Saturday, July 12, 2008

Hunter Fan Model 27477



Performancelogía is a project dedicated to the collection, publication, dissemination and exchange of documentation on Performance and Performance Art.

Since 2006, we offer this space as a Virtual File Documentation with all sorts of information about performance art, documentation understanding both photographic and video records of performances, such as essays, theoretical texts, reviews events and stories related to this discipline.

Parallel to compile, publish and disseminate all documentation of performance art that is within our reach, we maintain our business in the open call and continuing contributions via e-mail and regular mail.

Therefore, the update of this file is ongoing. We invite all performances, researchers, curious and interested to work with this file, sending their records and documentary materials that are available, via email: performancelogia@gmail.com always

Thanks to all who
have worked and continue to work with this space yours.


PERFORMANCELOGÍA
All About Performance and Performance Art

Digest, Publication, Dissemination and Exchange
Documentation and Performance Performance Art

Web: http://www.performancelogia.com
Bulletin: http://groups.google.com/group/performancelogia
Contributions: performancelogia@gmail.com
Exchanges: Avenida Urdaneta, Edificio Ipostel.
PO Box: 5048. Caracas, Venezuela. **************************************





Performancelogía is a project dedicated to Compilation, Publication, Dissemination and Interchange of Documentation about Performance Art and Performance Artists.

Since 2006, we create this space as a Virtual Archive of Documentation with all kinds of documentation about Performance Art, understanding documentation both the photographic and video registries of performances, then an essays, theoretical texts, reviews of events and anecdotes about this discipline.

Simultaneously of compile, publish and disseminate documentation of performance art, we maintain our activity in the open call of continuing collaborations by e-mail and postal sends.

PERFORMANCELOGÍA is a project highly collaborative and participatory. The updating of this archive is continuous and permanent. We invite all performance artists, researchers, curious and interested to collaborate with this project, sending their records and documentation about performance art through email : performancelogia@gmail.com

Thanks always to everyone who has collaborated with us.


PERFORMANCELOGÍA
All about Performance Art and Performance Artists

Compilation, Publication, Dissemination and Interchange
of Documentation about Performance Art and Performance Artists

Web: http://www.performancelogia.com
Newsletter: http://groups.google.com/group/performancelogia
Collaborations: performancelogia@gmail.com
Interchanges: Avenida Urdaneta, Edificio Ipostel.
PO Box: 5048. Caracas, Venezuela.

Thursday, July 10, 2008

Outdoor Rabbit Cage Blueprints

-Performance Dance: An alternative perspective . Alejandra and Alejandra Ceriani Cosín

-Performance Dance: An alternative perspective


Alejandra and Alejandra Ceriani Cosín
(August 2005)

With the advent of the concept of mass dissemination of art, W. Benjamin the artists proposed a revolutionary change in the format for the new perception of the content. This advocated the importance of both instances in the artwork. Had already known the Dada movement, anything could be used as a tool for art. At that time, and still, the question is how and why to use this or something else. What is that which gives the object used / her artistic message and processing material reason. The use of technology, for example, expresses no edge, it may be the most retrograde using advanced technology, being contemporary does not mean to be talking about today. So what

we will discuss here is not whether the way to create a work of modern dance is more or less mediated by how much technology or whether this or that body training technique is better or more modern one for the presentation of bodies in the scene, but will talk about the importance to the Dance as Art, Art-to-face, exploring its themes through various forms of creation, and the impact of research by the creators in the perception of those serving the role of receptors, no longer regarded as passive observers. We will support us in different theorists and thinkers whose ideas framed our position, and, finally, taking the deconstruction of two experiences with different modalities seek the same goals: the research of body movement in the here and now, as the support of the Dance, opening new insights into the receiver, and break with the theatrical performance space. They are "Project hose" Alejandra Ceriani and "Back Of Ida" group is not called, both current.

DANCE THE BODY AS ART IS A SENSORY EXPERIENCE

Dance as an art form born taking patterns and figurative literary composition, using the body to enter the picture, note the reading. The body is then where the action takes place. Later, in modernity, the authors of dances do not see sufficient evidence in these compositional forms to express contemporary life-worlds, and use the body as action, must be made with the body. But it will be the representation, and therefore the reading of signs, the organizer of a composition in which the body speaks, despite being a composition more subjective and also thematically broader than the ballets. Cunningham will be the proposer dematerialized body, and measure the movement itself, to get rid of the representation of emotions. Be sought, to the so-called postmodernism even forgetfulness daily body to deny it and rethink it, true to himself, almost ahistorical.

This story is no stranger to what happens in the sciences. We know that the dance has followed in the footsteps of Literature, Visual Arts, and of course, Music. In these arts the dematerialization happens almost naturally, from a level of use of the material to another can be considered the opposite, with no major practical drawbacks. Everything seems possible. The issue in the Dance as Art, is that there is no objective materiality, as in painting, for example, because it refers to the body. There is no human body dance. It is the raw material work. Dance artist not only has a body like primary tool if not living with him is a body.

delve into these reflections: the body is perceived from socio-cultural parameters more or less mobile. It is not and can not be historical. Is a series of mythological thinking, identity, and biological memory representations. How dematerialize convert it into an object, with all this baggage? Dance Suponiedo that, today, still trying to remove the body of the continuity of daily and historical movement, producing a supposedly constant aesthetic estrangement. Is not this goal is similar to one of the paradigms of the era in which we live away from his physical body own? We are witnessing the paradoxical problem of sustaining biological body as of mind - real protagonist in the information age, "a nearly nuisance, and also as a generator of pleasant situations, sought from the commodification of pleasure, which being covered by market rules accept that the ultimate goal is never reached. Is it the end of the body as we know it? However

you live with the bodies in a society in which contact is indispensable, at least in our culture it seems that the sensory is still needed. However, the "evolution" of the species is regardless of smell, taste, including some ability kinesthetic, and synesthesia is therefore reduced, the ability to remember through the body is lost. "The touch is limited to the manual? Is the pleasure and pain are armed discourse between demand and supply?

back to what we are concerned, how the dance is now considering these issues as the material body of work? We can not do it one way, there can be preset formulas. But adhere to their platform should be to the detriment of Design Arts. We refer to the latter as the spectacular over the poetic, recalling what the designer Joan Costas concerns about the difference between the two practices: Art does not seek answers efficient or utilitarian as it would do the design. This is beyond the discussion of aesthetics in both practices.

But the problem is that art is already in the market, to be enjoyed as another artifact of comfort. The art market is acquired and enjoyed as other goods, such as buying the latest phone, the most beautiful, how can the artist not to be used in the same way? Can you escape? Is the cause saturation invisibility? We start knowing that it is a reality, to take as a given culture over quota. We think that, perhaps, can be art, and the performative particularly an outlet while an unexpected reflection in a mirror hidden.

What is sought in the dance-performance is to recover the body, the encounter with the body and the spectator, after breaking the enchantment of pure vision, the "look and not touch." An art that is inserted through the senses is an art that gets into cracks in the system.

performance art, I WANT DONE ACTION

We assume considering the Performing Arts or in person still alive and necessary. Without detracting from the work of the producers of entertainment, and quality that come, we intend to recognize in the performance art, exploration, a diverse experience to the simple joy of technical and technological deployment of entertainment or emotional catharsis. We speak from the creator and the receiver. Therefore, we have focused attention on a possible change of the idea and format of entertainment for artistic action, to claim the art as perceptive and enjoyable experience: the sensory experience perceived as pre-individual, which defines man as a social being prior to the individual subject, enhancing their participation rather than isolation. A being who sees from his body and other similar bodies but different.

The perception is a sensory and mental activity, subject to interpretation and parallel to emotion. The language above is also individualized to the subject, defines a social individual and then formed his biography. Just think of the performative experience that links the artistic expression of dance as a body near the sensory characteristic of the human were analyzed using tools having human bodies and cultures: creating language in the exchange, in the crossing. It is known that human language involves not only the language but also gestures, corporeality, the relationship with the environment. But when the word is still founder on the Arts, promotes the belief that it gives form. It boasts an arrangement between theme / production of meaning, which lends a art object and should be interpreted as such by both the artist and by the receiver. However, a performance, an artistic action as presented here, is a nonsense that is unfolding in the development as an experience of active exchange between the operator, its tools, the receiver and the environment.
We refer to a different structure from the work of art, distanced from the model structure defined and completed the work of Traditional Arts, which promotes information exchange channel between work, public and environment, for not only moving data but to establish a connection at a lower level of objectification.
The advantage of Dance in relation to Theatre is that this does not mean anything. Although it can claim imitation of reality, or interpreted it as culture-no step choreography, no technique, replace this reality: for example, the drop-'30 recovery related to a poetic certain time-and culture as a way of thinking about the reality of the time, of course. The very words used (fall - recovery) are descriptions of a situation that is much deeper in the investigation of its author, Doris Humphrey.
Dance is, in this sense, the art form that could come close to what the French thinker J. Baudrillard calls the 'aesthetic illusion': the pure idea of \u200b\u200bart itself is not aesthetically in an aestheticized world to reinvent the art of aesthetics. But we think the way is not pure technical price or the spectacular design. The dance language that does not create a body moving with changing perspectives quotas, dance that explores the new sensory, appealing not only to the kinetic wonder we find it banal banality and lack of ability to be - be part-of the world, to appreciate the presence of this memory.
agree with Baudrillard that has lost its aesthetic pleasure. We believe that there is no patience and there is no longer time, because pleasure objectified body requires less commitment, is expendable, immediately, and then there is no time for art and proposed a reception active and engaged. The new catharsis to urge the artifacts of pleasure does not compare to the work that requires an understanding of art. No way we refer only to the public, too, and first-, to the creators.

ACTIVE RECEPTION

consider art as work, the artist as producer, the art object and opening action generating the sensory threshold, and we want a receiver located in an active and imprecise. To appeal to potential public and critical perception, the artist must escape the didacticism. Think the viewer as a witness, not a mere observer. We assert then that does not invite contemplation of the body action, ie either the synesthesia or kinesthesia. We fear that the theatricality of the dance scene, the theatrical effect, paraphernalia acrobatic, can transform the spectator into an observer limited. We see the drill as a disappointment, like a ghostly world is manipulating and reversing the senses. We believe that self awareness is needed to perceive. Even more, bet not considered as a mass public report, but as subjects with insight and intellect, as social beings and as individuals biographical. Neither the operator nor the recipient are pure subjectivity idyllic pure objectivity or manipulated by the media. Not communicate with the elite of artists who represent all the spectators and consumers of high art or recommended in the pages of newspapers because it is not and can not be real, there will always be in the audience who break the uniformity. Much of the plateau in creativity is not to warn the multiplicity of circumstances is the crowd itself-what we call "people" - Why choose a public that is beside herself, admiring, overwhelmed? How could judgmental?. The same dancer's body in the service of a phantasmagoria, is not only an eye socket anesthetized? What experience is that to the creator, to the interpreter: a body to be admired, coveted as a commodity? Where does the desire to succeed? We
quoting W. Benjamin: Technology-and technology-as a means and not an end.

DANCE AND TECHNOLOGY

Returning to the problem of the body in the contemporary world. Intersubjective relations mediated by technological devices and processes affecting levels perceptual, cognitive and emotional, yet still exchange "human", despite the decline in the physical-contact-sensitive body.
tecnocuerpo The call, from the perspective by subject, is a physical entity and not biological tecnomental: implementation of a set of technological prostheses with variable functions. From the perspective of the other subjects (relational), the body is bisensorial mail: digitized image and voice, unlike the mythical environment / natural, everyday where the body is pentasensorial. Today and increasingly intersubjective relations are mediated by previous devices or processes. This becomes in two contrasting events: lack of immediacy, yet high speed, continuous or need this. We are not better than ever. In the pre-technological environment, human relations are mediated by other circumstances as economic or social, just that if we speak of time, there may be immediate correlation. These planes occur parallel.
Through technology, in all ages, humans and things happen to their representations. They were already among the cultures and myths, and art has been based on them. But for today's technological world ARE imaginary constructs a living. There is an unreality but an expanded reality. One might think expanding the possibilities, which inhibits the co. How does the dance as an art classroom to deal with this trend? We said that redefines the art shows, open perspectives of perception. The technological tools serve Dance to a poetic vision of the body, this is a point we shall not dwell but it is interesting to rescue, "as an example, we noticed that the dance that has been hybridized with advanced technology, there is a post-human model reminiscent of the "replicants" Science Fiction movies. These and those are not so linear characters, good or bad, but complex characters who have a dialectic of the human (between the romantic and illustrated), less "futuristic" than we think. As representation of the dialectic of thought, it happens that this hybrid body coexists with the "pre-transformed" with the biological body-sensitive.

On the other hand, the body is as producer and player images, ie the technology does nothing to separate these two actions that occur together in everyday life. In the telematic, online, or immersive performances, the camera re-fold the representative body / expressive dance, which produces the movement (which is behind the camera). Such mediation (such as splitting the middle) produces an estrangement when it is happening at the same time, not in a video-dance that is another thing, but in live broadcast. What happens in the dance-performance is a present, they share the performers-the-camera participant receiver. A present more or less chronological, as technology. Another mediation is caused by other types of technologies involved in stage performances and face-lights, video overlay, sensors, software, or pre-recorded digitized sound, etc., "that as integrated into a whole, can form a new single language, may be canceled each other to become a total experience.

What links these experiences is the body in action, performing body. Here
what we find interesting as a topic is the difference between believing in the images and be aware of them. See the human behind the machine. The issue is the failure, which is not in the compound, it is not perfect. What would be the perfect machine, but the imperfect is the man who does exist, their doubts, their bodies, their imperfections, while this is so, there will be a world / descontenidas imaging machine. This is what proves to be no end of history, because there is human error, and then a new beginning, a stop and start at variable rate. We see that all may be present in an Art and Dance about performance, that as we appeal to the perception and active awareness of both the creator and recipient.

The problem is when the aim is that the visual image but not like challenges. How to escape his fate despotic? Such time switch with version "unplugged", return to the pre-technological communication in situ as did the performers of the art works of the '60s to the '80s. Reversals artistic forms of performance art that made an element of rupture with the system ... is another option.

performativity DANCE EXPERIENCE: RETURN OF IDA
, space as a partner


This is an experience almost no technology, except small lamps and prerecorded sound, composed specially-that mark the scenes tour develop in the whole space.

intervention is apparently a physical place everyday, normal, not significant, and the construction of language of movement in the encounter with the spaces that make up the place, which results in forms, icons, in memories of other spaces, cultural interpretation. This exploration of language, which has an instance to find the micro-movement generating development that is a minimum-is transformed into scenes that met the particularity of not longer than 3 minutes, of not having a narrative thread, and to be entirely based on the performers, in their modes of artistic work with your body, your workouts, and especially in their biographies, which put at stake in the selected space.

The public is questioning the direct as it was in space research. There are several structural elements that allow this experience is an appeal to the activity of the creator and the receiver: otherness is used instead of simultaneity, a fragmented relationship between time and space, one speaks of the relationship with the passing material, using the micro-time minimum-scenes with the deployment also minimal, and the deployment of public-place, a resource that lets you access only to what is present, clashing at the speed of his thoughts, which are making comparisons with it so happened only a few minutes while the owners of those thoughts fit your body in space. So then the public must decide from his own individuality, from his personality, his social relationships, from his biography, how and what to see, a speculation rather than a game. Then he will be the variety of their experiences. Are slogans that are present in everyday life, at work, on the street. Over time, the issue of immediacy-short and exciting-the issue of comfort. Issues that are on an apparent futility, subtly, from reaching the anger, violence, but to stop feeling incompleteness, plausible to be filled once the event. No moral, the public can not find it, and their adaptability and adjustment, it will be more or less participatory.

There is a relationship with the seduction of body, with the simplest strategy of seduction, rather than provocation. Anyway the general public is as understanding the rules that follow the scenes, and finally know that is not a dramatization, that there is a hidden secret that will transform it into a fiction, a lie hidden, "there is a guide to hold or to which blame no education. Everyone will experience, because no one will tell you how to do it.
not to say that in the armchair the same can not happen. In fact, each show offers its truth even though it may be hopelessly known. But having to find their own way of looking is not an activity that is in question and in everyday life, where through various mediations confronts us with the required vision, desproblematizada, where even as a perceptual and intellectual training exercise discretion , and that certainly puts the strangeness of this perfromance spectator in a creator. DRAFT

HOSE

Thinking becomes audio-vision, but retains the riddle, no transparency, there is a "suspicion of sense." The tension between the ceiling material and the desire is which can promote the transformation, not as a response to the contradictions of this, but as a principle as basic condition would be moving the availability to interact.

With the firm intention of revealing the possible meaning of certain performances and experiences without losing sight of the limited conditions in technological matters, we are investigating with computer interfaces, body, sound, space and viewer. DRAFT Hose is an interactive performance that simulates the sound of the human body through the acquisition in real time. The analysis of mechanical signals interfaces and joints of the body of the performer transforming computing paradigms the machine back into sound. They undertake a privileged viewer's auditory system, the exercise of sensory reception and testing across languages \u200b\u200band media such as display format. How

return to the primacy of auditory perception? That primacy is generated in the process of communication that the fetus, in its constant transformation, the internal noise keeps the mother's body in which it develops. We are interested in the body as a generator of sound work. An inter-relationship of stimulation that results from activity conducted by the other joints of the body working as implementers of stimuli or visible signs transformed into audible. Discover through the visible behavior of the body that which is not visible, sensory-perceptual mechanism that guides the way of a ring.

started working, first in a series of improvisations, exploring with the vocals. From these meetings and the recorded material is promoted another instance in which the voice provided material for the body to dance. The body regenerates and these sounds become music again, a feedback event.

There was always a clear intent and was not to rock the dance, not dance music as a single result inherent in fact stage. This premise that toured the work undertaken raises the particularity of the meeting sought, each in its formal and operational specificity. We were interested in hearing sound conditions, involving the public from this aspect of perception.

Another venture we focused on the provision of points of synchronization: an encounter between a movement or a figure and a sound point. Also among a cut of the cutting movement and sound. The scenic picture is to create audio-visual overlay to launch simultaneously recorded sounds and who allegedly issued synchronized, open to a number of effects on perception, to a set of overlapping and replacement energy that expand the listener / viewer.

We search on building listening skills integrated into the event on the establishment of an auditory space-turned-performance space for the execution of movements.

In a second instance, and from research carried on the use of sound frequencies known as "organic frequencies" opens a spectrum of possibilities in the study of acoustic communication in both synesthetic stimulator that engages both the viewer and the performer .

It is at this point where we are investigating: designing an event that exalts the ability to be affected imperceptibly appealing to the expansion of the collection beyond the visual, which almost uniquely committed relationship-dance performance, dance, music composition, dance-functional technology in favor of:
the re-conceptualization of the terms above, the experiments between languages \u200b\u200band media such as display format, the exercise of sensory input, the organization of current cultural policy that addresses these art forms in bid. -----


(1) We do not know his name, but we know that already live within a different cultural and aesthetic stage to postmodernism, which is characterized by a look less surface to different cultural identities. BIBLIOGRAPHY



- AAVV, "Art, Body and Technology", Ediciones Universidad de Salamanca, Spain, 2003.
- AAVV, "Audiovisual Arts: Technologies and speeches": ch. "The human figure in the electronic landscape, Valentina Valentine, pg.193, chap. "Little Stories of the video," Valentina Valentine, pg.173, Eudeba, UBA, CCRRojas, 1998.
- AAVV, "Time to Dance": ch. "Video-Invitation to the Dance", Year 2, No. 7, Oct. / Nov., 1996.
- AAVV, "Theory and practice of analysis choreographed "Dance Books Ltd, Valencia, Spain, 1999.
- AAVV, "video culture End of the Century", Ediciones Cátedra, SA, Madrid, Spain, 1990.
- AAVV, "The disturbing ambiguity of the image," Three Essays: Cap. "The audio visual self-portraits of Frida Kahlo", Ediciones Azcapotzalco, Mexico, 2004.
- AAVV, "Art and New Technologies", pg 43, "Body and Technology, Question of Skin" (A. Cosin), pg. 35, "The curve pornographic", pg. 28, "Connections" (MP López), pg.26, tightrope walkers Magazine - Culture Theatre, Year 8 No June 23 / August, 2005.
- Arlindo Machado, "the media landscape," the Red Books, Eudeba, CCRRojas, UBA, 2000.
- Arnd Wesemann, "Freedom of the dance is free of drama, Notes on the German dance, dance today, www.goethe-institut-good aires.com
- Jean Baudrillard:" The aesthetic illusion and disillusion " , Monte Avila Editores Latinoamericana, Sala Mendoza, 1997
- Walter Benjamin, Illuminations Attempts III on Brecht ", chap.: The Author as Producer, Taurus, 1998
- David Oubiña," Alchemy Technology, Art and New Technologies , Catalog Award Mambo, Telefonica Foundation, GOB. De la Ciudad Autónoma de BsAs, 2005.
- Domingo Hernández Sánchez (Editor): "Art, Body, Technology, Ediciones Universidad Salamanca, 2003
- Gloria Picazo (Coordinator)," Studies on performance ", Centro Andaluz de Teatro, Andalusian producers Program, 1993
- Santaella Lucia, "Body and Communication, Symptom of Culture, Sao Paulo, Brazil, 2004.
- Gloria Perez Serrano, "Qualitative Research Methods and Techniques," University Foundation Distance Hernandarias, Editorial Teaching, Bs AS, 1994.
- José Antonio Sánchez and Jaime Conde-Salazar (Editors): "Bodies on white", Kaleidoscope Collection, Ediciones de la Universidad de Castilla-La Mancha, 2003

Friday, July 4, 2008

Wild Thornberrys Wildlife Rescue Game

Maria Adela Diaz: "Borderline" (2005)



María Adela Díaz
Borderline
Videoperformance

Ventura, California, United States
Duration: 45 minutes
2005

A woman in a box packing, navigating the ocean without any protection. This speaks to the instability videoperformance migration in undocumented persons living in the United States of America. The surf soil on the move strengthens the feeling of thousands of emigrants on their way risk their lives without any promise that will come to a stable ground to protect them.

* It is estimated that in the United States 34 million migrants are Hispanic and 12 million are undocumented.


Web
artist
www.mariadeladiaz.com

Motorhome Satellite Tv

Maria Adela Diaz: "The Burden" (2005)


María Adela Díaz
Load
Videoperformance

Simi Valley, California, United States
Duration: 3 hours Registration
2005

photo: Miguel Morales


As a woman I identify my body as a support vehicle. With the performance heightens the force, the load that represents me being a woman. Being a mother is an over-delivery, an obsession to protect my young naked and helpless but at the same time I put it in my daily struggle in unfamiliar territory and lonely.

This piece reflects the image of a mother who carries his daughter by different routes through mountains and costly increases.


Web
artist
http://www.mariadeladiaz.com