A report by Andrew Jeffrey on the symposium Projectivisms:Way-making the Contemporary Projective, University of Cardiff, May 2018 mentions my performance there of ‘threaded insert’. It is published in the Journal of British and Irish Innovative Poetry 10(1).
The discussion of the relationship between who is in charge in the interaction between a human being and digital technology was then exemplified by Mark Leahy’s (Independent Scholar) ‘“The threshing floor of the dance” A performance of threaded insert’. Leahy appeared in white gloves and bow tie in the centre of the room. He then put in some ear-phones and began making statements, ‘Agape, we perform’, moving forward a set number of steps, changing direction, moving again, making statements, ‘a portion of depressed hair’, describing the room, spelling out words, walking forward, spelling out words accompanied by a basic sign language, walking out of the fire escape, re-appearing through a different door. The performance with variations and repetitions lasted for twenty minutes. It turns out that Leahy was responding to various instructions played at random from MP3 files. All the contents derived from guides for ‘proper’ speech, conduct and bodily deportment. It made me think that Leahy was showing “what he is as a creature of nature (with certain instructions to carry out)”.
Jeffrey, A., (2018). Projectivisms >> Symposium Way-making the Contemporary Projective, University of Cardiff, 8th–9th May 2018. Journal of British and Irish Innovative Poetry. 10(1), p.10. DOI: http://doi.org/10.16995/biip.82
On Friday May 18th I will present ‘threaded insert’ at the symposium, Projectivisms: way-making the contemporary projective. Organised by Wanda O’Connor, the programme includes performances, papers, workshops and readings.
The structural inheritance of the projective has given way to new experiments of shape, juxtaposition and as yet unnamed forces. What now eclipses or brings forward this important formal work?
Events take place at Cardiff University’s Glamorgan Building and are open to the public.
I presented a paper titled ‘receiving queerly displaced utterance: failure and/as response in works by Glenn Ligon and LOW PROFILE’ at Artistic Research Will Eat Itself, the 9th SAR International Conference on Artistic Research, University of Plymouth, April 11 – 13 2018.
The paper was part of an exciting panel on voice and performance with presentations from Philippine Hoegen, ‘Ventriloquists III’; Stephanie Misa, ‘My Mothers dancing on my Tongue’; and Alex Nowitz ‘Manifesto for the Multivocal Voice’.
The two and half days involved performances, installations and conversations across a range of media, artforms and modes of research.
I am presenting a poster at the 2nd Congress Performing Arts in Education: collectivity, thought and experience on the 23rd and 24th March 2018, at the University of Patras, Greece.
The event is organised by University of Patras in collaboration with Archeological Museum of Patras & DERIDAncetheatre Ensemble.
The congress will include full papers and posters, lecture presentations, performance lectures, workshops, and live performances. Presenters from different fields including art and education theory and practice will come together to present their works and research on the subject of ‘Performing arts in education’.
My poster ‘Contextualising ‘his voice’: Queering Utterance in a Digital Material Interface’ is part of the session titled: Performance Writing (convened by Christos Polymenakos).
On Tuesday September 12th I will present ‘his voice’ at dataAche, DRHA2017 at Plymouth University. dataAche is the 21st international conference on Digital Research in the Humanities and Arts (DRHA). Happening over four days, the event will mix keynote papers, workshops, installations and performance.
‘his voice’ presents a live voicing of the results of orchestrated Twitter searches. It is an ongoing project that has a number of iterations and outcomes. A body of text, gathered via online searches for “his voice sounded like”, has been edited to develop two- or three-word phrases, which are then used to search Twitter. In the live event the search results are converted to audio using text-to-speech software. This audio is delivered to me via headphones, and I attempt to speak it. The results include URLs, hashtags and other coded elements that are common in tweets. The flow of information meets the limits of vocal ability and the spoken output may spill into stuttering, gaps and incoherence.