Performance Philosophy (E-Journal)
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Laguna de fracasos
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Lagunaries arises as a practice in common from an online virtuality imposed in the context of isolation by the Covid-19 pandemic. Taking possible affections, bodies, knowledge and genealogies as repertoires, we look for altered ways to make the word act [to speak out], breaking the hegemonic device of knowledge transmission, of being together, hacking its binary logic. This group laboratory made up of dancers, performers, educators, researchers, filmmakers and archivists, takes the construction of collective knowledge and the potential of the virtual body as its nodal axis of research.
We perform theories, we investigate modes of escaping the lineal narrativity, using polyphonic and choral forms of thinking / moving / saying / existing. We inhabit the irony of a virtuality that imposes a distance on us and at the same time it hacks all geographical borders. A practice that does not yet have a name, a performance that is always provisional, weaving voices and actions through listening and activating our own and other people’s writings.
We ask ourselves: What is knowing/knowledge? What/where is its archive? How is collective knowledge built? What do we need to know about the other to build a common doing, an affection? What can a collective body do? What can a virtual/digital encounter achieve?
ESP:
Lagunaries surge como práctica común desde una virtualidad impuesta por el contexto de aislamiento por el Covid-19. Tomando como repertorios posibles afectos, cuerpxs, saberes y genealogías, buscamos formas alteradas para hacer acto la palabra, rompiendo el dispositivo hegemónico de transmisión del saber, del estar juntxs, hackeando su lógica binaria. Este laboratorio grupal compuesto por bailarinxs, performers, investigadorxs, cineastes, docentes, archivistas, toma como eje nodal de investigación la construcción del saber y el rol del cuerpo. Performeamos teorías, investigamos modos de fuga de la narratividad lineal, formas polifónicas, corales de pensar/mover/decir/existir. Habitamos la ironía de una virtualidad que nos impone distancia a la vez que hackea las fronteras geográficas. Una práctica que aún no tiene nombre, un hacer performático que siempre es provisorio, y entrama voces y acciones desde la escucha a partir de escritos propios y ajenos. Nos preguntamos ¿Qué es saber? ¿Cuál es su archivo? ¿Cómo se construye saber colectivo? ¿Qué necesitamos saber del otre para construir un hacer común, un afecto? ¿Qué puede un cuerpo colectivo? ¿Qué puede la presencia virtual?
Re-Listening to Derrida and Benjamin
Full text linkNews on the publication of Two Plays for the Stage was announced on the Performance Philosophy website during 2021 but only received my attention this year, when I ordered a copy of the book out of curiosity. After reading it and making copious notes, I contacted the two authors to give them my impressions, particularly those concerning my responses to it in terms of sound. The trigger for this ReView came from an email discussion with John Schad on critical-creative writing, which I interpret as creative criticism, meaning that this could take any form appropriate to the artist’s discipline. Indeed my essay in an earlier edition of the journal (Wilkins, 2016) took the form of a labyrinthine script during its writing process, this as a response to Freddie Rokem\u27s initial article (Rokem, 2015). It later manifested itself in an audio piece presented in Vol. 7.1, a collaboration between myself and Leona Jones entitled With W/Ringing Ears. (Jones, Wilkins, 2022). Fred Dalmasso’s research into the syncope (2017), which surfaces within the concluding essay to the book, has interested me for some time in terms of its possible parallels in the world of sound.
In this current contribution I present a parallel sound-world that was spontaneously invoked during my reading of Derrida | Benjamin. I refer to key phrases / quotes that became pointers for triggering the sonic responses that follow. This is by no means an attempt to suggest audio for any future production of the plays, rather a series of independent sonic ideas that spring from the writings of John Schad and Fred Dalmasso
Assemblage and Non-Standard Aesthetics
Full text linkDeleuze and Guattari describe the body without organs as a frontier experience, as an enrichment, strata, and an assemblage of intensities. The body without organs is made through experimentation, sound production, haptic perception rather than interpretation, and visual perception, because ideas of the world, the visual are encoded and appropriated by the conceptual apparatus, by the territorial machine. At the heart of Laruelle\u27s non-photography and his non-standard aesthetics is the attempt to withdraw onto-photo-logical causality from the visual, from object-forms. For this purpose, objects are to be considered as scientific discoveries and should be investigated using a generic science that uncovers indeterminants and scenarios. Therefore, this article discovers assemblages with the perspective of a non-standard aesthetic, to find not only in the audible material, but also in the visual material of video montages, double and multiple exposures, the non-onto-photo logical areas of perception of the organless, the imaginary, the darkening of concepts, the superpositions of experiences, and images without objects
Telematic Dance and Live Coding: Α Collaborative Experiment in Cyber-Physical Performance and Education
No full textThe present paper investigates aspects of technologically mediated embodied interaction in dance-driven music performance based on an educational collaboration project between a computer music researcher and a dance researcher. We relate the experiences we made during a collaboration with students between two undergraduate courses in Greece, using a system with low-cost wireless sensors to transmit dancers motion over the internet and create sound in real time at remote class locations (Corfu, Nafplion). Questions explored are: How can we enable students to use sensors as sources of sound control? How can we enable the collaboration of students in groups to create performance structures? How can we create presentation scenarios meaningful to the public? Furthermore, what are the technical and aesthetic functional constraints for such a collaboration and how can we deal with failure, when unexpected things happen within the constrained framework? We document our engagement with these questions in the course of the collaboration through code examples, diagrams, photographs and videos. Work methods discussed include the study of Iannis Xenakis work on strategy in comparison with game based strategies in choreography, and the adaptation of existing group improvisation exercises in our telematic framework.
 
Drifting: Integrating Embodied Practice and Making as a Compositional Process
No full textThis paper will introduce the creative process of the project Drifting (2022), a recent sound art performance piece of the Brushing Series. The process of this work involves an organic integration between the design/making of technological medium and embodied experimentation, which forms a constant feedback loop between the two of them. This will be discussed from the notion of affordance and embodied musical practices. Furthermore, this paper will suggest the integration between those two as a compositional approach that can be effective when utilizing technological medium and gestural expressions
Listening is Action: A Soundwalk with Hildegard Westerkamp
Full text linkIn the sound documentary Listening is Action, the composer Hildegard Westerkamp engages in a conversation with Luis Velasco-Pufleau at her home in the city of Vancouver, which is situated on the traditional, ancestral, and unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. She talks us through her first field recordings and her soundwalking practice, her work at the Vancouver Co-operative Radio, and her participation in the World Soundscape Project, all of which started or took place in the 1970s. Furthermore, she takes us on soundwalks at places she used to go and record more than thirty years ago, such as those now called Kitsilano Beach and Vancouver’s Downtown Eastside, and that constitute the sources for her soundscape works A Walk Through the City (1981) and Kits Beach Soundwalk (1989). This sound documentary is an invitation to listen more attentively to the multiple voices that inhabit our environments in order to imagine new, plural, and unforeseen realities. The sound work Listening is Action is enhanced by a written commentary in which Luis Velasco-Pufleau explores the radical relationality of listening and the connection between Westerkamp’s thinking with the work of Pauline Oliveros and Hannah Arendt. Finally, he engages with critical listening positionality in order to reflect on some of the limits and contradictions present in the sound documentary
7 Abiku solos for 11 bacteria falling through
Full text linkThis article explores the profound themes and conceptual framework of the performance installation, "7 Abiku solos for 11 bacteria falling through" which merges sounds, texts, images, and movement to engage the audience in an imaginative exploration of the unborn.
The work delves into the realms of mortality, wandering souls, and regimes of invisibility. It delves into an unacknowledged past, embodying a ghostly memory that represents a forbidden, mutilated, and foreign existence.The project is framed within an anti-colonial context, emphasizing a choreography of the struggling body as it seeks escape from hazardous environments and transcends borders. It embraces the choreography of contamination, celebrating fugitivity and displacement as transformative actions. With a transdisciplinary approach, the work aims to materialize and give shape to nonhegemonic voices and existences. It encourages the exploration of impossible choreographies and envisions alternative cosmological futures that address social, gender, and racial inequalities. This pursuit of a radical aesthetic shift fosters collaborative efforts to challenge prevailing power structures.
CyberTouch: An interdisciplinary research on Dance, Music and Live Coding
No full text“CyberTouch” is an experimental audiovisual performance which combines dance and music with live coding, and a prototyped wearable interactive technology to create audiovisual experiences. It is is the outcome of an interdisciplinary research informed by Cybernetics, a structured improvisation between two individuals a composer and a performer. Our goal is to explore and propose new relationships and strategies in performing practices and interactive audiovisual arts, while expanding the potential of the human body
Transindividual Equations/Matrices
Full text linkThis writing (thinking-feeling) unfolds (an articulation of) contemporary (dis)embodiment through specified glances at the "(post-)internet,” schizoid relationality, and network/device/identity matrices. Technogenetic (and hormonal) play and transductions for transindividuality on the transparency-obfuscation (or personality/anonymity) binaries arrive as psychotherapeutics for symphonic moving-sensing-feeling-thinking-communicating in a potentiated post-neoliberal matrix (networking). Generated is a set of direction-possibilities for a post-internet-bodied world consumed by a hegemony of individualizations and self-captures, desiring instead towards queerer ceremonies and telepathic forms of (care-)presence/therapy for being-together-alone (individuation). The concurrent/included choreographic and research-artistic work 3M0T1NG{n3tw0rk1ng} peeks into a technogenetic xeno-spacetime containing relating (meta-)selves