50 research outputs found
Drench: Raining on the radio and other stories
No full textThis presentation focussed on the trans-disciplinary Artistic Research project Drench, whose iterations include a creative radio feature and a public art installation. Writer and performer Jools Gilson and composer Sebastian Adams developed the experimental radio documentary The Rain Box in 2017 for Lyric FM in Ireland. The Rain Box was nominated for a New York Festivals World’s Best Radio Award for Sound Art in 2018. Gilson and Adams are now in the process of developing a series of umbrellas, which will tell stories and enfold you in sound when the rain falls. This presentation focused on the ways in which aspects of theatre and music composition navigate disciplinary boundaries of theatre, music, broadcast radio and participatory performance to engage world-making meaning production. Our new public art project comprises a series of adapted umbrellas, which respond to precipitation / location and connect the presence, rhythm and ferocity of rainfall with tendrils of story and sound. This paper documents the sharing of a prototype of this new work and the ways in which Drench elaborates the creative, theoretical and political implications of mobilising located fluidity through embodied storytelling
'cyber book' & 'tongue'
No full textTwo performance poems used in choreography by Jools Gilson-EllisTwo poems written by Jools Gilson-Ellis: 'cyber book' and 'tongue.' Both were used in the performance of 'Lively Bodies, Lively Machines' which was presented at the Split Screen conference, and directed by Johannes Birringer
\u27cyber book\u27 & \u27tongue\u27
No full textTwo poems written by Jools Gilson-Ellis: \u27cyber book\u27 and \u27tongue.\u27 Both were used in the performance of \u27Lively Bodies, Lively Machines\u27 which was presented at the Split Screen conference, and directed by Johannes Birringer
Girling troubled spaces: choreography, writing and BigEye
No full textThis article brings together Helene Cixous’ theorisation of a transgressive writing practice with Deleuze and Guattari’s radical re-conception of corporeality to discuss the implications, promises and failures of a digital/sonic/written/voiced choreographic practice. This piece is framed by the practice of half/angel, a performance company directed by Jools Gilson-Ellis and Richard Povall
Girling troubled spaces: choreography, writing and BigEye
No full textThis article brings together Helene Cixous’ theorisation of a transgressive writing practice with Deleuze and Guattari’s radical re-conception of corporeality to discuss the implications, promises and failures of a digital/sonic/written/voiced choreographic practice. This piece is framed by the practice of half/angel, a performance company directed by Jools Gilson-Ellis and Richard Povall
Loa & behold: voice ghosts in the new technoculture
No full textCollected in: Jools Gilson-Ellis (2002) 'Loa & Behold: Voice Ghosts in the New Technoculture' In: Colin Beardon & Lone Malmborg (eds). Digital Creativity: A Reader. Oxford & New York: Taylor & Francis, pp. 229 - 240. isbn:
9780415579681This article suggests that the use of femininity and voice in digital art practice has a powerful potential to conjure provocative spaces in the new technoculture. Using a range of theoretical writers including Margaret Morse, Nell Tenhaaf, Simon Penny, Brenda Laurel and Sue-Ellen Case, the article traces contemporary thought on femininity, technology and voice. Gilson-Ellis uses her own choreographic / poetic practice as examples in these discussions. Through an adaptation of Sue-Ellen Case's proposal of the voudou vever and the loa, the article suggests that the voice in relation to writing and new technologies has a radical potential to open up alternative kinds of spaces in digital art practice
Speaking and dancing at the same time: an interview with Jools Gilson-Ellis
No full textThis is an interview with Diana Theodores about my choreographic / writing practice. The focus of the discussion is about the work of writing and dancing in our dance theatre company \u27half/angel.\u2
Speaking and dancing at the same time: an interview with Jools Gilson-Ellis
No full textThis is an interview with Diana Theodores about my choreographic / writing practice. The focus of the discussion is about the work of writing and dancing in our dance theatre company 'half/angel.
Stormy Weather: textile art, water and climate emergency
No full textThis paper entwines the voices of art historian Dr. Fionna Barber and Artist Scholar Prof. Jools Gilson to propose the critical importance of textile art in contemporary debates about the climate emergency. Framed in collaborative counterpoint to previous work on femininity and water (notably Neimanis 2012 & 2017), this discussion focuses on three textile based projects through two meteorological exhibitions; Mapping Climate Change: The Knitting Map & The Tempestry Project at the Berman Museum of Art in Pennsylvannia, US and Strange Attractor at Tate St. Ives, UK, both 2021. This keynote proposes The Knitting Map as a way of thinking about textiles and climate, as well as an artwork. It visits Cork City, the Irish bog and Cornwall traversing tropes of landscape, weather and national identity as it tangles textiles analysis and story
Orienteering with double moss: the cartographies of half/angel's The Knitting Map
No full textThis article analyses The Knitting Map, a large-scale, durational textile installation by the performance production company half/angel. It examines the ways in which technology was used in The Knitting Map to connect the weather and the levels of busyness in Cork City (Ireland) to a community of knitters, and a year-long process of hand-knitting. The article focuses on processes of translation as a fundamental operation within this ambitious work; translation of digital data into knitting patterns, as well as technology into something familiar to a community of knitters. The article suggests that by contextualising The Knitting Map's digital technology, the processes and language of ‘knitting Cork’ became dialogic across generations. The Knitting Map is then framed within a broader history of radical textile projects, and community art works. The article closes with an analysis of a year-long series of knitting performances by Jools Gilson-Ellis, staged in public sites in Cork City and used as a performative strategy of engaging participants both actually and symbolically in the project
