{"title":"The Point of Connection: Accessing Affective Memories through Sonic and\u0000 Embodied Technologies in Shannon Yee’s Reassembled, Slightly\u0000 Askew","authors":"Natalia Esling","doi":"10.16995/BST.304","DOIUrl":"https://doi.org/10.16995/BST.304","url":null,"abstract":"","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85613068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper will discuss two performances created between 2013 and 2014 titled Host and Host(s) that explored how openness and trust are gained through the promise of hospitality. These performances saw strangers open the borders that separate the inside and outside of their bodies to allow hand-fed food to cross their accepting thresholds in return for personal narratives. Openness suggests potential passage into or through something, and here there is literal openness as the permeable body opens to receive the food on the spoon. The body as site becomes accessible once trust has been gained, and an emotional openness plays out as audienceparticipants both mentally and physically open up to their host. The paper will explore social thresholds through the analysis of performance using Marie-Eve Morin and Jacques Derrida’s writing on the conditionality and thresholds of hospitality. Morin comments that the threshold ‘functions both as the place of closure and the place of openness’ (Morin, 2015: 31), and, underpinned by Nick Kaye’s positioning of site as a process rather than fixed location, these movements between being open and closed frame processes of becoming social with strangers. Doreen Massey’s ideas on social ‘throwntogetherness’ are interwoven with this framing as intimate personal details are exchanged through the collision of trajectories in social space. Massey proposes that ‘we understand space as the sphere in which distinct trajectories coexist’ (Massey, 2005: 9). This framing of coexistent space converges with Marc Auge’s positioning of place and non-place to propose an interrelationality that opens new dialogues and modes of participation.
{"title":"Bites of Passage: Thresholds, Permeability and Hand-Fed Food for\u0000 Thought","authors":"Steve Fossey","doi":"10.16995/BST.310","DOIUrl":"https://doi.org/10.16995/BST.310","url":null,"abstract":"This paper will discuss two performances created between 2013 and 2014 \u0000titled Host and Host(s) that explored how openness and trust are gained \u0000through the promise of hospitality. These performances saw strangers \u0000open the borders that separate the inside and outside of their bodies \u0000to allow hand-fed food to cross their accepting thresholds in return for \u0000personal narratives. Openness suggests potential passage into or through \u0000something, and here there is literal openness as the permeable body opens \u0000to receive the food on the spoon. The body as site becomes accessible once \u0000trust has been gained, and an emotional openness plays out as audienceparticipants both mentally and physically open up to their host. \u0000The paper will explore social thresholds through the analysis of \u0000performance using Marie-Eve Morin and Jacques Derrida’s writing on \u0000the conditionality and thresholds of hospitality. Morin comments that \u0000the threshold ‘functions both as the place of closure and the place of \u0000openness’ (Morin, 2015: 31), and, underpinned by Nick Kaye’s positioning \u0000of site as a process rather than fixed location, these movements between \u0000being open and closed frame processes of becoming social with strangers. \u0000Doreen Massey’s ideas on social ‘throwntogetherness’ are interwoven with \u0000this framing as intimate personal details are exchanged through the collision \u0000of trajectories in social space. Massey proposes that ‘we understand space \u0000as the sphere in which distinct trajectories coexist’ (Massey, 2005: 9). \u0000This framing of coexistent space converges with Marc Auge’s positioning \u0000of place and non-place to propose an interrelationality that opens new \u0000dialogues and modes of participation.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82668364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the course of intensive research a corpus of artworks that instantiate dance performance in cyberspace have been inspected in order to understand how expert-practitioners used new technologies for production as well as the new means of public dissemination that they enabled. This paper is dedicated to Soi Moi, which was made for the iPhone in 2009 by n+n corsino using motion capture, synthesized environments and multi-sensorial human-computer interaction. Bringing the perspective of an expert-spectator, I am committed to demonstrate the value of this research-practice to inform creative processes and scholarly debates, and to understand technological developments and aesthetic experiences. This enquiry pursued a constructivist analysis of components and attributes that revealed the ‘remediation’ of disciplinary traditions. But intersecting close examination of formal elements and user experience with theoretical contextualization generated a productive dialogue that reinforces why securing a place for this artwork in the history of new media art and performance is a relevant contribution to knowledge. Despite solid proof that performance experts have provided computer technology and the information society with pioneering discourse, their practices have a marginal position in the new media art sector and market. Retrieving research results is paramount. Just as ephemeral live dance and performance artworks have succumbed to time, the spectre of redundancy haunts Soi Moi because the state-of-the-art technology in use is already outdated.
{"title":"Soi Moi: The Techno-Soma-Aesthetics of a Dance for the\u0000 iPhone","authors":"Paula Varanda","doi":"10.16995/BST.314","DOIUrl":"https://doi.org/10.16995/BST.314","url":null,"abstract":"In the course of intensive research a corpus of artworks that instantiate dance performance in cyberspace have been inspected in order to understand how expert-practitioners used new technologies for production as well as the new means of public dissemination that they enabled. This paper is dedicated to Soi Moi, which was made for the iPhone in 2009 by n+n corsino using motion capture, synthesized environments and multi-sensorial human-computer interaction. Bringing the perspective of an expert-spectator, I am committed to demonstrate the value of this research-practice to inform creative processes and scholarly debates, and to understand technological developments and aesthetic experiences. This enquiry pursued a constructivist analysis of components and attributes that revealed the ‘remediation’ of disciplinary traditions. But intersecting close examination of formal elements and user experience with theoretical contextualization generated a productive dialogue that reinforces why securing a place for this artwork in the history of new media art and performance is a relevant contribution to knowledge. Despite solid proof that performance experts have provided computer technology and the information society with pioneering discourse, their practices have a marginal position in the new media art sector and market. Retrieving research results is paramount. Just as ephemeral live dance and performance artworks have succumbed to time, the spectre of redundancy haunts Soi Moi because the state-of-the-art technology in use is already outdated.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87807521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper investigates the ways in which new sonic identities begin to emerge through a dialogue between cultures, artistic disciplines and technology. Musicians worldwide commonly shape their identity and forms of musical expression through the lens of the environment they grow up in. Ideas about desirable sonic aesthetics vary drastically across musical traditions and cultures globally. Whilst one musician may strive for a sound that is clear, pure and unaltered, another may strive for a distorted, inharmonic sound, for example. The article examines what happens when a musician from a given sonic tradition is exposed to and interacts with a diversely different approach to producing sound. It puts forward the case of an Australian double bass player with a long immersion into Tanzanian musical culture, carving out a personal approach to double bass playing via a synthesis of traditional western techniques, extended techniques influenced by Tanzanian sonic aesthetics, as well as mechanical preparations and electronic augmentation of the instrument. The combination of these diverse elements allows for the emergence of a distinctive sonic identity, illustrated by excerpts from three pieces composed and performed within this specific aesthetic framework. The article’s discussion on sonic identity formation holds relevance as an example case of artistic creation within the current globalised context, where finding the distinct quality of one’s expression needs to be negotiated through layers of transcultural and technological elements.
{"title":"Forming a Sonic Identity through the Integration of Transculturality and\u0000 Technology","authors":"Nathan Riki Thomson, Otso Lähdeoja","doi":"10.16995/BST.316","DOIUrl":"https://doi.org/10.16995/BST.316","url":null,"abstract":"This paper investigates the ways in which new sonic identities begin to emerge through a dialogue between cultures, artistic disciplines and technology. Musicians worldwide commonly shape their identity and forms of musical expression through the lens of the environment they grow up in. Ideas about desirable sonic aesthetics vary drastically across musical traditions and cultures globally. Whilst one musician may strive for a sound that is clear, pure and unaltered, another may strive for a distorted, inharmonic sound, for example. The article examines what happens when a musician from a given sonic tradition is exposed to and interacts with a diversely different approach to producing sound. It puts forward the case of an Australian double bass player with a long immersion into Tanzanian musical culture, carving out a personal approach to double bass playing via a synthesis of traditional western techniques, extended techniques influenced by Tanzanian sonic aesthetics, as well as mechanical preparations and electronic augmentation of the instrument. The combination of these diverse elements allows for the emergence of a distinctive sonic identity, illustrated by excerpts from three pieces composed and performed within this specific aesthetic framework. The article’s discussion on sonic identity formation holds relevance as an example case of artistic creation within the current globalised context, where finding the distinct quality of one’s expression needs to be negotiated through layers of transcultural and technological elements.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"25 4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80230854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Perspectives 2019","authors":"Daniël Ploeger, C. Seago, Lizzie Sykes","doi":"10.16995/bst.321","DOIUrl":"https://doi.org/10.16995/bst.321","url":null,"abstract":"","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"80 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88917873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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