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- Priest, Jonathan
(författare)
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KNOTCIRCUS : Or ‘Being the Adventures of Happy Down-River’
- 2019
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This is an investigation of the trick as it relates to three fields; gravity, language and capital. I will fully break down and unpack what I mean by ‘trick’ later in this introduction, in the mean time I refer to it as something that refutes the systemic validity of the system through which it proceeds. It is a proposal of how circus physicality might be structurally related to a method of ‘circus thinking’ that likewise moves through restrictive fields in order to refute the authority of those fields. In this way the trick is offered as a tool. This is an investigation of how that thinking might operate in any field.Three distinct kinds of trick are discussed in each of the three aforementioned fields:TRICK ONE: exposes the limits of a system.TRICK TWO: conceals the limits of a system.TRICK THREE: jumps out of the system entirely.The approach I have taken is to think of these three tricks as occurring within fields of value; in which there are two separate registers: the qualitative and the quantitative. For me then what is exposed, concealed or jumped out of is something I feel is inherent to the subject’s position within a field of value. This is the conflation of incompatible registers of value. This conflation, or false union, is discussed as a cause of tautology within the field that can lead to either subjective or systemic compromise, depending on how the trick is performed. As such the main internal relation of the trick for me, and its place in relation to the formal limits of the system through which it proceeds, is one of contradiction, paradox, impasse, bind or knot.The trick is therefore is proposed as a tool for reconfiguring systems of value; in that its relation to exposing or concealing tautology define how the system of value is perceived; ether as limited or total, respectively.The work speculates upon systemic restriction and interrogates, through its transposition as a mechanism of tautology, what the trick is supposed to ‘do’. This is done in awareness of what circus practice supposes about itself as well as the way circus is embedded in fields of value as it makes proposals about mobility, agency and individual freedom within them.Parts of this text are marked in red as ‘additional reading’ and in this regard I think of the entire work as an encampment of sideshow booths. You will not have time to visit them all. I have clearly marked in red those that cannot be read, and are outside your temporal economy.
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| 3. |
- Nowitz, Alex, 1968-
(författare)
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Monsters I Love : On Multivocal Arts
- 2019
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Proposing a ‘multivocal practice’ in the vocal arts, this exposition (documented artistic research project) embodies an inclusive approach to four core categories for the contemporary performance voice: the singing, speaking, extended and disembodied voice. The culmination of a four-year PhD project in the Performative and mediated practices, with specializations in choreography/film and media/opera /performing arts, it documents artistic research sub-projects through the presentation of multimedia material, interweaving performance recordings with reflection and informative threads. Multivocality addresses various models of virtuosity, all of which are informed by a multi-faceted artistic knowledge, whether experimental or experiential, technical or technological, improvisational or compositional. Contemporary vocal performance practices are loaded by questions pertaining to detecting and solving technical issues that bridge the vocal terrains. Through a range of artistic practices—vocal, oral, bodily and technology-related—the research project unfolds what is conceived as a bountiful ‘vocal imaginary’. When voice and body meet technology-related practices that aim at the expansion of the vocal realm by using custom and gesture-controlled live electronics, a performance æsthetics of the in-between emerges. This is explored via the ‘strophonion’, formerly built at STEIM in Amsterdam and, during the course of the PhD, further developed by Berlin-based software programmer Sukandar Kartadinata who created an intricate configuration on the basis of the audio processing application Max/MSP. Through the formulation and performance of ‘The Manifesto for the Multivocal Voice’—a ‘discursive solo performance act’ that aims to provide insights into principles and premises, and to develop the discourse on the politics of today’s performance voice—the exposition attempts to establish a potential theoretical and philosophical grounding for multivocality. Meanwhile, its second major concern relates to the poetics of the voice, investigating the thresholds of highly individualised vocal practices by asking: what are the boundaries of and where is the performance voice today? The exposition (on Research Catalogue) comprises video and audio documentation of public live performances, lectures and artists’ talks as well as studio productions and rehearsals. The user is invited to study scores and varied texts, such as poems, extended programme notes, translations, performance instructions, comments and other reflections. But central is the collection of essays and articles guiding the user through the edifice of ideas that the artistic research project has unveiled.
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