In 2002, Chinese artist Zhang Huan crossed through New York’s streets wearing a bodysuit made of raw meat that shaped him with bulging contours and expanded his presence to into a humanoid, Hulk-like figure. By this time, it had been four years since Zhang left China. He had previously studied at the Central Academy of Fine Arts in Beijing, where he graduated in 1993. With personal identity and existential survival being his most pressing topics at the time, Zhang was able to exercise a radical, self-exploitative practice as a performance artist. In 2021, as part of a collaboration with the Taipei-based tech platform EchoX, Zhang created Celestial Burial of an Artist, a digital project that revisited Zhang’s meat-suit intervention My New York, his earlier work that now holds a firm position in the canon of performance art at the turn of the century. The two decades since Zhang’s original performance intervention have seen a trend towards score-based, multiscale practices, depending less on artists’ physical presence, and departing from extreme physical actions. Zhang’s artistic trajectory relates to the conceptualization of the performative, too, even though his practice has since focused on the creation of object-based works.
2002年，中国艺术家张欢穿着一件由生肉制成的紧身衣穿过纽约街头，这使他的轮廓凸出，并扩大了他的存在感，成为一个像绿巨人一样的人形人物。此时，张离开中国已经四年了。他曾就读于北京中央美术学院，1993年毕业。当时，个人身份和生存是他最紧迫的话题，作为一名行为艺术家，他能够进行一种激进的、自我剥削的实践。2021年，作为与台北科技平台EchoX合作的一部分，张创作了《艺术家的天葬》(Celestial Burial of a Artist)，这是一个数字项目，重新审视了他的肉装干预作品《我的纽约》(My New York)，这是他早期的作品，在世纪之交的行为艺术经典中占据了一席之地。自张最初的行为干预以来的20年里，我们看到了一种以分数为基础的、多尺度的实践趋势，减少了对艺术家身体存在的依赖，远离了极端的身体行为。张的艺术轨迹也与表演的概念化有关，尽管他的实践一直专注于创作基于物体的作品。
{"title":"Performance on the Blockchain: Zhang Huan and EchoX","authors":"Freda Fiala","doi":"10.1162/pajj_a_00679","DOIUrl":"https://doi.org/10.1162/pajj_a_00679","url":null,"abstract":"In 2002, Chinese artist Zhang Huan crossed through New York’s streets wearing a bodysuit made of raw meat that shaped him with bulging contours and expanded his presence to into a humanoid, Hulk-like figure. By this time, it had been four years since Zhang left China. He had previously studied at the Central Academy of Fine Arts in Beijing, where he graduated in 1993. With personal identity and existential survival being his most pressing topics at the time, Zhang was able to exercise a radical, self-exploitative practice as a performance artist. In 2021, as part of a collaboration with the Taipei-based tech platform EchoX, Zhang created Celestial Burial of an Artist, a digital project that revisited Zhang’s meat-suit intervention My New York, his earlier work that now holds a firm position in the canon of performance art at the turn of the century. The two decades since Zhang’s original performance intervention have seen a trend towards score-based, multiscale practices, depending less on artists’ physical presence, and departing from extreme physical actions. Zhang’s artistic trajectory relates to the conceptualization of the performative, too, even though his practice has since focused on the creation of object-based works.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"27 1","pages":"24-34"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73171028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For the twelfth edition and twentieth year in operation of Les Récréâtrales, a remarkably resilient theatre festival that takes place in Ouagadougou, Burkina Faso, the event’s organizers used as their theme faire visage. The phrase is taken from a work by the Senegalese novelist Mohamed Mbougar Sarr and resonated with the organizers and artists’ affirmed choice to face up, or faire face, to the multiple difficulties that one inevitably encounters in carrying out an arts event in such an economically marginalized country as Burkino Faso. In the past decade, this Sahelian West African nation has experienced profound political instability, as well as widespread insecurity resulting from the threat of violent separatist jihadist forces arriving from its northern region. The security threat has impacted nearly every aspect of life here. According to the Refugee Agency of the United Nations, the country now holds nearly two million internally displaced persons as a result of extremist violence, a figure that represents nearly one tenth of its population. The festival theme’s use of the term visage, a French word that refers specifically to the human face, thus constitutes a call to meet such demoralizing and often dangerous circumstances with a deep sense of humanizing dignity.
这是在布基纳法索瓦加杜古举办的第12届、也是第20年的Les racimcr trales戏剧节，这是一个非常有弹性的戏剧节，活动的组织者将其作为他们的主题。这句话出自塞内加尔小说家穆罕默德·姆博加·萨尔(Mohamed Mbougar Sarr)的作品，它与组织者和艺术家们坚定的选择产生了共鸣，他们勇敢地面对，或者公平地面对，在布基纳法索这样一个经济边缘化的国家举办艺术活动不可避免地会遇到的多重困难。在过去十年中，这个萨赫勒地区的西非国家经历了严重的政治不稳定，以及来自北部地区的暴力分离主义圣战势力的威胁造成的普遍不安全。安全威胁几乎影响了这里生活的方方面面。据联合国难民事务高级专员公署(Refugee Agency of United Nations)称，由于极端主义暴力，该国目前有近200万国内流离失所者，这一数字几乎占该国人口的十分之一。节日的主题使用了“脸”一词，这是一个专门指人脸的法语词，因此呼吁以一种深刻的人性尊严来应对这种令人沮丧的、往往是危险的环境。
{"title":"Grappling with Extremism through Performance","authors":"Brian Valente-Quinn","doi":"10.1162/pajj_a_00682","DOIUrl":"https://doi.org/10.1162/pajj_a_00682","url":null,"abstract":"For the twelfth edition and twentieth year in operation of Les Récréâtrales, a remarkably resilient theatre festival that takes place in Ouagadougou, Burkina Faso, the event’s organizers used as their theme faire visage. The phrase is taken from a work by the Senegalese novelist Mohamed Mbougar Sarr and resonated with the organizers and artists’ affirmed choice to face up, or faire face, to the multiple difficulties that one inevitably encounters in carrying out an arts event in such an economically marginalized country as Burkino Faso. In the past decade, this Sahelian West African nation has experienced profound political instability, as well as widespread insecurity resulting from the threat of violent separatist jihadist forces arriving from its northern region. The security threat has impacted nearly every aspect of life here. According to the Refugee Agency of the United Nations, the country now holds nearly two million internally displaced persons as a result of extremist violence, a figure that represents nearly one tenth of its population. The festival theme’s use of the term visage, a French word that refers specifically to the human face, thus constitutes a call to meet such demoralizing and often dangerous circumstances with a deep sense of humanizing dignity.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"23 1","pages":"53-58"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85312073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"How It Was: Monologue","authors":"J. Fosse","doi":"10.1162/pajj_a_00686","DOIUrl":"https://doi.org/10.1162/pajj_a_00686","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"61 1","pages":"80-112"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81263525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CHILDREN BELIEVE DWELLING TRUTH RECEIVE GRACE BLESSING JESUS WORD GOD GLORY CHRIST FLESH WORLD NAME M Q M W C P F E X C E B E D Y W E T V V Y N J V C P Z F C B X O W N W V L Z L H G W A H E U E R O Q M H E L R P M J I L U J H D R D Y K R I C K M L I J P R T O L N I S S X I C D E F L F G T X D R M T H U Y R V Q X L U A D C F A T Q J K E E Y R E C E I V E U X Z T O N G L D S J E W G R A C E N N B R X N H D E Q T J E S U S J G A Y Z A M D W E L L I N G L L O W B D M N E X R W H A C L O L B Q G E E V W H X F C R B R L T S B J L B L E S S I N G Y O
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{"title":"The Gift That Keeps on Giving","authors":"William Davies King","doi":"10.1162/pajj_r_00690","DOIUrl":"https://doi.org/10.1162/pajj_r_00690","url":null,"abstract":"CHILDREN BELIEVE DWELLING TRUTH RECEIVE GRACE BLESSING JESUS WORD GOD GLORY CHRIST FLESH WORLD NAME M Q M W C P F E X C E B E D Y W E T V V Y N J V C P Z F C B X O W N W V L Z L H G W A H E U E R O Q M H E L R P M J I L U J H D R D Y K R I C K M L I J P R T O L N I S S X I C D E F L F G T X D R M T H U Y R V Q X L U A D C F A T Q J K E E Y R E C E I V E U X Z T O N G L D S J E W G R A C E N N B R X N H D E Q T J E S U S J G A Y Z A M D W E L L I N G L L O W B D M N E X R W H A C L O L B Q G E E V W H X F C R B R L T S B J L B L E S S I N G Y O","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"70 1","pages":"126-129"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86332188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Self-Portraits","authors":"A. Gregory","doi":"10.1162/pajj_a_00680","DOIUrl":"https://doi.org/10.1162/pajj_a_00680","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"47 1","pages":"35-43"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81739503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Old Injuries and Lost Loves","authors":"A. Levine","doi":"10.1162/pajj_r_00689","DOIUrl":"https://doi.org/10.1162/pajj_r_00689","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"20 1","pages":"122-125"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79257702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Indecencia is a provocative exhibition that embraces secular rituals, improper prayers, and indecorous redemptions. Through an heterogenous corpus of works, including videos, scripts, photographs, costumes, textile interventions, and installations, Indecencia builds an idiosyncratic sanctuary for the excesses that disruptively overflow the parameters of the heteronormative and colonial orders.
{"title":"A Sanctuary for Indecency","authors":"Maria Jose Contreras Lorenzini","doi":"10.1162/pajj_a_00685","DOIUrl":"https://doi.org/10.1162/pajj_a_00685","url":null,"abstract":"Indecencia is a provocative exhibition that embraces secular rituals, improper prayers, and indecorous redemptions. Through an heterogenous corpus of works, including videos, scripts, photographs, costumes, textile interventions, and installations, Indecencia builds an idiosyncratic sanctuary for the excesses that disruptively overflow the parameters of the heteronormative and colonial orders.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"21 1","pages":"74-79"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79935199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Computers, mobiles, and media continue to create symbioses between performance and screens. YouTube, founded in 2005 and purchased by Google in 2006 for $1.6 billion, catalyzed a tremendous global communications revolution—digital technology with virtually unlimited storage capacity greatly expanded accessibility, transforming the making of videos, movies, and their dissemination and archiving. Video and movies became virtually synonymous as 16 and 35 millimeter celluloid were replaced by HD, and further accelerated by smart phones whose advanced camera and sound technology has also been used to shoot commercial movies as well as to watch them.YouTube’s mega streaming platform is comprised of millions of free public- access channels with billions of videos, viewers, and revenue enabling anyone to have an outlet and to enjoy unlimited programs (most are free although some require a fee). The new possibilities of instant distribution and social media would have been inconceivable to the pioneering sixties underground New American Cinema filmmakers like Andy Warhol, Jonas Mekas, Gregory Markopoulos, and Stan Brakhage.YouTube’s decentralized accessibility and corporate independence has become the most liberating democratic alternative contra broadcast TV with its commercial restrictions, fixed viewing schedules, and censorship. Breakthrough algorithms enable a wide range of instantly accessible programming—vintage and commercial TV and movie archives from Sarah Bernhardt to Carol Burnett, trailers, news, interviews, presidential addresses, TED Talks, and tutorials on a vast number of subjects including how to make videos with iMovie, etc. Hollywood has been coopted—now anyone can make a movie, supplemented by Apple’s GarageBand recording software. In addition, online performances can reach more viewers than theatre- going audiences.Confession: I never anticipated being able to make my own movies until shortly before the Covid lockdown. During high school and college, I started out as an actor and did three years of summer stock while also training in modern dance and ballet, then got hooked on dance and choreography. Antioch College’s work-study program enabled me to spend alternating quarters in NYC to further my professional dance training. During my final nine-month project leave, I appeared in movies by Warhol, Markopoulos, and Mekas. Just before leaving campus, two student filmmakers urged me to contact Markopoulos, who was looking for actors for his new movie. I did and was cast as Adonis in The Iliac Passion (1967) that featured many underground “superstars,” including Warhol, Jack Smith, Beverly Grant, chanteuse Tally Brown, Taylor Mead, Paul Swan, and the art critic Gregory Battcock. Film offered another opportunity to explore performance. Andy asked me to be in two of his early films—Boys, a series of “screen tests,” and Couch on which you could do anything. Warhol was still a novice but very shrewd—he simply set up his pricey Bolex on a tr
电脑、手机和媒体继续在表演和屏幕之间创造共生关系。YouTube成立于2005年，2006年被谷歌以16亿美元的价格收购，它催化了一场巨大的全球通信革命——拥有几乎无限存储容量的数字技术极大地扩展了可访问性，改变了视频、电影的制作、传播和存档。随着16毫米和35毫米赛璐珞胶片被高清取代，视频和电影几乎成了同义词，智能手机的先进摄像和音响技术也被用于拍摄商业电影和观看商业电影，这一趋势进一步加速了。YouTube的大型流媒体平台由数百万个免费的公共访问频道组成，拥有数十亿的视频、观众和收入，使任何人都有一个出口，享受无限的节目(大多数是免费的，但有些需要付费)。即时发行和社交媒体的新可能性，对于60年代开创地下新美国电影的电影人来说是不可想象的，比如安迪·沃霍尔、乔纳斯·梅卡斯、格里高利·马科波洛斯和斯坦·布雷哈格。YouTube分散的可访问性和企业独立性已经成为最自由的民主选择，与商业限制、固定观看时间表和审查制度的广播电视相抗衡。突破性的算法使广泛的即时访问的节目-复古和商业电视和电影档案，从莎拉·伯恩哈特到卡罗尔·伯内特，预告片，新闻，采访，总统演讲，TED演讲，和教程在大量的科目，包括如何制作视频与iMovie等。好莱坞也被收编了——现在任何人都可以在苹果的GarageBand录音软件的辅助下制作电影。此外，网上演出比去剧院的观众能接触到更多的观众。坦白:直到新冠疫情封锁前不久，我才想到自己能拍电影。在高中和大学期间，我开始是一名演员，参加了三年的暑期演出，同时也接受了现代舞和芭蕾舞的培训，然后我迷上了舞蹈和编舞。安提俄克学院的勤工俭学项目让我有机会在纽约轮流学习，继续我的专业舞蹈训练。在我最后九个月的项目休假期间，我出演了沃霍尔、马科波洛斯和梅卡斯的电影。就在离开校园之前，两名学生电影人敦促我联系马科波洛斯，他正在为他的新电影寻找演员。我出演了《伊利亚特的激情》(The Iliac Passion, 1967)，并出演了阿多尼斯。这部电影有许多地下“超级明星”参演，包括沃霍尔、杰克·史密斯、贝弗利·格兰特、女歌手塔利·布朗、泰勒·米德、保罗·斯旺和艺术评论家格雷戈里·巴特科克。电影提供了另一个探索表演的机会。安迪让我出演他早期的两部电影——《男孩》，一系列的“试镜”，以及《沙发》，你可以在上面做任何事情。沃霍尔还是个新手，但非常精明——他只是把昂贵的Bolex放在一个三脚架上，不给任何指示就打开它，然后神秘地让你一个人呆着，自己去画画了。那天早上上完舞蹈课后，我坐着，面无表情地盯着镜头，慢慢地把腿伸过头顶。最简单的定格相机后来被证明特别有用。马科波洛斯经验更丰富，技术更娴熟。在他的获奖影片《一个男人两次》中，电影叙事被断断续续的单帧序列所强化，这些序列放大了后像，并诗意地强化了演员未说出来的潜意识心理。在拍摄《伊利亚特的激情》时，让演员们感兴趣的是，马科波洛斯如何能够拍摄一个场景，仔细地倒带他的镜头，重新计算光线，并拍摄叠加的叠加，这是其他电影人做不到或无法做到的。1964年秋，我还出演了梅卡斯在银厂拍摄的《献给安迪·沃霍尔的获奖电影》。1965年，梅卡斯拍摄了我的第一部纽约“流行艺术”舞蹈杯/碟/两个舞者/广播，在东圣马可广场的桥剧院与非凡的菲比·内维尔合唱。电影继续使我着迷。在六十年代，杰夫·诺沃克用我的早期作品制作了一些8毫米的电影，最引人注目的是我的第一部个人晚间作品m-o-o-n-b-r-a-i-nwithSuperLecture的16毫米电影(1966年在门剧院演出，1967年春天在42街的电影制作人电影馆演出)。他的《时间胶囊》镜头记录了1968年我在贾德森教堂(Judson Church)的一场音乐会上为表演做准备，当时我以中国舞蹈演员颜颖(音)的身份出现，身穿红色连衣裤。在接下来的几十年里，我经营着自己的舞蹈公司(1976-1991)，我的编舞和多媒体舞蹈作品包括投影、电影、视频、人物和文本;在80年代，蒂姆·珀特尔是我们公司的专职摄像师。视频当时还是新生事物，一项创意艺术家公共服务(Creative Artists Public Service, CAPS)的资助让我买了一台松下(Panasonic)相机。 我们在雄伟的世界贸易中心下面的炮台公园进行了广泛的实验，包括排练和表演，室内和室外。1978年，电影制作人Robyn Brentano和Andrew Horn，布景设计师Richard Brintzenhofe，音乐家William-John Tudor和我合作制作了《太空城》，这是一部舞蹈电影，1981年在林肯中心的国际舞蹈电影视频会议上首映，现在在YouTube上。1979年，我在迈克尔·布莱克伍德的电影《制作舞蹈》中担任主要的后现代舞蹈编导之一，这部电影在国内外广泛发行并在电视上广泛播放。我们在现代艺术博物馆的花园里为即将到来的演出做准备，在炮台公园的户外排练，在舞蹈作家玛西亚·b·西格尔采访我的工作室里拍摄。虽然我能看到所有的镜头，但不幸的是，最好的部分被剪掉了。最近，尽管许多朋友坚持要买一部智能手机，但被人们沉迷于手持设备的僵尸行为所推迟，但在2019年6月，我终于屈服了，意识到手机在紧急情况下的重要性(幸运的是，就在新冠疫情发生的几个月前)。我在位于我家基普斯湾(Kips Bay)大楼一楼的Verizon商店买了一部iPhone，当时我还没有意识到超级计算视频和声音技术有多先进。虽然我在几年前就购买了苹果台式电脑，但我并不知道它的多媒体功能包括iMovie软件。作为一名作家，我一直被语言所困扰和挑战。出版了五本小说，一本表演文本书，以及无数的文章，除了为舞台创造角色之外，这些都为我编写自己的YouTube漫画剧本做好了准备，这也为我提供了一个不同寻常的表演挑战。我对不同角色声音的迷恋实际上是从小时候玩木偶开始的。有一年圣诞节，我父母为我建了一个漆过的胶合板木偶剧院，挂着红丝绒窗帘和小脚灯。在电视上，比尔和科拉·贝尔德(Bill and Cora Baird)的神奇牵线木偶特别吸引我，因为它们令人惊叹的细微动作。我自己做了手木偶和线木偶，并喜欢给它们发声——模仿声音的那种返祖的兴奋感对孩子们来说是很自然的。后来，我意识到，我暗地里想成为木偶，所以才跳舞——别人在操纵!沃尔特·惠特曼也曾鼓舞过我:“通过我，被禁止的声音，/性别和欲望的声音，被遮蔽的声音，我揭开面纱。”“最近，我开始在我的独舞中加入多种声音。在编舞《有声音的迷宫》(2017年)的过程中，出现了7个滑稽的角色，这促使他们将其扩展为一个单独的作品——《欢乐谷退休村》。这家建筑公司在曼哈顿市中心的Settlement House展示了这个独唱。查尔斯·丹尼斯(Charles Dennis)监督了双摄像头视频记录;然后我们合作将23分钟的材料提炼成一个7分钟的YouTube视频。我最初考虑把《欢乐谷退休村》搬上舞台剧舞台，后来才意识到制作成本太高。因此，iPhone成为了我自己播放、录制和编辑七部电影的工具，而且非常经济。这些古怪的角色包括“世界上最老的人”、脾气暴躁的150岁老爷爷;巴迪(Buddy)是布鲁克林一名抽着雪茄、脾气乖戾的蓝领建筑工人;BBC评论员巴兹尔·瑞思伯恩(Basil
{"title":"Making Movies","authors":"Kenneth King","doi":"10.1162/pajj_a_00678","DOIUrl":"https://doi.org/10.1162/pajj_a_00678","url":null,"abstract":"Computers, mobiles, and media continue to create symbioses between performance and screens. YouTube, founded in 2005 and purchased by Google in 2006 for $1.6 billion, catalyzed a tremendous global communications revolution—digital technology with virtually unlimited storage capacity greatly expanded accessibility, transforming the making of videos, movies, and their dissemination and archiving. Video and movies became virtually synonymous as 16 and 35 millimeter celluloid were replaced by HD, and further accelerated by smart phones whose advanced camera and sound technology has also been used to shoot commercial movies as well as to watch them.YouTube’s mega streaming platform is comprised of millions of free public- access channels with billions of videos, viewers, and revenue enabling anyone to have an outlet and to enjoy unlimited programs (most are free although some require a fee). The new possibilities of instant distribution and social media would have been inconceivable to the pioneering sixties underground New American Cinema filmmakers like Andy Warhol, Jonas Mekas, Gregory Markopoulos, and Stan Brakhage.YouTube’s decentralized accessibility and corporate independence has become the most liberating democratic alternative contra broadcast TV with its commercial restrictions, fixed viewing schedules, and censorship. Breakthrough algorithms enable a wide range of instantly accessible programming—vintage and commercial TV and movie archives from Sarah Bernhardt to Carol Burnett, trailers, news, interviews, presidential addresses, TED Talks, and tutorials on a vast number of subjects including how to make videos with iMovie, etc. Hollywood has been coopted—now anyone can make a movie, supplemented by Apple’s GarageBand recording software. In addition, online performances can reach more viewers than theatre- going audiences.Confession: I never anticipated being able to make my own movies until shortly before the Covid lockdown. During high school and college, I started out as an actor and did three years of summer stock while also training in modern dance and ballet, then got hooked on dance and choreography. Antioch College’s work-study program enabled me to spend alternating quarters in NYC to further my professional dance training. During my final nine-month project leave, I appeared in movies by Warhol, Markopoulos, and Mekas. Just before leaving campus, two student filmmakers urged me to contact Markopoulos, who was looking for actors for his new movie. I did and was cast as Adonis in The Iliac Passion (1967) that featured many underground “superstars,” including Warhol, Jack Smith, Beverly Grant, chanteuse Tally Brown, Taylor Mead, Paul Swan, and the art critic Gregory Battcock. Film offered another opportunity to explore performance. Andy asked me to be in two of his early films—Boys, a series of “screen tests,” and Couch on which you could do anything. Warhol was still a novice but very shrewd—he simply set up his pricey Bolex on a tr","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136353920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
hat makes dance an effective art to investigate the nature of consciousness? If the fundamental aspects of conscious experience are space and time, dance operates uniquely in both. Visual art and music isolate and work with only one aspect
{"title":"The Rewards of Attention","authors":"Aaron Loux","doi":"10.1162/pajj_a_00684","DOIUrl":"https://doi.org/10.1162/pajj_a_00684","url":null,"abstract":"hat makes dance an effective art to investigate the nature of consciousness? If the fundamental aspects of conscious experience are space and time, dance operates uniquely in both. Visual art and music isolate and work with only one aspect","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"5 1","pages":"69-73"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75807096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This sentence appears as an intertitle in two discrete films in New Delhi-based documentary filmmaker Amar Kanwar’s vast and ambitious art installation The Sovereign Forest (2011–present). It refers to the many forms of forced separation that accompany large-scale extractive projects in India’s rural hinterlands. More specifically, The Sovereign Forest attends to the violence of what sociologist Michael Levien has termed the “neoliberal regime of dispossession” in the Eastern Indian state of Odisha and surrounding regions, in particular the impact of mining operations in the Niyamgiri hills by meganational and multinational corporations.1 Kanwar presents a moving-image installation that is ongoing research into the many dimensions of such dispossession, alongside an exploration of the tenacity and creativity of anti-dispossession politics.
{"title":"Amar Kanwar: Neoliberalism on Trial","authors":"K. Shankar","doi":"10.1162/pajj_a_00677","DOIUrl":"https://doi.org/10.1162/pajj_a_00677","url":null,"abstract":"This sentence appears as an intertitle in two discrete films in New Delhi-based documentary filmmaker Amar Kanwar’s vast and ambitious art installation The Sovereign Forest (2011–present). It refers to the many forms of forced separation that accompany large-scale extractive projects in India’s rural hinterlands. More specifically, The Sovereign Forest attends to the violence of what sociologist Michael Levien has termed the “neoliberal regime of dispossession” in the Eastern Indian state of Odisha and surrounding regions, in particular the impact of mining operations in the Niyamgiri hills by meganational and multinational corporations.1 Kanwar presents a moving-image installation that is ongoing research into the many dimensions of such dispossession, alongside an exploration of the tenacity and creativity of anti-dispossession politics.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"3 1","pages":"1-13"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86170531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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