[ METABODY 2nd Event]

Metahuman / Metaformance Studies 2013

Metabody Conference 2 / MetamediaLab 2

14th-18th November 2013 in Dresden, Hellerau at CYNETART festival; hosted by TMA Hellerau, Great Hall, Festpielhaus Hellerau;
www.cynetart.de | www.cynetart.de/2013/ | TMA | metabody.eu

* welcome and introduction by Jaime del Val

[ Metabody Conference 2 ]

* Isabelle Choiniere: »To the modification of corporality (corporalité) that generates corporeality (corporéité)«
* Jaime del Val: »Relational & Multi-Dimensional Perception«
* Stefan Lorenz Sorgner: »Birth and Death of Dualistic Media«
* Andrea Davidson: »The Metabody as Sensual Experience«
* Enrico Pitozzi: »The sonorous cognition of the movement«

[ METABODY WORKSHOP 1 ] at TMA Lab Hellerau | CYNETART Festival 2013

* Case studies presentations: Pablo Palacio & Muriel Romero – Kouros
* Isabelle Choiniere & Enrico Pitozzi & the FLESH WAVES performers
* Isabelle Choiniere and Marlon Barrios Solano


* welcome and introduction by Jaime del Val

[ Metabody Conference 2 ]

Isabelle Choinière' research looks at the ways in which the infiltration of technological thought in the contemporary performative scene may find applications in the development of new performative models. Driven by a syncretistic approach, her work is based on the strategy of renewing both sensorial experience and perception because it has become evident that technology in the twenty-first century has paved a path for perpetual synaesthesia – meaning it is formed as much by kinesthesia of the real body as by exteroception of the mediated body. As a result, it is possible to consider a new relationship between somatics and technology capable of engendering new aesthetic, cognitive and communicational paradigms.

* Extralink: See the trailer of Flesh Waves to get an impression of the work
* And see below for interviews with Isabelle Choinière & the FLESH WAVES performers

Jaime del Val [reverso]

Perception, rather than being a purely biologically determined capacity, is a process of epigenetic and technogenetic modulation, i.e., of transformation in relation to a technological environment that shapes perception in particular ways. Contemporary media tend to assume and expand problematic dualistic perceptions, the genealogy of which we could trace at least to the birth of the Greek Theatre architecture: a linear, circular and dualistic separation between a fixed spectator and a moving reality. Euclidean geometry, perspective and cartesianism have also contributed to align perception to a three dimensional field in which movements can be captured and reduced to planes, lines and points of control. Three or four-dimensionality is not an ontological feature of reality, but a peculiar form of technologically engineered perception. But no spectator is ever fully external to what s/he sees, and movement is never totally reducible to planes and lines drawn from a fixed point of vision. As in quantum physics we are always entangled with the reality we observe, and the very act of observation transforms that reality. As in proprioception, movement disseminates in multimodal and changing microperceptions. Experimentation with technologies of embodiment may generate new potential perceptions that foreground our immanent, relational entanglement with what we perceive, as well as the irreducibility of our movements and perceptions to three/four dimensional lines of capture. The development of new forms of non-dualistic relational multidimensional perception appear to be an urgent ontological and political task for a new social and planetary ecology.

Stefan Lorenz Sorgner [Friedrich-Schiller-University Jena, Beyond Humanism Network]

The birth of tragedy in Ancient Greece represents a significant step concerning the development of dualistic media which have been dominant since then. Currently, works of artists, engineers and media designers like Kevin Warwick, Dale Herigstad, Neil Harbisson or Jaime del Val represent attempts to move beyond this media tradition. I regard their tasks as highly important ones. In my presentation, I will explain why I regard this to be the case by referring to central facets of extramedial meanings of these works in progress.

Andrea Davidson [University of Chichester]

The focus of my practical and theoretical research concerns dance and new media and specifically, digital choreographic models which follow new aesthetic paradigms affecting representation, enunciation, narratology, composition, and reception. Amongst these paradigms, it situates the primary role and impact of the computer as a metamedium; mediation as a form of non-matrixed representation and new strategy of performativity; new media as digital "stages" that highlight perceptual experience and spectatorial participation; and digital logic as introducing new modes of composition based on principles of automation, hypermediality, intermediality, modularity, generativity, interfacing, and interactivity.

The lecture proposes a brief overview of a spectrum of digital platforms ranging from audiovisual projections in performance to "intelligent" stages, interactive installations, immersive sensory environments, networked performances, and wearable technologies, proposing to consider these interfaces as new viewing/sensing devices. It argues that form, content, meaning, and reception are not only intimately linked under the notion of "device", but further, that in encapsulating and embodying a concept, instrument of perception, and discursive mode, devices reveal perspective as a new form of dramaturgy and artistic parameter.

From this theoretical framework, I examine the relevance of Isabelle Choiniere's latest creation within a broader context of the Metabody. Highlighting the ways an artistic practice involving technology and grounding in a somatic understanding of the body can express and communicate the sensual body, the lecture further examines how and why the particular perspective the work generates as a viewing/sensing device can be considered as confrontational for some, or a pure aesthetic experience for others. In particular, questions of field, territory, relationship, resonance, texture, perception and the gaze will be addressed.

Enrico Pitozzi [University of Bologna]

Starting from an interdisciplinary perspective of methodological integration of body and sound in Isabelle Choinière dance performance, this lecture will attempt to define the general aesthetic notion of bodysoundscape. In this context, the performer on the Isabelle Choinière's composition process considers the sonorous body potential as a mean of work, using a great range of organic sounds which involves a deeper listening to one's self, in order to create a new organisation of a body sensibility. In this framework, my analysis about the new creation by Isabelle Choinière will penetrate both the matter of sound as well as the structure of the body, tackling the idea of a transformation of the body and the sound through technologies on the stage. The use of new technologies can modify the perceptive geography of the performer by increasing his consciousness of internal physiological process of movement through sonorous feedbacks and induces the creation of a new movement, a new anatomic architecture. These aspects of the composition influence also the spectator's perception and change the notion of listening on the stage.

[ METABODY WORKSHOP 1 ] at TMA Lab Hellerau | CYNETART Festival 2013

[ METABODY Conference 2 ] Surrounding

Friday 15th of November 2013
during CYNETART festival in Dresden
hosted by TMA Hellerau, Great Hall, Festpielhaus Hellerau
www.cynetart.de | www.cynetart.de/2013/ | TMA