I am co-organizing with Dimitrina Sevova a symposium entitled The Diagrammatic Practice of the Micropolitical – the Spatio-temporal Expression of Play between Power, Knowledge and the Aesthetics of Existence at Zurich University of the Arts.

Here are all the infos:

International Public Symposium at Pfingstweidstrasse 6, 8005 Zurich, ZHdK, 14/15/16 November 2013, around the notion of play, its processual (diagrammatic) and political and aesthetic potential in times of cognitive capitalism and its mechanisms of control over life and the urban environment.

Left: "The Playground, a Vacant Lot," Hale House, Boston, Mass., c1903, Social Museum Collection, Fogg Museum, Harvard Art Museum.  Middle: Seattle Potlatch Parade showing float, 1912. Right: Nuria Vila + Marcelo Expósito, Tactical Frivolity + Rhythms of Resistance, video still, 2007.

Left: "The Playground, a Vacant Lot," Hale House, Boston, Mass., c1903, Social Museum Collection, Fogg Museum, Harvard Art Museum. Middle: Seattle Potlatch Parade showing float, 1912. Right: Nuria Vila + Marcelo Expósito, Tactical Frivolity + Rhythms of Resistance, video still, 2007.

SPEAKERS: Paolo Caffoni, Giusy Checola, Binna Choi, discoteca flaming star (Cristina Gómez Barrio & Wolfgang Mayer), David Dibosa, Anja Kanngieser, Maurizio Lazzarato, Isabell Lorey, m-a-u-s-e-r (Mona Mahall & Aslı Serbest), Carmen Mörsch, Daniel Morgenthaler, Roberto Nigro, Susanna Perin (S.M.U.R.), Gerald Raunig, Adrian Rifkin, Kerstin Schroedinger, Marco Scotini, Diego Segatto, Joshua Simon, Kuba Szreder, Axel Wieder, Espace Temporaire (Magdalena Ybarguen).

RESPONDENTS: Jens Badura, Christoph Brunner, Karmen Franinović, Roberto Nigro, Romy Rüegger, Dimitrina Sevova.

PERFORMANCES: Chiara Fumai, T. Melih Görgün, Michael Hiltbrunner, Franziska Koch, David Maroto.

SCREENINGS: Marcelo Expósito, Silvia Maglioni and Graeme Thomson, RELAX (chiarenza & hauser & co).

MICROPOLITICAL WORKSHOP: Wiktoria Furrer & Sebastian Dieterich in cooperation with Elke Bippus.


Throughout three intense days the symposium will be an experimental space for expressing and sharing ideas – a place for intervening, investigating and provoking collective discussions on how to re-activate play’s potentiality in urban space, considered as a playground of deskilled, affective and precarious labor.

The symposium aims at relocating the notion of play from the outdoor to the outside as an ecology and extended space for experimentation and micropolitics beyond spatial confinement. We ask how such an outside emerges through practices unfolding and altering dominant diagrams of power in urban environments. Here, playing-together involves the capacity of forces of resistance to create situations as intensive fields of affection through the micropolitics of diagrammatic practices. Both, playing bodies and the process of learning as a common, a self-productive and living knowledge, perpetuate new forms of social subjectivity and its immanent growth between power, knowledge and an aesthetics of existence.

Bringing together artists, curators, activists and thinkers from the fields of performance, art, aesthetic theory, philosophy, architecture and design, the symposium comprises talks, artistic interventions, performances and screenings.

Curated by Dimitrina Sevova and Christoph Brunner in cooperation with the Bachelor Media & Art, specialization Fine Arts of the Zurich University of the Arts, Elke Bippus, Franziska Koch.

A cooperation with Z+ ‹ http://www.zhdk.ch/zplus ›.

In conjunction with the a-disciplinary project consisting of a platform of irregular non-serial events, screenings, public readings, performances, talks, urban interventions and other ephemera, on the theme of Opportunities for Outdoor Play? Playgrounds – New Spaces of Liberty (The Question of Form) outdoorplay.tumblr.com ›, curated by Dimitrina Sevova at Kunsthof Zürich between March and October 2013 in cooperation with Elke Bippus, Franziska Koch and the Bachelor Media & Art, specialization Fine Arts of the Zurich University of the Arts.

For further information please see ‹ outdoorplay.tumblr.com › or ‹ www.kunsthof.ch .

No registration required. Admission free. Seats limited. Please be on time for each thematic bloc, performance or screening.

[The curatorial text by Dimitrina Sevova and Christoph Brunner, and all other materials, can be found on the project blog, outdoorplay.tumblr.com. And in printable layout as PDF: programabstracts and bioscuratorial text.]

I will be giving a paper (for the rare occasion in German) at the Dramturgien des Anfangens (Dramaturgies of Beginning) at Freie Universität in Berlin. The dates are 7-9 of November and the Abstract is below.

Link to the program.

Eine öffentliche Tagung am Institut für Theaterwissenschaft

Abstract:

Dramatisierung als Technik: Affektive Zeitlichkeit in Collective Writing Machines

Gilles Deleuze verwendet den Begriff der Dramatisierung konsequent in Verbindung mit der Frage nach der Aktualisierung von Ideen durch raum-zeitlichen Dynamiken. Wie ergeben sich raum-zeitliche Erfahrungsgefüge anhand von (virtuellen) Kräften und ihren Beziehungen? Der Frage der Aktualisierung nachgehend, entwirft Deleuze (auch in Zusammenarbeit mit Guattari) ein Denken der Aktualisierung, sprich der Emergenz und möglichen Dauer von raum-zeitlichen Manifestationen. Entgegen einer phänomenologischen Annahme von Erfahrung als körperlich geformter Wahrnehmung von Welt, befasst sich der Prozess der Dramatisierung hier mit den nicht-körperlichen, aber realen, Verhältnissen und Singularitäten, deren Dynamiken, Ideen, und Konzepte und wie diese körperliche Erfahrungen hervorbringen. Es handelt sich hierbei eben nicht um einen Prozess der Materialisierung ideell geformter Einheiten oder Prozesse sondern um einen Differenzierungsakt zwischen virtuellen Verhältnissen und empfundenen Qualitäten sowie Singularitäten und geformten Entitäten. Der dynamische Prozess der Dramatisierung unterstreicht, dass es sich im Wechselspiel zwischen Virtualität und Aktualität nicht um lineare Abläufe handelt, sondern um die Hervorbringung von extensiven raum-zeitlichen Gefügen durch die Bewegung von Verhältnissen und Singularitäten entlang eines intensiven Felds. Die Problematik der Dramatisierung verweist auf eine Form der Zeitlichkeit und Räumlichkeit innerhalb der körperlichen Erfahrung, die eine vor-individuelle intensive Tiefe und deren Differenzierungserie voraussetzt.

Wie lässt sich der dynamische Prozess der Dramatisierung im künstlerischen Kontext von Kreativprozessen verstehen? Ich werde hierzu die von Diego Gil entwickelte Performance Collective Writing Machines untersuchen. Die Performance befasst sich mit Prozessen der Wahrnehmung während dem Schreibakt. Die TeilnehmerInnen werden gebeten in verschiedenen Intervallen und mit jeweils unterschiedlichem Aufmerksamkeitsfokus (auf den eigenen Körper, die Umwelt, oder einer Imagination) gemeinsam in einem Raum beim Sitzen und später beim Gehen zu schreiben. Mittels dieser Performance wird deutlich, dass sich Aufmerksamkeit anhand von aktualisierten ebenso wie virtuellen Tendenzen konstituiert, im körperlichen Denken ebenso wie im intensiven Feld der Potenzialität. Dramatisierung in diesem Fall beschreibt die heterogene und heterochrone Bewegung zwischen Aktualität und Virtualität als „a-modalen“ relationalen Prozess zu verstehen (Massumi). Wie können wir diesen Dramatisierungsprozess als kontinuierlichen Übergang begreifen, als ein Verknüpfen von dynamischen Beziehungen? Speziell im Hinblick auf die affektive Wirkung von Zeitlichkeit und ihrem „Timing“ wird Dramatisierung hier zu einer ästhetischen Technik.

Choreographer Diego Gil and Christoph Brunner are collaborating on Gil’s project “Collective Writing Machines” for the Ausufern Festival at the Uferstudios Berlin on 31 August, 2013. Two perofrmances with limited spots (20 each) will take place at 3 and 5 p.m.

Image: Pablo Fontdevial

Singing and signing words continuously in a paper as they emerge from mouth to paper (and back), suspensions may happen only to make us feel the micro momentum of the next impulse to start again

Collective Writing Machines is a choreographic practice built in the intersection of writing, thinking and perceiving focusing on the emergent quality produced by these activities.

The main concern of this project is the intersection of language and sensation (sensation as the perception of perceiving) seen as a movement of emergence that launches embodied experiences toward potentiality rather than stratification.

In each occasion, a “temporary collective” takes form through multiple differential circuits of sensations enticed through the bodies and what is shared is a complex web of transmitted perceptions rising from the fold of intelligibility.

For Ausfurn festival, small  groups of participants will put into practice writing and walking techniques enticing a sensitive relationship with the environment. We will write and walk briefly while strolling through places around the Uferstudios building.

Text: Diego Gil

Concept and performance: Diego Gil and Christopher Brunner

Advise and assistance: Pablo Fontdevila

Duration: 35 minutes approx.

After submitting a shift proposal (the more performative format) for the next Performance Studies International Conference in Leeds, June 27-30 2012, we, Bianca Scilar Mancini, Alanna Thain and myself, have been accepted with our proposal Ecologies of Siting. Here is the abstract:

ABSTRACT

Ecologies of Siting

The relation of ecology and economy coincides with the concerns of our inter-institutional Research–Creation series “Technologies of Lived Abstraction”, which culminated in July 2011 with ‘Generating the Impossible’. 55 participants explored the limits of a collaborative creative process through techniques of improvisation across heterogeneous backgrounds, following no scripts, without a predetermined landing site, and responsive to the durational intensities of encounter. An always-dissolving collective dedicated ten days to a critical multidisciplinary creative process that involved both a movement of thought and a production of an aesthetic residuum, i.e., an art “object”. This shift is a creative recapitulation of that event’s echoes (where porosity was already a compelling prompt). An “Ecology of Sitting” is based on a process of the improvisation of differential disciplinarity, a contagious attentiveness to how we define environment and landscape as an event-location.

This porous shift will radically experiment with performance methodologies for the improvisation of thought, a critical alternative to and reactivation of the (in)attentive audience of the traditional conference format.  Addressing the notion of concepts, bodies and the environment as variations of duration, we will seek modes of provoking sliding forces always improvising in the ways they generate confounding ecologies to challenge dualisms of body (agent/actor/performer) and environment (site/ location).

The radicalism of our proposal lies in our trust in the event of the encounter, and our conviction that authentic collaboration cannot be catalogued prior to sharing and exchange between participants. What we share are procedures and techniques for the improvisation of thought.

We propose biweekly working group meetings where participants accumulate conceptual or artistic residuum (defined here as the experiential liveliness of duration) from discussions shared through virtual meetings and tasks, as ecologies of improvised thought.  Drawing on a Guattarian ecosophical rejection of a human/non-human dualism, our performance technique of “attentiveness” will be geared towards (re)discovering an “agency of assemblages”, rather than an “acting upon” of the performance of the encounter. “Ecology of Sitting” resists a predetermined utility based on the economies of institutions (academic or arts), and reopens zones of collaborative attentiveness as a method of opening to unexpected connection.  As a set of techniques, we use a creative diagrammatics (Deleuze) drawn from movement work and event-based visual practice.  The goal is to produce a distributed attention that challenges the distinction between rehearsal and event, in an anarchival approach.

levels of nothingness - rafael lozano-hemmer

This is a short review on Lozano-Hemmer’s and Brian Massumi’s (in collaboration with Isabella Rossellini) work in progress “Levels of Nothingness” shown at the Guggenheim New York:

The Guggenheim’s Works in Progress series issuing its 25th anniversary this year, invited Lozano-Hemmer to present one of his works in progress. Levels of Nothingness is a synaesthetic performance of written, oral and visual dimensions. In collaboration with the actress Isabella Rossellini and the philosopher Brian Massumi Lozano-Hemmer and his team developed a voice-tracking system that responds to words in the form of lighting events. Attempting to create a relational model between the dimensions of thought in motion and audio-visual experiences the performance consisted of a 30 minute reading of philosophical quotes revolving around colour and perception clustered in conceptual blocks such as “emergence,” “singularity,” “body” or “transition.” Massumi’s philosophical influence in his work on colour and perception has been complemented by Rossellini’s beautiful voice and the “light dance” of more than 50 rock-and-roll concert lights.

The sensation that such an event generates is difficult to circumscribe in a classical manner such as light performance or interactive performance. What actually happened was a relational field of perception throughout the entire room. The perception of the visitor became amodal in its mode. In other words, one was immersed in light, a screen to read the quote that was aurally transmitted by Rossellini’s voice and enclosed in a slightly hazy room with the background noise of the lights moving and other bodies trying to capture the light at the ceiling. The human perception became amodal while the machine perception had its full attention focused on the voice and flow of words in their sonorities. The performance system for interaction became the perceiving entity as we (traditionally) expect the human sensory-motor system to work whereas the human perception was forced to reveal the amodality that perception is based on - synaesthesia as the point of entry for any perception to become noticeable and not as a strange abnormality of some particular individuals. Those who know the work of Massumi will realize that “Levels of Nothingness” might be one of the first attempts to make the synaesthetic amodality of perception apparent in a conscious and not only a pure experience. The collective modes of the event taking form cross many fields of expertise and experience that might be best described by the notion of mutual intensity for “a perception to come” - an intensive field of percepts offering themselves for experience to merge into presence without ever becoming immobile. On might regard the experiences generated in the event as an extensive continuum of collective intensive practices that has been extended for the first time to allow a wider audience to become part of the event. Thanks!

Hopefully, a longer interview with Rafael Lozano-Hemmer and Brian Massumi will be published in one of the following issues of Inflexions - A Journal for Research-Creation.