Two Thousand + SEVEN
<<< 2nd international symposium focusing on networked performance environments >>>
The edition of Two Thousand + SEVEN once again ran in parallel to the Sonorities Festival of Contemporary Music (www.sonorities.org.uk), hosted by the Sonic Arts Research Center, Queen's University Belfast (www.sarc.qub.ac.uk). The festival is the longest-running new music festival in Ireland that presents cutting-edge new music and features some of the most thought-provoking and controversial musicians.
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(original schedule, abstracts, presented papers plus video and audio recording of the entire symposium and some nice shots of some of the weird people who joined us for the day)
Original Call for papers/presentations:
Machinic performance, in Deleuze's and Guattari's sense, happens at multiple sites through multiple agents, both human and technological, and "to research a machinic performance implies to become part of it" (McKenzie, 2005).2
A multi-site networked music performance for example can range from performing a notated score with another musician in a remote location, improvising with other performers in different virtual spaces, playing with algorithms (the other performer could be a machine), to staging a performance in a virtual world (such as the online multi-player gaming environment Second Life).
Considerations of physical and virtual space are central to any technological construct that promotes social engagement, and as music performance is a field where physical, time-based, subjective and inter-personal concerns are most apparent, it is a highly suitable activity for exploring networked environments.
The questions that arise in virtual performance environments are of practical as well as of cultural nature:
What is the performer's and audience's experience of performances in virtual environments?
What type of language between performer and audience will (or will have to) develop in a virtual performance?
How do instrumental/ensemble feedback performance strategies (such as breathing, eye contact or body movements) manifest themselves in virtual environments?
How can we better understand a phenomenology of virtual performance environments?
How do virtual music exchanges redefine ideas and definitions of the performative?
How do virtual performance environments change our ideas of the body/instrument 'relation'?
What are the implications for the erotics of the body in an environment that is so often characterised by an absence of tactile behaviours?
For this one-day event we invite proposals for performative and theoretical papers that elucidate issues in networked performance environments.
The symposium will reflect the innovative approach of the festival and will unite performance practitioners, composers and theorists for a one-day session discussing topics that are not limited to above questions.
1 Deleuze, G. and Guattari, F. (1995). Balance-Sheet Program for Desiring Machines, trans. Robert Hurley, in Félix Guattari, Chaosophy ed. Sylvère Lotringer, New York: Semiotext(e), 120-1.
2 McKenzie, J. (2005). Hacktivism and Machinic Performance. Performance Paradigm, No. 1, Australia.
Steven Connor has taught since 1979 at Birkbeck College, where he is now Professor of Modern Literature and Theory. He is currently Academic Director of the London Consortium Masters and Doctoral Programme in Humanities and Cultural Studies. He is also the College Orator. For publications see:
Registration for the one-day symposium is £30 (£15 unwaged).
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