oh, it's always good to have inadvertent actors falling to the stage, or, as
some might think in response to Gordana's posting on ritual interactive art,
unsuspecting audiences are also most welcome even as they may not have empathy
with the streaming naked realizations...
, and I think this month as been a somewhat (to me at least) deliberate turn
around from the sophisticated tourism to istanbul & isea.
If you in fact thought that discussing motion/time is a prerogative of dancers,
I'd think not so, but something pulled you towards Deleuze, not a bad dancer
himself? why?
Gordana, i think I need to qualify any rash comments on the exhibition I
attended, should I've made them; i was actually trying to ask myself why
i reacted negatively to the repetitive chord structure of the sound in
Pipilotti Rist's immersive installation "Lobe of the Lung."
There was another work in the exhibition, "I am not the Girl who misses much",
which i enjoyed greatly, even though I nearly re-injured my back.
The piece was presented in a wooden box, which stuck out the wall like an
airplane bow, with one sharp end, and inside the broad end it had the screen;
you had to stand up, stick your head through a round hole,
and then gaze/listen - and there was blurry Pippilotti dancing " I am not the
Girl who misses much" - the video sped up so that her woman's voice becomes a
high girl's voice ------ slowed down it becomes a male voice or a synthetic
voice like HAL's, dying (the "Mother" control computer in Stanley Kubrick's
"Space Odyssey"). The video is sung by Pippolotti Rist, or "re-synced" to a
track, well, you may know it, from the Beatles/John Lennon ("Love is a Warm
Gun").
A lovely piece, and I took time to watch it more than once.
The taking time is the issue Claudia had addressed, as museum visitors and
lurkers have to decide what to do with time.
best
Johannes
________________________________________
From: empyre-boun...@lists.cofa.unsw.edu.au
[empyre-boun...@lists.cofa.unsw.edu.au] On Behalf Of Rodney Berry
[rodbe...@gmail.com]
Sent: Tuesday, October 18, 2011 9:17 PM
To: soft_skinned_space
Subject: Re: [-empyre-] "(E)MOTION FREQUENCY deceleration"
Hi all! apologies for the last post. I was actually forwarding the one post - a
bit out of context to some colleagues to lure them into the list but I was
typing too fast with my palms on my laptop touchpad and somehow replied instead
of forwarding.
... fallen from the balcony onto the stage and wondering what to say - I guess
that's how we all become artists.
and Sérgio, thanks for steering me into some Deleuze for breakfast :)
Rod (red-faced lurker)
On Wed, Oct 19, 2011 at 6:55 AM, Johannes Birringer
<johannes.birrin...@brunel.ac.uk<mailto:johannes.birrin...@brunel.ac.uk>> wrote:
Hi Rod, welcome to this conversation;
[and perhaps to clarify, this month's discussion is not about dance at all, but
about time and how we think we exist]
Thanks for your posting, Sérgio,
>>
I suspect the speeding-up of our lives, the obession with interactivity and
production by means of technological devices are stoping many
people from experiencing important intelectual and aesthetic challenges and
creating a generation of people addicted to to
intensity and dellusive involvement of technological environments.
>>
could you speak a little bit more about your experience with immersive
installations and sounding instruments?
are you, following the passage you cited from Deleuze, associating immersion
and the 'interactive/participatory" imperative
with repression or coercion?
what role plays 'understanding', in spectatorship?
moderately
Johannes Birringer
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