scholarly journals Memory Machines: Infrastructural Performance as an Art Method

Leonardo ◽  
2020 ◽  
pp. 1-11
Author(s):  
Samir Bhowmik ◽  
Jussi Parikka
Keyword(s):  
Public Library ◽  
Media Theory ◽  
Artistic Practice ◽  
Walking Tours ◽  
A Performance

Through a performance tour conducted in a public library, the authors analyze multi-sensory methods, including immersive performance and walking tours, as probes into cultural infrastructures. Combining discussions of media theory and artistic practice, the authors present infrastructural performance as an art method for creative infrastructural research.

scholarly journals Memory Machines: Infrastructural Performance as an Art Method

2019 ◽  
Author(s):  
Jussi Parikka ◽  
Samir Bhowmik
Keyword(s):  
Peer Review ◽  
Public Library ◽  
Media Theory ◽  
Artistic Practice ◽  
Forthcoming Article ◽  
Final Version ◽  
Walking Tours ◽  
A Performance

This is the authors' final version of a forthcoming article, accepted through peer-review for Leonardo journal (MIT Press) -- (forthcoming estimated 2022). Abstract: Through a performance tour conducted in a public library, the authors analyze multi-sensory methods, including immersive performance and walking tours, as probes into cultural infrastructures. Combining discussions of media theory and artistic practice, the authors present infrastructural performance as an art method for creative infrastructural research.

Zombie Media: Circuit Bending Media Archaeology into an Art Method

Leonardo ◽  
2012 ◽  
Vol 45 (5) ◽  
pp. 424-430 ◽  
Author(s):  
Garnet Hertz ◽  
Jussi Parikka
Keyword(s):  
Electronic Waste ◽  
Media Theory ◽  
Ecological Crisis ◽  
Media Culture ◽  
Artistic Practice ◽  
Planned Obsolescence ◽  
Media Archaeology ◽  
Media Objects ◽  
Do It Yourself ◽  
Media Discourses

This text is an investigation into media culture, temporalities of media objects and planned obsolescence in the midst of ecological crisis and electronic waste. The authors approach the topic under the umbrella of media archaeology and aim to extend this historiographically oriented field of media theory into a methodology for contemporary artistic practice. Hence, media archaeology becomes not only a method for excavation of repressed and forgotten media discourses, but extends itself into an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking and other hacktivist exercises that are closely related to the political economy of information technology. The concept of dead media is discussed as “zombie media”—dead media revitalized, brought back to use, reworked.

scholarly journals How she sees it: cataloguing and rehousing the Arleen Schloss Super 8mm film collection at Anthology Film Archives

2021 ◽  
Author(s):  
Traci Mark
Keyword(s):  
New York ◽  
Artistic Practice ◽  
Art Scene ◽  
Film Archives ◽  
Conducting Research ◽  
A Performance

This thesis is an applied cataloguing project wherein 180 Super 8mm films by multidisciplinary artist Arleen Schloss were catalogued at Anthology Film Archives from January-June 2016. Schloss is known mainly for her performance work within the Downtown New York art scene in the late 1970s/1980s, and for founding A's, a performance and art venue available for artists to show and experiment with their work. The objective of this thesis project was to catalogue Schloss's Super 8mm film collection at Anthology, while also conducting research on her artistic practice during the period she was most actively making films. There are two chapters; the first explores Schloss's background as an artist and gives context for the Downtown New York art scene and her place within it. The second chapter is a case study that details the cataloguing process of Schloss's Super 8mm films, and it also provides preservation recommendations for future use.

scholarly journals Building Strength

Diacrítica ◽  
2019 ◽  
Vol 33 (1) ◽  
pp. 143-157
Author(s):  
Telma João Santos
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Relational Model ◽  
Artistic Practice ◽  
A Performance

This paper presents a performance art piece, Building Strength, as a case study for a relational model in performing arts, especially in performance art. I proposed this model several years ago e already presented some applications as well as some reformulations. Here, it was not used to construct a performance art piece, but it is reformulated as a model used for me to relate with my own artistic practice, as usually done with another artists’ work.  

Medium

2020 ◽  
Author(s):  
David Trotter
Keyword(s):  
Mass Communication ◽  
Media Theory ◽  
Raw Material ◽  
The Internet ◽  
Artistic Practice ◽  
General Sense ◽  
Reverse Engineer ◽  
Specific Material ◽  
The 19Th Century ◽  
Primary Medium

The term “medium” has a long and complicated history. In its most general sense, it originally meant an intermediate agency, instrument, or substance. During the 19th century, it acquired two further common meanings, first as the raw material or mode of expression distinguishing a particular artistic practice, and then, in the sense now prevalent, as a channel of mass communication. For much of its history, literature’s primary medium (or “channel”) has been the printed book, which remains an object of theoretical as well as historical enquiry, often in a comparative context. Since around 1850, the proliferation of technical media—from telegraph and telephone through film, radio, and television to the internet and the mobile phone—has piled comparative context upon comparative context for the study of literature to take into account. From its origins in the 1920s, media theory has tended to reverse engineer an understanding of what a “medium” is and does from its description and analysis of specific material technologies in operation. Its original focus, with film, radio, and television in mind, was on the medium as technical and ideological instrument. However, as material technologies have become ever widespread, sophisticated, and diverse, so their function has begun to resemble that of an intervening agency or substance, rather than that of an instrument.

scholarly journals The Wear Project

Scene ◽  
2014 ◽  
Vol 2 (1) ◽  
pp. 107-112
Author(s):  
Nadia Malik
Keyword(s):  
Artistic Practice ◽  
The Subject ◽  
One Year ◽  
A Performance

When we meet a character in a performance, the implicit understanding is that they have existed until the point where we join their journey and will continue existing after we leave them. Their clothing tells a hi/story to the audience before we hear them speak and before any action takes place. As a Costume Designer and Lecturer, my awareness of costuming as an anthropological practice has led me to explore these principles using myself as the subject of scrutiny. For one year I am logging every clothing combination I go through along with memories, prices, locations and dates, etc. in order to explore the sub/conscious clothing decisions I make and the stories, embedded in my clothes, that I am surrounded by every day. What does my wardrobe mean to me inwardly and reveal to my audience outwardly, and how does this ‘me-search’ extend my artistic practice?

scholarly journals How she sees it: cataloguing and rehousing the Arleen Schloss Super 8mm film collection at Anthology Film Archives

2021 ◽  
Author(s):  
Traci Mark
Keyword(s):  
New York ◽  
Artistic Practice ◽  
Art Scene ◽  
Film Archives ◽  
Conducting Research ◽  
A Performance

This thesis is an applied cataloguing project wherein 180 Super 8mm films by multidisciplinary artist Arleen Schloss were catalogued at Anthology Film Archives from January-June 2016. Schloss is known mainly for her performance work within the Downtown New York art scene in the late 1970s/1980s, and for founding A's, a performance and art venue available for artists to show and experiment with their work. The objective of this thesis project was to catalogue Schloss's Super 8mm film collection at Anthology, while also conducting research on her artistic practice during the period she was most actively making films. There are two chapters; the first explores Schloss's background as an artist and gives context for the Downtown New York art scene and her place within it. The second chapter is a case study that details the cataloguing process of Schloss's Super 8mm films, and it also provides preservation recommendations for future use.

Song of the Goat Theatre: Artistic Practice as Life Practice

2010 ◽  
Vol 26 (3) ◽  
pp. 261-272
Author(s):  
Anna Porubcansky
Keyword(s):  
Performance Practice ◽  
Artistic Practice ◽  
Cultural Traditions ◽  
The Social ◽  
Academic Publications ◽  
Experimental Theatre ◽  
Performance Development ◽  
And Performance ◽  
Jerzy Grotowski ◽  
A Performance

In this article Anna Porubcansky discusses the work of Song of the Goat Theatre not only in its artistic practice, but as a life practice. Based in Wrocław in Poland, the group continues a Polish tradition of experimental theatre practice as seen in the work of Juliusz Osterwa, Jerzy Grotowski, and Włodzimierz Staniewski. A fundamental influence on Song of the Goat has been the belief in Buddhism of its co-founders Grzegorz Bral and Anna Zubrzycki, which has shaped a performance practice rooted in the principles of interconnection and compassion. The group focuses its work on ‘coordination’, an approach that seeks to create a profound sense of harmony within and between each actor and every element of his or her work through training, improvising, and research on diverse songs, dances, myths, and rituals. Maintaining connection to the world through this material, Bral and Zubrzycki extend the group's artistic work through social projects such as the Brave Festival, which celebrates lost and dying cultural traditions in an attempt to create a performance practice that is actively integrated with the social world. Few academic publications are available on Song of the Goat, and this article draws on three years of extensive fieldwork with the company, utilizing interviews and personal observations of training, rehearsals, expeditions, and performance development for its most recent production, Macbeth. Anna Porubcansky is currently completing her PhD in the Department of Drama at Goldsmiths, University of London.

Organizational Creativity, Play and Entrepreneurship

2018 ◽  
Vol 39 (2-3) ◽  
pp. 169-190 ◽  
Author(s):  
Anna Scalfi Eghenter
Keyword(s):  
Everyday Life ◽  
Experimental Research ◽  
Experimental Approach ◽  
Artistic Practice ◽  
Work Of Art ◽  
Organizational Creativity ◽  
A Performance

Artistic practice is applied as a tool of experimental research that acquires, as a necessary and decisive component, the identification of the organizational nature of the context on which it acts. The artistic frame allows the exceptional chance of developing experimentation within the spaces of everyday life, acting on its own operational rules. In response to the analysis of the context, an ‘organizational analogue’ is conceived and presented as a work of art. The ‘Analogous’ is not a representation or a performance, but rather the assumption, via linguistic mimesis, of a pre-extant object, to the shape of which a change is activated. The product is evaluated on the border of the language through which it interacts, allowing the components of the environment to negotiate its pertinence. An experimental approach based on which within the context one can find a game of which to identify the field, the rules and the players. An organizational artistic practice of playing that has juridical, economic and identity implications.

scholarly journals VAGINA DA ARTISTA - PERFORMANCE FEMINISTA EM POÉTICAS DE DUAS ARTISTAS MULHERES

polemica ◽  
2021 ◽  
Vol 20 (3) ◽  
pp. 163-182
Author(s):  
Renata Andrea de Lucia Santana Lucia ◽  
João Paulo Baliscei
Keyword(s):  
Women Artists ◽  
Feminist Movement ◽  
Artistic Practice ◽  
Feminist Activism ◽  
Collective Memories ◽  
Autobiographical Performance ◽  
Collective Levels ◽  
Personal Experiences ◽  
Black Movement ◽  
A Performance

Resumo: O artigo tem como objetivo problematizar a performance enquanto prática artística que promove a resistência, a pluralidade e a diferença, discutindo como ela pode favorecer aspectos educativos. Apresenta o conceito de performance em seus aspectos históricos, antropológicos e artísticos, bem como a performance autobiográfica, que possibilita o resgate de experiências pessoais, memórias coletivas e, no recorte apontado aqui, o exercício do ativismo feminista. Aborda aspectos do movimento feminista e analisa performances de duas artistas mulheres e feministas: a artista norte-americana Carolee Schneemann e a artista brasileira Panmela Castro. Por fim, avalia o caminho evocado pela performance como viável ao estabelecimento de estratégias de resistência e sensibilização por meio da experiência artística compartilhada entre performer e espectadoras. Ademais, aponta a performance como alternativa para instigar o pensamento crítico, a liberdade e a criação de possibilidades de transformações no âmbito pessoal e coletivo, por meio de ações que abordam temáticas identitárias que refletem as lutas de movimentos sociais, como o movimento feminista, movimento negro e movimento LGBTQI+.Palavras-chave: Arte contemporânea. Performance. Performance autobiográfica. Feminismo. Mulheres artistas. Abstract: The article aims to problematize performance as an artistic practice that promotes resistance, plurality and difference, discussing how it (the performance) can favor educational aspects. This paper presents the concept of performance in its historical, anthropological and artistic aspects, as well as the autobiographical performance, which enables the recovery of personal experiences, collective memories, and, in the clipping pointed here, the exercise of feminist activism. The article also addresses aspects of the feminist movement and analyzes the performances of two women and feminist artists: US artist Carolee Schneemann and Brazilian artist Pammela Castro. Finally, it evaluates the path evoked by the performance as feasible for the establishment of resistance and sensitization strategies through the shared artistic experience between performer and spectators. In addition, the article points to performance as an alternative to instigate critical thinking, freedom, and the creation of possibilities for transformations at both the personal and collective levels, through actions that address identity themes which reflect the struggles of social movements, such as the feminist movement, the black movement, and the “LGBTQI+” movement.Keywords: Contemporary art. Performance. Autobiographical Performance. Feminism. Women Artists.

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