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
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).
I will present a version of ‘Voice Recognition: A Play’ at Listening to Literature: A One Day Symposium on Soundscapes, which will take place at The Queen’s Building, University of Exeter on Friday July 28th 2017.
Link for Registration via Eventbrite.
How do we hear literature, and how do we write about hearing? How is music represented in literature, or literature represented in music? This one day symposium aims to bring together researchers from a variety of disciplines to discuss cultural perceptions of literary soundscapes, the difficulty of capturing sound in text, and the way text is expressed in sound.
I will perform ‘his voice’ at Language Game[s]: Poetry, Logic and Artificial Language on May 5th at Chelsea College of Arts, London.
The performance is part of a one-day symposium that considers the association between language and human consciousness.
Convened by Dr Sheena Calvert, Language Game[s] will include presentations, demonstrations and artworks from the fields of visual art, design, philosophy, artificial intelligence, science, linguistics and critical theory.