Show and Tell Marathon
Saturday 8 December
11am -7pm
Goldsmiths Small Hall Cinema
11am till 12:30
body>data>space “skintouchfeel”
skintouchfeel is a dynamic interdisciplinary project made through an ongoing group process. Created by body led outputs and integrating pre-recorded materials, it uses reactive audio-visual graphics, motion responsive softwares and telematics. This multiple merging of real time and pre-captured bodies moulds the material into filmic landscapes, virtual touch exposing the beauty and diversity of skin and its inherent senses. This presentation will outline and discuss the creation process and distribution model of this interauthored content pool.
Jaime del Val “MICRODANCES: on the possibilities of intimate post-post-porn performance”
MICRODANCES is a performance-installation based on the use of wireless microcameras on the body in order to gain a new awareness through its multiple, fragmented, amplified image. Since the body is only hardly recognisable no explicit sexuality or pornography is possible, and yet eroticism has no constraint. A “misuse” of the camera for non realistic purposes may dissolve the representational boundaries of sex, the discursive and normative territories of the body fall apart.
kondition pluriel “The Body as Interface”
immersive intimate experience / body as ground for exploration / socialisation / spectator’s role / artistic responsibility / notion of temporality
The lecture presents research problematics surrounding the theme of the body as interface in the context of passage, the most recent creation of kondition pluriel. This hybrid work oscillates between interactive installation and performance. By manipulating sensors distributed on the body of a dancer, the visitors are invited to create their own media environment.
Staithe by Nikki Tomlinson (Screening) 6 mins
A distillation of an earlier live solo work saw/sore/soar by Nikki Tomlinson, looking at habitual patterns and the nature of change. Made on Burnham Overy beach in Norfolk in 2005, here it is shown re-cut by Lucy Cash as a single-screen film.
Over the last few years my work has become concerned with the creation of sculptural images in performance, influenced primarily by landscape, architecture, the visceral body and kinetic awareness. Some of my work draws on evidently personal material while some starts from perhaps more exterior influences. Either way, it is driven by a compulsion to move, and to create new environments which have their own logic and potential to communicate through rigorous work on simple gestures, rhythm, relation to space and audience.
www.nikkitomlinson.org
Chair: Dr. Teresa Dillon
12:30pm till 2pm
Jan van der Crabben "Performed Intimacy in Virtual Worlds"
Intimate performance in virtual game worlds (MMORPGs marked by conflict) is constituted by two dichotomies: anonymity & closeness, performance & honesty. While players are anonymous, they are more likely to open up in chat. Despite performing a role in the game, they reveal parts of their personality in war-like situations. The way these dichotomies are exhibited differ from the real world, which requires us to re-formulate the concepts of intimacy in performance in virtual worlds.
Branislava Kuburovic, "Collapsing alibis"
The paper looks at specific ways in which live art creates scenarios that test the boundaries of social and personal interaction to examine what it is that re/turns the intimidation of these encounters in/to intimate events. To try and answer this, the paper engages Alan Read’s notion of collapsing the ubiquity of the theatrical alibi, analysing this collapse as crucial for the ‘co-poietic’ and lov/ing event of live performance.
Lena Simic & Gary Anderson “Familial Visceral Bodies: A Critical Interrogation of the Familial through an Arts Practice”
This paper will introduce family activism, ‘The Institute for the Art and Practice of Dissent at Home’ and our interdisciplinary collaborative arts practice that contests naturalized notions of the familial as the private and intimate. We politicize our everyday living by thinking critically through our immediate contexts. The complementary screening will showcase a performance for the camera, Home Body Painting, where the visceral pregnant belly of the mother is marked through the act of painting.
Pull Up to the Bumper by Clara Ursitti (Screening)
On September 18th 2003, an actress sat in the back of the chauffeur driven limousine, while cruising the streets of Toronto. She asked lone men walking the streets the following question: “Do you want a ride?” The limousine was scented with a synthetic re-creation of semen.
Clara Ursitti was the Arts Council of England Helen Chadwick Fellow, 2006/2007. Her practice has primarily focused on the non-visual senses, especially smell.
www.claraursitti.com
5 Men by Jo Wonder (Screening)
Interested in how our relationship to each other changes and wondering if events leave their imprints on bodies and objects; I set out to explore 5 X lover’s bodies. As a woman when I am in love, it is so different from the pornographic idea of love, which idealises and bases itself on fantasy. No it is quite different; it is as though through an intimate knowledge of the body of someone else we can reach their true essence. When one is no longer a lover is the essence lost? I scanned the bodies of five X lovers using video to try and recapture their essence and found something else
Chair: Ghislaine Boddington
2pm till 2:30pm: Break
2:30pm till 4pm
Anna Dumitriu "The Normal Flora Project: Intimate Revelations in Art and Science"
Rather than “How clean is your house?” Artist Anna Dumitriu asks: “How sublime is your eco-system?” Working collaboratively in publicly engaged settings, project participants reveal their normal flora (the bacteria and moulds they live with) through an intimate process of negotiation and education, taking on the role of both artist and scientist in a performative way. Final outcomes, such as live artworks, interventions, installations and digital and sound works emerge, in dialogue with the artist.
Deej Fabyc “A Piece of Me”
For INTIMACY I am presenting the documentation of the performance “A piece of me” in this work the audience is asked to cut the clothes off with steak knives of an inert female (me). Of course there is an unmistakable nod to Yoko One in this action the difference is in the new millennium ennui and inert rather than active nature of the performers presentation. Deej Fabyc 2007 www,fabyc.co.uk www.elastic .org.uk
Elena Cologni “Scotoma: a Gap Allowing For Closeness”
>Remoteness and removal to enhance proximity
>Scotoma, a visualisation of gap to get close
Concerns developed in a Residency at CCA (Nov. 2006), through a one to one performative installation: Experiential. From my ongoing interest in the act of recollection: how we live our lives, through constantly revisiting our memories, I mainly am interested in the possibility of becoming closer, by underlining the distance: non simultaneous artist and audience interchange in liveness as gap. Gap as scotoma: the brain fills in what the eye cannot see. The gap acts as a partition between performer and audience, but is also what accrues attention and interaction. Scotomisation means oblivion, but a perceptual gap is also where the eye goes to compensate for a loss.
Aftertrace by Georgia Chatzivasileiadi (Screening) www.chatzivasileiadi.net
AFTETRACE probes the interactive relation between the production and reception of projected image- the viewers feel drenched in colour, motion and time.
Motion triggers the image’s decomposition to RGB primary light components. Viewers are filmed in real time as they enter the installation space. Their figure becomes the transient model in the creation of an unusual digital portrait.
Collaborators: Dr Mark Lythgoe, www.mlythgoe.com/20Aftertrace.htm, UCL (Slade, Bartlett, ICH), National Media Museum, Science Oxford, Calouste Gulbekian Foundation, Greek Scholarships Foundation (IKY)
Sirene by Freya Hattenberger (Screening)
The camera shows me in action with a microphone mounted to a tripod in front of me. It is linked to a loud-speaker system, hence on-line.
My lips are touching the microphone; this gesture provokes erotic images - but the sensuous stimulus of this image is in sharp contrast to the acoustic experiences in the video.
At first irritating as an alien element, sound and image are obtaining an evocative relation during the performance and become eventually linked together.
Chair: Simon Donger
4pm till 5:30pm
Nancy Mauro-Flude “Linux for Theatre Makers: Embodiment & nix modus operandi”
Since bodies and machines are often seen in opposition, I suggest that they are better perceived complementary in nature rather than antagonistic. For people who have never worked with command line computing on a standard *nix machine, - especially for people who are already conditioned to point and click methods cultivated by Graphical User Interfaces - this involves sensitising procedures for the operation of code as a series of interrelated programmes. I will discuss how using the command line interface may be seen to possibly co-constitute one another in everyday life, operating as fields of embodied reflection."
Eva Sjuve “Interaction and Secrets of the Stage”
Show and Tell will include a description of “13 Volts and 1 Carrot”, and its ethnological past, its secrets and futures on how live interactive sonic interfaces can incorporate the non-linear narrative on Intimacy and fertility.
Daniel Agnihotri-Clark "HTTP Error 417: Expectation Failed (exploring human connectivity and alienation in cyberformance practice)"
Cyberformance practices characteristically erode the traditional limits of interhuman connection. Drawing on key examples of cyberformance practice, the cultural theorist Jon McKenzie’s recent conception of the “liminal-norm” is challenged as tautological; liminality is the norm in art precisely because it is the role of the artist to test these limits. Resisting this circular discussion of physiological and technological liminality, cyberformance practices are framed according to their exploration of interhuman connectivity.
Chair: Dr. Roberta Mock
5:30 till 7pm
Donna Rutherford “Rearranging Realities” (Screening Lecture)
Annie Abrahams & Nicolas Frespech “L'un la poupee de L'autre” (30min) (Screening Lecture)
Two webcamstreams side-by-side show the two artists engaged in a communication game. Images, sound and especially silence reveal the play, and the perversities that result from it, between proximity and distance in Internet relations in a rather literal way. Original performance: May 26th 2007, Centre Pompidou, Paris.
http://bram.org/confront/sphere/index.html
Michael Pinchbeck “Mirror, Signal, Manoeuvre: Politics of Intimacy and Risk on the Long and Winding Road” (Screening Lecture)
The Long and Winding Road is a four year live art project and a one-to-one performance in a car. The narrative is the journey so far. Pinchbeck addresses passengers via the rear view mirror and shares the reason for the journey. For INTIMACY he asks: Where does the intimacy reside - in the mind or in the mirror? How does one-to-one performance replace or repair? What is the risk of sharing a personal loss?
www.michaelpinchbeck.co.uk
Claudia Kappenberg “Moebius”
Philosopher Luce Irigaray has argued that (only) in love we consent to being with another who we do not know, and perhaps we ought to consider that intimacy is a paradox.
The work I am presenting departs from traditional notions of intimacy, which tend to assume that we can only be intimate with that which is similar and known. In ‘Moebius’, a dance for camera-project, archive footage is projected onto a body and becomes the impulse for the body to move, while the body makes visible the images of the past. In this work the body performs an intimate dance of self and other, past and present.
Chair: Tim Jones
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