July 15, 2017. Information on stipends & applications can be found <a href="https://www.daad.org/en/find-funding/faculty/daad-faculty-summer-seminar/" target="_blank">here</a>. Any questions? Email David Levin at dlevin@uchicago.edu.</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409586103?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409586103?profile=RESIZE_1024x1024" width="750" class="align-full"></a></p>Experimental Residency Programs for Artists & Academics (Spring/Summer 2017)tag:performancephilosophy.ning.com,2017-02-07:6528949:BlogPost:417062017-02-07T16:46:49.000ZAaron Finbloomhttps://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><i> </i></div>
<div><i> </i></div>
<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>CFP--Approaching Dance: Transdisciplinary Methodologies and Modalities of the Moving Body in Performancetag:performancephilosophy.ning.com,2017-01-13:6528949:BlogPost:413152017-01-13T21:24:26.000ZEylül Fidan Akincihttps://performancephilosophy.ning.com/profile/EyluelFidanAkinci
<p align="center"><b>Approaching Dance</b>:</p>
<p align="center"><b>Transdisciplinary Methodologies and Modalities of the Moving Body in Performance</b></p>
<p align="center"> </p>
<p align="center"><b>May 11, 2017</b></p>
<p align="center"><b>Ph.D. Program in Theatre</b></p>
<p align="center"><b>The Graduate Center, The City University of New York</b></p>
<p> </p>
<p><b>Deadline extended: February 15, 2017.</b> <a href="http://approachingdance.com"><b>http://approachingdance.com…</b></a></p>
<p align="center"><b>Approaching Dance</b>:</p>
<p align="center"><b>Transdisciplinary Methodologies and Modalities of the Moving Body in Performance</b></p>
<p align="center"> </p>
<p align="center"><b>May 11, 2017</b></p>
<p align="center"><b>Ph.D. Program in Theatre</b></p>
<p align="center"><b>The Graduate Center, The City University of New York</b></p>
<p> </p>
<p><b>Deadline extended: February 15, 2017.</b> <a href="http://approachingdance.com"><b>http://approachingdance.com </b></a><a href="mailto:approachingdance@gmail.com"><b>approachingdance@gmail.com</b></a></p>
<p>As members of a field that is in productive and perpetual friction with traditional academic structures, scholars who work on dance often come from a range of disciplines. Although this can be viewed as a challenge for defining the field, it also provides fertile ground for exploring the opportunities interdisciplinarity provides in dance scholarship.</p>
<p> </p>
<p>Structured around working sessions and a roundtable discussion with (subject to change) <b>Thomas DeFrantz</b> (Duke), <b>Nadine George-Graves</b> (UCSD), <b>André Lepecki</b> (NYU), <b>VK Preston</b> (University of Toronto), <b>Katherine Profeta</b> (Queens), and <b>Paul Scolieri</b> (Barnard), this day-long conference aims to discuss and exchange methodological approaches to dance and to build a network for emerging scholars inside and outside of dance studies. We will interrogate how interdisciplinary approaches to topics such as movement, choreography, embodiment, and corporeality can enter into and expand dance studies. Additionally, we seek to ask what a dance studies perspective can bring to scholarship in other fields. We welcome papers on any dance subject, broadly construed, from fields including but not limited to performance praxis, theatre and performance studies, musicology, visual arts, art history, anthropology, cultural studies, sociology, political science, history, literary studies, women and gender studies, queer theory, disability studies, critical race studies, and architecture.</p>
<p> </p>
<p>Our goal is to think through the theoretical and methodological opportunities and challenges posed by transdisciplinarity and interdisciplinarity:</p>
<ul>
<li>What are the common threads and trends among different academic disciplines in the analyses of artistic and social performances that are predicated on dance and movement, broadly construed?</li>
<li>How is scholarship shaped by dance practice? What can thinking through practice offer to methodological and analytic approaches to movement and dance?</li>
<li>How do different disciplinary methodologies respond to dance? How do they communicate with or differ from discipline-specific dance scholarship in knowledge production? What can they learn from each other?</li>
<li>As concepts of “dance” and “choreography” are further deconstructed and used in an expanded way, what does it mean to use knowledge specific to them as theoretical tools for analysis?</li>
</ul>
<p> </p>
<p>Participants will be grouped into working sessions with papers circulated in advance followed by targeted discussion at the conference itself facilitated by student leaders partnering with participating scholars. There will be a session on publishing in Dance Studies led by <b>Norm Hirschy</b>, Senior Editor at Oxford University Press. The day will culminate in a roundtable discussion, and a performance by <a href="https://movementresearch.org/people/the-bureau-for-the-future-of-choreography"></a><a href="https://movementresearch.org/people/the-bureau-for-the-future-of-choreography">The Bureau for the Future of Choreography</a>, co-sponsored by the <a href="http://thesegalcenter.org/"></a><a href="http://thesegalcenter.org/">Martin E. Segal Theatre Center</a>.</p>
<p> </p>
<p><b>Please submit a brief bio and a 250-word abstract to</b> <a href="mailto:approachingdance@gmail.com"><b>approachingdance@gmail.com</b></a> <b>by <u>February 15, 2017</u>. Participants will be notified in late February 2017.</b> <a href="http://approachingdance.com"><b>http://approachingdance.com</b></a></p>For & Against: Art, Politics and the Pamphlet - Deadline: Friday 15th January 2017tag:performancephilosophy.ning.com,2017-01-06:6528949:BlogPost:414072017-01-06T12:37:15.000ZFred Dalmassohttps://performancephilosophy.ning.com/profile/FredDalmasso
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<p><b>For & Against: Art, Politics and the Pamphlet <br></br> Invitation to participate in a public symposium</b></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<p><b>Friday May 26, 2017 <br></br> Loughborough University…</b></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<p><b>For & Against: Art, Politics and the Pamphlet <br> Invitation to participate in a public symposium</b></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<p><b>Friday May 26, 2017 <br> Loughborough University</b></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<p><b>Keynote: Mark McGowan, aka Artist Taxi Driver and</b> <b><a href="https://www.youtube.com/user/chunkymark">Chunkymark</a></b></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<p>We invite you to respond to the idea, concept, format, aesthetic, function, relevance, purpose or history of the political pamphlet. Presentations will take two forms:</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<ul>
<li>Academic papers (20 mins) – responses to histories of the political pamphlet and its relevance and/or development in art practice</li>
<li>Performative presentations (10 mins) in the form of ‘rants’ or manifestos – you are invited to interpret the format as imaginatively and provocatively as possible.</li>
</ul>
<p>Proposals (A4 max) should include an outline of the topic / approach for academic paper or performative presentation together with short bio. <b>Deadline: Friday 15th January 2017</b></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<p> <i>For and Against: Art, Politics and the Pamphlet</i> is a two-day research and public ‘festival’ event to be held in Loughborough May 2017, responding to research into the political pamphlet and exploring the relevance of the pamphlet for contemporary art practice. The programme will work across two days:</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<ul>
<li><b>FRIDAY 26<sup>TH</sup> MAY <br> SYMPOSIUM</b> - comprising presentations in response to the call as above</li>
<li><b>SATURDAY 27<sup>TH</sup> MAY <br> PUBLIC EVENTS</b> - held across sites including Charnwood Museum, Loughborough Library and Queens Park, Loughborough, this day-long event will include a range of public activity including live performative elements by artists commissioned by Radar to respond to the themes of the symposium. Contributions will be made by artists Patrick Goddard, Ferenc Gróf, Ciara Phillips and Rory Pilgrim. In the park there will also be a range of interactive stalls encouraging public participation in the making of a new pamphlet as well as exhibitions displaying collections of historical and contemporary pamphlets inside the library and museum. </li>
</ul>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<p>Jane Tormey/Gill Whiteley</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self"></a></p>
<p><a href="mailto:G.Whiteley@lboro.ac.uk">G.Whiteley@lboro.ac.uk</a> / <a href="mailto:jane.tormey@btinternet.com">jane.tormey@btinternet.com</a></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585601?profile=original" target="_self">For%20and%20Against_Symposium%20Inivtation_KS.docx</a></p>In case you have not seen this before...tag:performancephilosophy.ning.com,2016-12-14:6528949:BlogPost:404212016-12-14T18:59:32.000ZJames Hamiltonhttps://performancephilosophy.ning.com/profile/JamesHamilton
<p class="lomargin">Call for Applications: MA in Devised and Object Theatre 2017-2019</p>
<p><a href="http://www.damu.cz/en/m-a-degree-programs/directing-for-devised-and-object-theatre-1"><img alt="" border="0" src="http://mailer.e-artnow.org/fileadmin/eartnow/user_upload/subory_uzivatelov/KALD.DAMU/To_the_Mars_by_Cenek_Folk.jpg"></img></a></p>
<p class="lomargin">Master Degree in Devised and Object Theatre at DAMU, Prague, Czech Republic</p>
<p>Academy of Performing Arts in Prague…</p>
<p></p>
<p class="lomargin">Call for Applications: MA in Devised and Object Theatre 2017-2019</p>
<p><a href="http://www.damu.cz/en/m-a-degree-programs/directing-for-devised-and-object-theatre-1"><img border="0" src="http://mailer.e-artnow.org/fileadmin/eartnow/user_upload/subory_uzivatelov/KALD.DAMU/To_the_Mars_by_Cenek_Folk.jpg" alt=""/></a></p>
<p class="lomargin">Master Degree in Devised and Object Theatre at DAMU, Prague, Czech Republic</p>
<p>Academy of Performing Arts in Prague</p>
<p><a href="http://www.damu.cz/en/m-a-degree-programs/directing-for-devised-and-object-theatre-1">www.damu.cz/en/m-a-degree-programs/directing-for-devised-and-object-theatre-1</a></p>
<p><br/><img border="0" src="http://mailer.e-artnow.org/fileadmin/eartnow/user_upload/subory_uzivatelov/KALD.DAMU/logo_damu.jpg" alt=""/> <br/> </p>
<p></p>
<div><table>
<tbody><tr><td width="240px"><h2>Contact</h2>
<p><a href="mailto:sodja.zupanclotker@damu.cz">sodja.zupanclotker@damu.cz</a><br/>Sodja Zupanc Lotker<br/>Phone: +420 777 303 286 </p>
</td>
<td width="240px"><h2>Address</h2>
<p><a href="http://www.damu.cz/en/m-a-degree-programs/directing-for-devised-and-object-theatre-1" target="_blank">www.damu.cz/en/m-a-degree-programs/directing-for-devised-and-object-theatre-1</a><br/>Academy of Performing Arts in Prague<br/>Malostranské námĕstí 12<br/>118 00 Prague<br/>Czech Republic</p>
</td>
<td width="250px"><h2>Info</h2>
<p>Theatre Faculty of the Academy of Performing Arts in Prague announces MA in Devised and Object Theatre, a 2-year, 120 ECTS English language master program <br/>Applications deadline: January 31, 2017 <br/>Interviews with applicants: February 2017 <br/>Semester start: October 2, 2017</p>
</td>
</tr>
</tbody>
</table>
</div>
<p> </p>
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<p>The Master in Directing for Devised and Object Theatre offers advanced studies in the practice of the process of devising a theatre performance from scratch. In the program students learn to create theatre performances with strong visual, spatial, object and media (low tech) aspects, as well as other performance forms such as scenographic installations, sound performances, performance interventions etc. <br/><br/>The process is based in devising techniques: creating thematic, conceptual, and/or documentary projects that are not based in pre-written plays, but are created through the process of rehearsing, often as collaborative work of the whole creative team.<br/><br/>Students will learn to work with variety of authentic, found, and created material: poetry, images, fragments of plays, songs, historical events, personal stories, scientific findings, common knowledge, pop culture etc. Students will further learn a conceptual approach to research and development of materials, creating specific performance structures (in the sense of narrative, space, and relationship to audience) for specific material, and proposing new ways for audience to perceive/experience the performance. Students will also learn to perform and produce in order to have skills to become independent creators.<br/><br/>The Department of Alternative and Puppet Theatre has since its establishing in 1952 achieved international recognition and has since its beginnings cultivated new approaches to theatre making. It is vitally connected to the distinguished tradition of Czech puppetry, yet integrates the newest theatrical trends in the areas of object theatre, media and visual arts. During the course of four semesters, students will encounter theatre makers such as Handa Gote, Cristina Maldonado, Stage Code, Kamila Polívková, Farm in the Cave etc. <br/><br/>Course leader: MgA. Sodja Zupanc Lotker, independent dramaturg working with devised, site-specific and low tech media theatre as well as dance; Prague Quadrennial artistic director 2008-2015. <br/><br/>More information <u><a target="_blank" href="http://www.damu.cz/en/m-a-degree-programs/directing-for-devised-and-object-theatre-1">www.damu.cz/en/m-a-degree-programs/directing-for-devised-and-object-theatre-1</a></u></p>
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</div>Call for Submissions - PARtake: Journal of Performance as Researchtag:performancephilosophy.ning.com,2016-12-09:6528949:BlogPost:404162016-12-09T17:32:13.000ZMarcos Steuernagelhttps://performancephilosophy.ning.com/profile/MarcosSteuernagel
<p>Dear Colleagues,</p>
<p>PARtake is accepting submissions and proposals for our upcoming issue. Please see the call below.</p>
<p>PARtake: Volume 1, Issue 2, Summer 2016</p>
<p>Participation in/and Research: Ethics, Methodologies, Expectations</p>
<p>PARtake is an e-journal dedicated to exploring the theory and application of performance in practice, and the research outputs created through these processes. Performance as Research is, for us, an investigation into the material,…</p>
<p>Dear Colleagues,</p>
<p>PARtake is accepting submissions and proposals for our upcoming issue. Please see the call below.</p>
<p>PARtake: Volume 1, Issue 2, Summer 2016</p>
<p>Participation in/and Research: Ethics, Methodologies, Expectations</p>
<p>PARtake is an e-journal dedicated to exploring the theory and application of performance in practice, and the research outputs created through these processes. Performance as Research is, for us, an investigation into the material, epistemological, and ontological fundamentals of all forms of performance, intended or otherwise. We seek work created and critiqued from the “scholartist” perspective.</p>
<p><br/>Call for Submissions (Abstract/Proposal Submission Due December 15, 2016)</p>
<p>General Call:<br/>How do you articulate and define Performance as Research? How can this methodology open up possibilities for novel ways of understanding the synergy between artistic practice and theoretical inquiry?</p>
<p>When we write about performance, what happens to that performance? How does our writing about performance re-perform, redefine, and recreate the work? In this process, what does the source material now become? In what ways can the language we use to document or describe what happens in a specific space and temporality radically open up the work and its associative discourse/s, rather than act as a restraining force through analysis? There are many languages to explore and utilize in this investigation. We invite experiments in writing about/for/in performance. We invite the act of writing as research in itself, as a way to infiltrate, aerate, and celebrate the discoveries embedded in the process of making—and presenting—artistic work.</p>
<p>Call for Themed Section:</p>
<p>Participatory practices have begun to be a popular form in the 21st century, arguably supplanting more “passive” modes of performance. Terms such as immersive, embodied, augmented, engaged, one-on-one and interactive are increasingly being attached to performance as ways of defining and marketing these practices. What are the implications of participating in and with performance as research? When a member of a performance project, what are the ways in which one might develop an objective/subjective dialectic? If you are inviting outside participants into your research as a way of assessing the aesthetic and social impacts of the work, what are the possible attendant ethical responsibilities? How do we articulate the methodologies of embodied and participatory research in order for others to expand their own questioning? When designing participatory performance, what are the social implications of the process? What expectations do we take into research projects that require the participation of others?</p>
<p>For this special themed section we seek material that addresses these questions (amongst others):</p>
<p><br/>¥ How is the embodied nature of participation related to aesthetics?</p>
<p>¥ What is the material relationship between the body and narrative in participatory performance?</p>
<p>¥ What is the relationship between aesthetics and affect in participatory experience?</p>
<p>¥ How does agency inform the meaning-making processes of participation?</p>
<p>¥ How does digital and online participation manifest its affect and impact in interactive work?</p>
<p>¥ How does participation inhabit the in-between spaces—between performers and participants, artefacts and people, reality and action?</p>
<p>¥ How does disability (of any sort) get approached when considering participation? How do we address access to these sorts of works?</p>
<p>¥ How does language, and the untranslatability of languages (including body language) impact participation? How does translation operate in these in-between spaces?</p>Dario Fo as a painter and art theoristtag:performancephilosophy.ning.com,2016-12-07:6528949:BlogPost:405072016-12-07T12:00:00.000ZOlivera Z. Mijuskovichttps://performancephilosophy.ning.com/profile/OliveraZMijuskovic
<p><strong>Author: Olivera Z. Mijuskovic,</strong> <em>philosopher, art theorist, painter, journalist and bioethicist</em></p>
<blockquote><p></p>
<p><span><span><span style="color: #800000;"><strong>“L'amor che move il sole e l'altre stelle.” - Dante Alighieri, The Divine Comedy</strong></span><br></br> <span><br></br></span> <span id="quote_book_link_6656"></span></span></span></p>
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<p>The year that`s ending has been marked by end of life of many people who have left a…</p>
<p><strong>Author: Olivera Z. Mijuskovic,</strong> <em>philosopher, art theorist, painter, journalist and bioethicist</em></p>
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<p></p>
<p><span><span><span style="color: #800000;"><strong>“L'amor che move il sole e l'altre stelle.” - Dante Alighieri, The Divine Comedy</strong></span><br> <span><br></span> <span id="quote_book_link_6656"></span></span></span></p>
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<p>The year that`s ending has been marked by end of life of many people who have left a significant mark on the 20th and 21st century. Music scene left the multitalented David Bowie, Prince, as well as the legendary Leonard Cohen whose music is the inspiration of many generations around the globe not only for love life but for the most important social and political events. Recently the world has left and the legendary controversial leader of Cuba - Fidel Castro, which is not only important because of policy, which some consider as harmful, while others see him as a symbol of resistance of ordinary people. Fidel Castro or Che Guevara are also the romantic heroes and the greatest moments from their personal or professional life are iconic in all countries of the world and in all classes. Thanks to this even mythological phenomena Havana will always be a mysterious place that will attract people for a long, long time.</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409585257?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409585257?profile=original" width="641" class="align-center" height="444"></a></p>
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<p><strong>These giants are joined and by Italian Dario Fo. </strong></p>
<p><strong><span style="color: #800000;"><em>"The Nobel Prize for Literature in 1997"</em></span></strong></p>
<p><strong>Dario Fo was the winner of the Nobel Prize for Literature in 1997, playwright, painter and novelist</strong>. His cereer in theatre is well-known around the globe, but he was and excellent painter and art theorist. He was undoubtedly a very talented man, because even those who didn`t support his leftist beliefs had no negative reviews of his professional career.</p>
<p></p>
<p><b>The year of 1984 as a turning point in his painting career</b></p>
<p><strong><span style="color: #800000;"><em>"Teatro nell' occhio"</em></span></strong></p>
<p>The entire public is more paid attention to <strong>Fo`s</strong> canvas in 2010. In that period he has great exhibition in <strong>Pontedera</strong> in Tuscany. On that occasion, <strong>Fo</strong> told the story of how as a boy he wanted to be a painter more than actor. During his childhood he painted most in his hometown <strong>Valtravaglia</strong> in the Lombardy. His motives in the pictures were his classmates and teachers, neighbors, daughters of the mayors, and even the girls of mafia bosses. As a young painter he won numerous awards and has never ceased to paint until his death. However, his first noteworthy exhibition was in 1984 in <strong>Riccione</strong> in Rimini, entitled <strong>"Teatro nell' occhio"</strong> or "<strong>Theatre in the eye</strong>". The exhibition which dates from this year is actually the official start of Fo`s painting career and important exhibitions throughout Italy and Europe.</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409586271?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409586271?profile=original" width="326" class="align-left" height="456"></a></p>
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<p><b>Period in the post-liberation Milan</b></p>
<p><strong><span style="color: #800000;"><em>"Meeting with Caravaggio`s work"</em></span></strong></p>
<p>During <i>the 40s</i> in artistic circles in Italy it was very popular academic discussion about realism and neo-realism. Fo has actively participated these circles. <strong>Cubism</strong> was very popular as an artistic way of expression. The artists of this period were gathered around the journal <strong><i>"Realismo"</i></strong>. <i>"<strong>Realismo"</strong></i> was an expression of ordinary art lovers and have tried to avoid elitism. Fo was impressed with the Spanish and Italian Renaissance, and he especially analyzed the works of <strong>Flemish and French Grand Masters</strong>. He first encountered the work of Caravaggio in Milan in 1948.</p>
<p></p>
<p><b>Theatre as inspiration</b></p>
<p><strong><span style="color: #800000;"><i>"Paintings always in motion"</i></span></strong></p>
<p><strong>Critics allege that Fo`s paintings from the mid-60s began an unbreakable bond between his theatrical work and his paintings.</strong> His expression in the arts is extremely authentic, but it`s certainly enriched with theatrical inspiration. In this sense the motifs of his paintings are <strong><i>"always in motion</i>"</strong>. They are in the permanent game of characters, there`re many minotaurs, horses, the towers of some distant rulers, muses of giants and rulers, ships on the seas, colonnades, sports heroes and many other motives that are actually inspired him and on the scene.</p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409587277?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409587277?profile=original" width="597" class="align-center"></a></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409588334?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409588334?profile=original" width="600" class="align-center" height="825"></a></p>
<p></p>
<p><b>Period of dealing with the theory of fine arts </b></p>
<p><em><span style="color: #800000;"><b><strong>"The liberation of Caravaggio or Giotto"</strong></b></span></em></p>
<p><em><span style="color: #800000;"><b><strong>"Fo as a learned populist."</strong></b></span></em></p>
<blockquote>
<p></p>
</blockquote>
<p><strong>At the end of the 90s, Fo was intensively engaged in art criticism.</strong> His health was disrupted, but he has been extensively dealt with the history of art of famous painters. His criticism was also criticism of the political establishment through the art of the old masters. That shows an unbreakable bond with his popular theater. If you look at the <em>"Mistero Buffo"</em>, the basis of his artistic expression is a tradition but a construction is a populism. In his art criticism he distanced himself from the rigid language of scientists and experts. Italian public perception tends to characterized him as a <b><i>learned populist</i></b> who publishes his articles in various media. His texts are dedicated to <strong>Caravaggio, Giotto, Michelangelo, Leonardo</strong> and many others. When he was studying <strong>Leonardo</strong> he spoke about <strong>Leonardo's <i>"Last Supper"</i></strong> at the cathedral in Modena. He tried to make a link between the history and architecture of the town itself. On one occasion he made a performance of <i>"reading architecture"</i> with two video beams that were posted outdoors. He urged the visitors to read architecture as they would read a book on an old language like the one in Dante's <i><strong>"Divine Comedy"</strong>.</i> In this performance Fo certainly had witty banter inspired by politicians of today.</p>
<p><strong>Fo was decidedly against the renowned art historian.</strong> <strong>He could not accept elitism and <i>"mystification of the art"</i>.</strong> Therefore, his own writings about art he often called as <strong><i>"the liberation of Caravaggio or Giotto".</i></strong> His only novel, <i>"The Pope's Daughter"</i> is dedicated to his lifetime wife and musa <em>Franca</em> and it`s actually a continuation of his struggle for the liberation of historical mystification and mystification of artists and political figures.</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/409589535?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/409589535?profile=original" width="701" class="align-center"></a></p>
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<p></p>Cassandra as a metaphor and as a mythical figuretag:performancephilosophy.ning.com,2016-09-14:6528949:BlogPost:397182016-09-14T17:03:19.000ZOlivera Z. Mijuskovichttps://performancephilosophy.ning.com/profile/OliveraZMijuskovic
<p><strong>Author: Olivera Z. Mijuskovic,</strong> <em>philosopher and art theorist</em></p>
<p><span class="font-size-1"><em>Artworks: <span dir="ltr" style="text-align: left;">Max Klinger 1857-1920: Kassandra 1895. Hamburger Kunsthalle; Ajax and Cassaandra, Louvre G458, Eretria Painter, ca. 425–420 BC. From Gravina in Puglia, Botromagno. Stored in the Pomarici Santomasi Foundation in Gravina in Puglia.…</span></em></span></p>
<p></p>
<p></p>
<p><strong>Author: Olivera Z. Mijuskovic,</strong> <em>philosopher and art theorist</em></p>
<p><span class="font-size-1"><em>Artworks: <span style="text-align: left;" dir="ltr">Max Klinger 1857-1920: Kassandra 1895. Hamburger Kunsthalle; Ajax and Cassaandra, Louvre G458, Eretria Painter, ca. 425–420 BC. From Gravina in Puglia, Botromagno. Stored in the Pomarici Santomasi Foundation in Gravina in Puglia.</span></em></span></p>
<p></p>
<p><em><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/409584743?profile=original"><img class="align-left" src="http://storage.ning.com/topology/rest/1.0/file/get/409584743?profile=original" width="300"></a></em><span id="result_box" lang="en" xml:lang="en"><span>In Greek</span> <span>mythology,</span> <span>which was the backbone</span> <span>of free thought</span> <span>in the</span> <span>ancient</span> <span>world</span><span>, the figure</span> <span>of Cassandra</span> <span>is very</span> <span>symbolic. <span id="result_box" lang="en" xml:lang="en"><span>Greek</span> <span>transition from</span> <span>the mythical</span> <span>to the</span> <span>philosophical <span id="result_box" class="short_text" lang="en" xml:lang="en"><span>thought</span></span></span> <span>had</span> <span>different</span> <span>effects on the</span> <span>amplitude</span> of <span>the</span> <span>entire</span> <span>modern world</span><span>. <span id="result_box" class="short_text" lang="en" xml:lang="en"><span>Myths</span> <span>alive</span> <span>today but w</span></span>hy Cassandra is still so interesting? <span id="result_box" lang="en" xml:lang="en"><span>Her character</span> <span>is not a myth only</span><span>, it`s the</span> <span>inspiration and for</span> <span>modern science</span><span>.</span></span></span></span></span></span></p>
<p><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span id="result_box" class="short_text" lang="en" xml:lang="en"><span>Let me start</span> <span>from the beginning</span><span>.</span></span></span></span></span></span></span></span></p>
<p><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span id="result_box" class="short_text" lang="en" xml:lang="en"><span>As</span> <span>a mythical</span> <span>figure <strong>Cassandra</strong> was one of the princesses of Ancient Troy. Her father was Priam and her mother was Hecuba. She was very beautufil like a goddess and she was the woman with the ability of foreseeing the future. <span id="result_box" class="short_text" lang="en" xml:lang="en"><span>One would say</span> <span>that she was</span> <span>perfect</span> <span>and</span> <span>happy. <span id="result_box" class="short_text" lang="en" xml:lang="en"><span>Of course,</span> <span>Greek</span> <span>mythology</span> <span>is not so</span> <span>simple. <span id="result_box" lang="en" xml:lang="en"><span>The story of</span> <span>this figure</span> <span>actually hiding</span> <span>a deeper</span> <span>message.</span></span></span></span></span></span></span></span> <br></span></span></span></span></span></span></span></span></p>
<p><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span id="result_box" class="short_text" lang="en" xml:lang="en"><span>This</span> <span>has</span> <span>several versions:</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p>
<blockquote>
<p><span style="color: #3366ff;" lang="en" xml:lang="en"><span lang="en" xml:lang="en"><span lang="en" xml:lang="en"><span class="short_text" lang="en" xml:lang="en"><span class="short_text" lang="en" xml:lang="en"><span class="short_text" lang="en" xml:lang="en"><span class="short_text" lang="en" xml:lang="en"><span lang="en" xml:lang="en"><span class="short_text" lang="en" xml:lang="en">The most popular one is that God Apollo fell in love with her and granted her with the gift of prophecy. When Cassandra denied the God and his advances, he placed a curse on her, so that no one would believe her words or her predictions. He gave her a gift that would bring frustration and despair to her.</span></span></span></span></span></span></span></span></span></p>
<p><span style="color: #3366ff;">In the tragedy Agamemnon, Cassandra appears to suggest the God to become hic consort but then breaks her promise, causing his wrath. Thus, Apollo left her the gift of prophecy but cursed her so that no one could or would believe her.</span></p>
<p><span style="color: #3366ff;">According to the second version, Cassandra went to the Temple of Apollo in Troy and his little Temple Snakes licked her ears, allowing her to listen to the future. This theme is not unknown in Greek Mythology, as the snakes of Apollo have appeared in different myths and versions, allowing people to foresee the future and understand the language of animals.</span></p>
<p><span style="color: #3366ff;">Cassandra foresaw the destruction of Troy by the Greeks; when the Trojans found the big wooden horse outside the gates of their city Cassandra told them that Greeks will destroy them if they bring the horse in the city. The historical facts are not clear but the famous phrase “Beware of Danaos (Greeks) bearing gifts” belongs to her, although there are also different versions about this phrase as well, since it was stated by different persons in tragedy “Ajax” and Virgil’s “Aeneid”. No one in Troy believed her, and the horse was admitted in the city, with the known results for Troy.</span></p>
<p><span style="color: #3366ff;">When Troy fell to the Greeks, Cassandra tried to find a shelter in Athena’s Temple, but she was brutally abducted by Ajax and was brought to Agamemnon as a concubine. Cassandra died in Mycenae, murdered along with Agamemnon by his wife Clytemnestra and her lover Aegisthus.</span></p>
<p><span style="color: #3366ff;"><strong>(Source: Greek Mythology and Greek Myths)</strong></span></p>
</blockquote>
<p><strong><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/409584920?profile=original"><img class="align-right" src="http://storage.ning.com/topology/rest/1.0/file/get/409584920?profile=original" width="220"></a></strong><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span id="result_box" lang="en" xml:lang="en"><span>Cassandra</span> <span>is actually</span> <span>a symbol of</span> <span>the curse</span> <span>and in some ways</span> <span>the first victim</span> <span>of mobbing, <span id="result_box" class="short_text" lang="en" xml:lang="en"><span>gender inequality</span></span> and sex abuse</span> <span>in history! <span id="result_box" lang="en" xml:lang="en"><span>It`s no exaggeration</span> <span>to say</span> that<span>! <span id="result_box" class="short_text" lang="en" xml:lang="en"><span>Sounds</span> <span>crazy, but</span> <span>it really is</span> <span>so</span><span>.</span></span> Here`re all elements:</span></span> <br></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p>
<ul>
<li><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span class="short_text" lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span lang="en" xml:lang="en"><span><span id="result_box" class="short_text" lang="en" xml:lang="en"><span>She</span> <span>resented</span> <span>authority.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></li>
<li><span id="result_box" class="short_text" lang="en" xml:lang="en"><span>She has</span> <span>been punished</span> <span>by the</span> <span>authorities.</span></span></li>
<li><span class="short_text" lang="en" xml:lang="en"><span id="result_box" lang="en" xml:lang="en"><span>Her</span> <span>talents</span> <span>were</span> <span>ridiculed</span> <span>by the</span> <span>larger community</span><span>.</span></span></span></li>
</ul>
<p><span class="short_text" lang="en" xml:lang="en"><span lang="en" xml:lang="en"><span><span id="result_box" lang="en" xml:lang="en"><span>This may be</span> <span>simplistic</span><span>,</span> <span>but</span> <span>well-known</span> <span>scientists</span> <span>of today</span> <span>just</span> <span>using</span> <span>her image</span> <span>in science</span><span>.</span></span> Famous French Philosopher Gaston Bachelard named the syndrom in psychology, politics and science as a "Syndrom of Cassandra" , "Cassandra Syndrom" or "Cassandra Complex". This syndrom refer "to a belief that things could be known in advance" (<span class="reference-text"><cite class="citation book">Schapira, Laurie Layton (1988). <a rel="nofollow" class="external text" href="https://openlibrary.org/books/OL2243156M/The_Cassandra_complex"><i>The Cassandra complex: living with disbelief: a modern perspective on hysteria</i></a>. Toronto, Canada: Inner City Books. <a href="https://en.wikipedia.org/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="https://en.wikipedia.org/wiki/Special:BookSources/091912335X" title="Special:BookSources/091912335X">091912335X</a>.</cite></span>) Also in psychology <span id="result_box" lang="en" xml:lang="en"><span>there is a</span> <span>lot of</span> <span>authors who have</span> <span>their</span> <span>learning</span> <span>dedicated</span> <span>to this issue</span></span> such as: Melanie Klein, <span class="mw-headline" id="Laurie_Layton_Schapira">Laurie Layton Schapira</span>, <span class="mw-headline" id="Jean_Shinoda_Bolen">Jean Shinoda Bolen.</span></span></span></span></p>
<p><span class="short_text" lang="en" xml:lang="en"><span lang="en" xml:lang="en"><span><span class="mw-headline"><span id="result_box" lang="en" xml:lang="en"><span>This is a very</span> <span>inspiring</span> <span>female</span> <span>character who</span> <span>could be</span> <span>very interesting</span> <span>for</span> analyse <span>and discussion</span> <span>with several</span> <span>aspects. <span id="result_box" lang="en" xml:lang="en"><span>Modern</span> <span>activist</span> <span>movements</span> <span>dealing with</span> <span>international relations</span><span>,</span> <span>climate change</span><span>,</span> <span>as well as the</span> <span>art of</span> <span>greatly</span> <span>evolving</span> <span>definition</span> <span>of this syndrome.</span></span><br></span></span></span></span></span></span></p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/409585951?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/409585951?profile=original" width="740"></a></p>
<p></p>
<p></p>MIGRATION/REPRESENTATION/ STEREOTYPEStag:performancephilosophy.ning.com,2016-09-12:6528949:BlogPost:394402016-09-12T19:07:52.000ZYana meerzonhttps://performancephilosophy.ning.com/profile/Yanameerzon
<div><p align="left" class="x_MsoTitleCxSpMiddle"><b><span lang="EN-US" xml:lang="EN-US">CONFERENCE ANNOUNCEMENT and CALL FOR PAPERS:</span></b></p>
<p align="left" class="x_MsoTitleCxSpMiddle"><b><span lang="EN-US" xml:lang="EN-US">MIGRATION/REPRESENTATION/ STEREOTYPES</span></b></p>
<p align="left" class="x_MsoTitleCxSpMiddle"><span lang="EN-US" xml:lang="EN-US">organized by</span></p>
<p align="left" class="x_MsoTitleCxSpMiddle"><span lang="EN-US" xml:lang="EN-US">the department of theatre,…</span></p>
</div>
<div><p class="x_MsoTitleCxSpMiddle" align="left"><b><span lang="EN-US" xml:lang="EN-US">CONFERENCE ANNOUNCEMENT and CALL FOR PAPERS:</span></b></p>
<p class="x_MsoTitleCxSpMiddle" align="left"><b><span lang="EN-US" xml:lang="EN-US">MIGRATION/REPRESENTATION/ STEREOTYPES</span></b></p>
<p class="x_MsoTitleCxSpMiddle" align="left"><span lang="EN-US" xml:lang="EN-US">organized by</span></p>
<p class="x_MsoTitleCxSpMiddle" align="left"><span lang="EN-US" xml:lang="EN-US">the department of theatre, university of ottawa;</span></p>
<p class="x_MsoTitleCxSpMiddle" align="left"><span lang="EN-US" xml:lang="EN-US">the department of modern languages and literatures, university of ottawa</span></p>
<p class="x_MsoTitleCxSpMiddle" align="left"><span lang="EN-US" xml:lang="EN-US">the centre for public history, carleton university</span></p>
<p class="x_MsoTitleCxSpMiddle" align="left"><span lang="EN-US" xml:lang="EN-US"> </span></p>
<p class="x_MsoTitleCxSpMiddle" align="left"><b><span lang="EN-US" xml:lang="EN-US">28-30 april 2017, university of ottawa,</span></b></p>
<p class="x_MsoTitleCxSpMiddle" align="left"><span lang="EN-US" xml:lang="EN-US">ottawa, ontario (canada)</span></p>
<p class="x_MsoTitleCxSpLast"><span lang="EN-US" xml:lang="EN-US"> </span></p>
</div>
<p class="x_MsoNormalCxSpFirst"><b><span>The organizing committee</span></b><span>:</span></p>
<p class="x_MsoNormalCxSpMiddle"><span lang="IT" xml:lang="IT">Dr. Yana Meerzon, University of Ottawa</span></p>
<p class="x_MsoNormalCxSpMiddle"><span>Dr. David Dean, Carleton University</span></p>
<p class="x_MsoNormalCxSpMiddle"><span>Dr. Daniel McNeil, Migration and Diaspora Studies Initiative, Carleton University</span></p>
<p class="x_MsoNormalCxSpMiddle"><span>Dr. Sylvain Schryburt, University of Ottawa </span></p>
<p class="x_MsoNormalCxSpMiddle"><span lang="IT" xml:lang="IT">Dr. Natalia Vesselova, University of Ottawa</span></p>
<p class="x_MsoNormal"><span> </span></p>
<div><p class="x_MsoTitle"><span> </span></p>
</div>
<p class="x_MsoNormalCxSpFirst"><span>The omnipresence of stereotypes in the age of global migration is increasingly evident both at the level of governing structures and in everyday practices.</span> <span>Stereotypes, as Patrice Pavis tells us, stem from “preconceived ideas and unverified truisms” (369). In the context of migration, both historically and today, the use of stereotypes to characterize the migrant – whether it be a figure of suffering or a source of danger - can influence, polarize, and even radicalize public opinions and discourses. The influence of social media and political narratives, as well as literature and the arts, can be both productive and dangerous when it comes to our evaluation of a new migrant, refugee, asylum seeker, or exile as a neighbour, business partner, colleague, or friend. This is especially true in a world of increasing global conflicts and terrorism, neoliberal markets, and newly emerging nationalist agendas. This international, interdisciplinary, and bilingual conference aims to address the questions of the (ab)use of stereotypes when it comes to the representation of migration and refugees in various public discourses, both historically, conceptually and practically.</span></p>
<p class="x_MsoNormal"><span> </span></p>
<p class="x_MsoNormal"><span>Professor Freddie Rokem (Tel-Aviv University) is the conference`s confirmed distinguished keynote speaker.</span></p>
<p class="x_MsoNormalCxSpMiddle"><span> </span></p>
<p class="x_MsoNormalCxSpMiddle"><span>The committee invites <span>300-word proposals for a 20-minute presentation related to one or more of the conference themes, accompanied by a 150-word bio including your affiliation. Proposed topics include: </span> </span></p>
<p class="x_MsoNormalCxSpMiddle"><span lang="EN-US" xml:lang="EN-US"> </span></p>
<ul type="disc">
<li class="x_MsoNormalCxSpMiddle"><span>Representation of migration and stereotypes in fine arts, literature, film, drama, and performance;</span></li>
<li class="x_MsoNormalCxSpMiddle"><span>Philosophical and ethical conceptualizing of migration and stereotypes; </span></li>
<li class="x_MsoNormalCxSpMiddle"><span>Migration and commemoration: the object, the museum, the public space;</span></li>
<li class="x_MsoNormalCxSpMiddle"><span>Language, migration, and stereotypes;</span></li>
<li class="x_MsoNormalCxSpLast"><span>(Mis)representation of migration in governmental laws and political discourses;</span></li>
</ul>
<p class="x_MsoListParagraph"><span lang="EN-US" xml:lang="EN-US">·<span> </span></span><span lang="EN-US" xml:lang="EN-US">Migration and urban space: communal living in the past and in the age of mobility;</span></p>
<ul type="disc">
<li class="x_MsoNormalCxSpFirst"><span>Migration and stereotypes in social media and everyday life;</span></li>
<li class="x_MsoNormalCxSpMiddle"><span>Migration, memory, and testimony;</span></li>
<li class="x_MsoNormalCxSpMiddle"><span>Migration, stereotypes, and education.</span></li>
</ul>
<p class="x_MsoNormalCxSpMiddle"><span> </span></p>
<p class="x_MsoNormalCxSpMiddle"><span> </span></p>
<p class="x_MsoNormal"><span>In the context </span><span>of Canada’s 150th anniversary, the organizing</span><span> committee is also planning a number of conference events dedicated to public and artistic discourses related to the history of migration to Canada and migration today. Contributions on this topic are particularly welcome.</span></p>
<p class="x_MsoNormal"><span> </span></p>
<p class="x_MsoNormalCxSpMiddle"><b><u><span>THE DEADLINE FOR ALL ABSTRACTS AND INQUIRIES IS </span></u></b><b><u><span>NOVEMBER 1, 2016 </span></u></b></p>
<p class="x_MsoNormalCxSpMiddle"><b><u><span> </span></u></b></p>
<p class="x_MsoNormalCxSpMiddle"><span>All applicants will be notified of the selection committee by <b>November 15, 2016</b>.</span></p>
<p class="x_MsoNormalCxSpMiddle"><span> </span></p>
<p class="x_MsoNormalCxSpMiddle"><span>For more information, please contact the organizing committee at </span><a href="mailto:migration.conference2017@gmail.com" target="_blank"><span>migration.conference2017@gmail.com</span></a></p>
<p class="x_MsoNormalCxSpMiddle"><span class="x_MsoHyperlink"><span> </span></span></p>
<p class="x_MsoNormalCxSpMiddle"><span class="x_MsoHyperlink"><span>Selected contributors will be invited to submit their presentations for publication in the conference proceedings which are scheduled to appear in 2019.</span></span></p>Proceedings of the Second Congress on Research in Dance-Colombia (in Spanish)tag:performancephilosophy.ning.com,2016-08-18:6528949:BlogPost:394032016-08-18T21:30:00.000ZCarlos Eduardo Sanabriahttps://performancephilosophy.ning.com/profile/CarlosEduardoSanabria
<a href="https://www.academia.edu/13722467/Pensar_con_la_danza">https://www.academia.edu/13722467/Pensar_con_la_danza</a><br />
<br />
<a href="https://www.researchgate.net/publication/268078757_Pensar_con_la_danza">https://www.researchgate.net/publication/268078757_Pensar_con_la_danza</a>
<a href="https://www.academia.edu/13722467/Pensar_con_la_danza">https://www.academia.edu/13722467/Pensar_con_la_danza</a><br />
<br />
<a href="https://www.researchgate.net/publication/268078757_Pensar_con_la_danza">https://www.researchgate.net/publication/268078757_Pensar_con_la_danza</a>CFP parallax: Performative Afterlifetag:performancephilosophy.ning.com,2016-08-17:6528949:BlogPost:392792016-08-17T10:05:46.000ZSwen Steinhauserhttps://performancephilosophy.ning.com/profile/SwenSteinhauser
<p><b>Call for Contributions</b></p>
<p><b>parallax special issue: “Performative Afterlife”</b></p>
<p>If the significance of a work of art or literature shifts according to the itinerary of its transformative re-iterations across time, space and media, so must the terms of its analysis. For many years, a number of important developments in fine art practice, the history of art, and performance studies have been linked, at least implicitly, by a vigorous interrogation of the status of…</p>
<p><b>Call for Contributions</b></p>
<p><b>parallax special issue: “Performative Afterlife”</b></p>
<p>If the significance of a work of art or literature shifts according to the itinerary of its transformative re-iterations across time, space and media, so must the terms of its analysis. For many years, a number of important developments in fine art practice, the history of art, and performance studies have been linked, at least implicitly, by a vigorous interrogation of the status of (art)works and identities, traditionally conceived of as stable or objectifiable. This issue of <i>parallax</i> seeks to explore this ongoing reflexion, unfolding across a number of disciplines, academic and otherwise, in the hopes of highlighting practical and ethical implications of performative iterability.</p>
<p>It is possible to distinguish between two broad approaches to problematising the conventional relations between an event and its archive: either by considering the archive to itself be active, inventive, performative, or by questioning the pure presence of the performative event, seeing it as already putting into play its future remains. Contemporary art history and fine art practice have tended to take the first approach, tracing the historicity of archival remains and their transformative migration (through citation, translation and interpretation, etc.). On the other hand, current scholarship in performance studies has privileged the second, shifting its focus from a long-standing infatuation with the impossibility of retrieving the event from its archive to a conception of performance as staging its own afterlife (Warburg, Benjamin), in the sense of an inscription of the future in the present. ‘Performative acts,’ Rebecca Schneider has pointed out, ‘are always reiterative, and as such are already a kind of document or record’ exposed to the coming of time. This concept of an afterlife (<i>Nachleben</i>) that doesn’t necessarily wait for the curtain to fall is related to a notion of the performative as iterability, a ‘rehearsal’ that transforms even as it repeats.</p>
<p>Far from constituting a mere problematic of methodology, this shift in perspective speaks to a concern with the possibility of social transformation. If works of art or literature, as Walter Benjamin suggests, ‘transform with the collective because they live in it,’ they inevitably become the precarious site of history’s perpetual reworking. As one consequence, the concept of afterlife is able to intervene in current debates on participation in its move away from an emphasis on the immediacy of the event in contemporary art and performance practice towards more durational and expansive conceptions of partaking, contributing and sharing. In light of this we are particularly interested in contributions from philosophical, (art-)historical, performance or cultural studies perspectives that enquire into the political and ethical implications of performative iterability and the afterlife of performance as they relate to the deconstructability of institutions, disciplines, archives, works, identities and cultural histories.</p>
<p>The editors invite proposals that speak to, but need not be limited to, the following areas:</p>
<p>- The performative afterlife of works and artifacts (histories of reception, commentary, translation, citation and reproduction in view of ongoing transformations and dislocations: intermedial and cross-spatio-temporal migrations)</p>
<p>- Performance and/as document</p>
<p>- Re-enactment</p>
<p>- Haunting of past and future</p>
<p>- Theatricality and rehearsal</p>
<p>- The concept of afterlife as it relates to Psychoanalysis (deferral/afterwardness)</p>
<p>- The non-present remaining of events</p>
<p>- Theoretical engagements with iterability, afterlife (<i>Nachleben</i>), survival (<i>survivre</i>) and related concepts in the work of Jacques Derrida, Walter Benjamin, Aby Warburg, Samuel Weber, Judith Butler, Bernard Stiegler et al.</p>
<p>Submission deadline for abstracts: 1<sup>st</sup> October (early submissions are encouraged)</p>
<p>Final Articles by May 1<sup>st</sup>.</p>
<p>Please submit abstracts of 400 words and a small biography to the editors:</p>
<p>Swen Steinhauser: <a href="mailto:steinhauser5@gmx.net">steinhauser5@gmx.net</a></p>
<p>Neil Macdonald: <a href="mailto:neil.macdonald-2@postgrad.manchester.ac.uk">neil.macdonald-2@postgrad.manchester.ac.uk</a></p>
<p><a href="http://explore.tandfonline.com/cfp/ah/parallax-calls-for-papers/performative-afterlife">http://explore.tandfonline.com/cfp/ah/parallax-calls-for-papers/performative-afterlife</a></p>
<p><i>parallax</i> is an international peer reviewed journal of philosophy and cultural theory based at the University of Leeds, UK. The journal publishes four themed issues a year. Details of the most recent editions can be found at: <a href="http://www.tandfonline.com/loi/tpar20#.Ut09xvtFC70">http://www.tandfonline.com/loi/tpar20#.Ut09xvtFC70</a></p>More news about Turkeytag:performancephilosophy.ning.com,2016-07-23:6528949:BlogPost:386372016-07-23T07:33:31.000ZFelix de Villiershttps://performancephilosophy.ning.com/profile/FelixdeVilliers
<p> American leaders of whatever party have been shameless in using jihadists for their purposes, financing them, training them. The Americans deny being involved in the Turkish coup despite being deeply entrenched in that Nato country with a military base there for themselves and Israel. The Americans have been harbouring a man called Gulen a screaming jihadist who is wanted in Turkey for terrorism. Apparently he lives in luxury and his life is carefully protected by the US as he, who has his…</p>
<p> American leaders of whatever party have been shameless in using jihadists for their purposes, financing them, training them. The Americans deny being involved in the Turkish coup despite being deeply entrenched in that Nato country with a military base there for themselves and Israel. The Americans have been harbouring a man called Gulen a screaming jihadist who is wanted in Turkey for terrorism. Apparently he lives in luxury and his life is carefully protected by the US as he, who has his supporters in Turkey, is a useful figure on the chessboard of regime change. Turkey has been asking for his extradition for years but the US have found ways of delaying this. He has had mosques built all over the world and a lot of schools in which strict Sharia doctrine is taught. But the US could count on his supporters to join in the coup attempt. During the coup messages appeared on the Internet saying Erdogan had fled the country. He hadn't. Having a fairly practised eye in following such events I suspected a psycho operation to assist the coup and did some research. I found that this rumour came from top military levels in the US via a man called Griffin who works for the NBC and, if I remember rightly, was in the army himself. - Why do the US want Erdogan out? I read some time ago that Erdogan, sick of US interference rejected some economic deal or submission. He was then warned severely and this coup was predicted months ago by experts on this subject. They predict another coup which will put a more tyrannical man in the place of Erdogan. .- So much for Obama and his ilk. Though I do feel the presidents are subject to powers bigger than themselves.</p>
<p>There can be no doubt that Erdogan, like Gadaffi, was a tyrant but all the carrying on about the horrors he is inflicting are part of the propaganda against him. A picture of half-naked people lying on a floor went viral but Google admitted that it was false and had been taken much earlier. There are people who want you to believe the worst because it suits their designs.</p>
<p>Erdogan ahs declared martial law for three months; Hollande in France for three years. We can hardly be surprised that Erdogan took draconian measures; there were a considerable number of people involved in it and he would certainly have been killed.</p>Last Train - HowTheLightGetsIn Festival, Hay-on-Wye 31st May 2016tag:performancephilosophy.ning.com,2016-05-28:6528949:BlogPost:382182016-05-28T11:19:41.000ZFred Dalmassohttps://performancephilosophy.ning.com/profile/FredDalmasso
<p><i>Last Train</i> - a thought thriller</p>
<p>a play of voices by Fred Dalmasso & John Schad - based on John Schad’s 2007 book <i>Someone Called Derrida</i></p>
<p><b>HowTheLightGetsIn Festival, Hay-on-Wye 31st May 2016</b></p>
<p><a href="https://howthelightgetsin.iai.tv/events/last-train-to-oxford-2309">https://howthelightgetsin.iai.tv/events/last-train-to-oxford-2309</a></p>
<p>Someone called Jacques Derrida, the philosopher, someone called him on the phone, someone who was dead. A…</p>
<p><i>Last Train</i> - a thought thriller</p>
<p>a play of voices by Fred Dalmasso & John Schad - based on John Schad’s 2007 book <i>Someone Called Derrida</i></p>
<p><b>HowTheLightGetsIn Festival, Hay-on-Wye 31st May 2016</b></p>
<p><a href="https://howthelightgetsin.iai.tv/events/last-train-to-oxford-2309">https://howthelightgetsin.iai.tv/events/last-train-to-oxford-2309</a></p>
<p>Someone called Jacques Derrida, the philosopher, someone called him on the phone, someone who was dead. A mystery, he thought, a mystery that begins in 1968 when Derrida visits Oxford and there he dies, several times. Murder, he thought. So too thought another man, an Oxonian dying of dementia in 1996. And so we investigate, not just the Oxford of the 1960s but the Oxford of the 1930s and an English public school in the middle of the Second World War. In the end, at the end, the question is: can one die of another's death?</p>
<p>‘an incredibly daring exercise in transgression’</p>
<p>‘Finding meaning in the otherwise meaningless is what drives the unfolding mystery. Distinct events and lives – at first seeming coincidences – become inextricably tangled and soon unignorable, like not only being able to see the face of the Man in the Moon but also being able to feel his hands around your throat.’</p>
<p>‘Intensely personal, innovative, and indefatigably intriguing’ (Dan Hall)</p>
<p>‘I felt I was in the presence of something immense’ (Freya Gallagher-Jones)</p>
<p>‘a deeply moving (for being playful, and restrained) search for the truth hidden in the confabulations of a memory that may not be trusted any more, an attempt to communicate with a father with whom direct communication becomes impossible, or subject to doubt’ (Gogue)</p>
<p> About the book:</p>
<ul>
<li>‘an extraordinary performance’ (Sir Frank Kermode)</li>
<li>‘caught my imagination straight away’ (Rowan Williams, Archbishop of Canterbury)</li>
<li>‘an amazing book… one of the most original on Derrida’ (J. Hillis Miller)</li>
<li>‘a remarkable novel’ (Ian Macmillan, on BBC Radio 3′s ‘The Verb’)</li>
</ul>