Aktivitäten und Erfolge von Greil-Möbius, Mariella wiss. Mitarb. Mag.art. PhD

Vorträge

Titel der Veranstaltung: Panel: BODY DIAGRAMS – On the Epistemic Kinetics of Gesture
VeranstalterIn: International Congress of the German Society of Semiotics 2014
Titel des Vortrags: Choreo-graphic Figures: Deviations from the Line / Body diagrams (Vortrag auf Einladung)
Zeitraum: 23.09.2014 bis 27.09.2014
Co-Vortragende(r): Nikolaus Gansterer, Emma Cocker
Beschreibung: Choreo-graphic Figures. Deviations from the Line is an interdisciplinary research collaboration involving artist Nikolaus Gansterer (Austria), choreographer Mariella Greil (Austria) and art-writer Emma Cocker (UK) for investigating those forms of ‘thinking-feeling-knowing’ produced within collaborative exchange between the lines of drawing, choreography and writing. This project addresses the materiality of the choreo-graphic and the elasticity of figures, exploring the performativity of notation by developing shared choreo–graphic figures (figures of thought, speech, movement) for making tangible this enquiry. Choreo-graphic Figures. Deviations from the Line investigates the nature of ‘thinking-in-action’ or ‘figures of thought’ produced as the practices of drawing, choreography and writing enter into dialogue, overlap and collide, attending to the specificity of and slippages between these modes of inscription. Central is an attempt to find ways of better understanding and making tangible the process of research in and through practice — the unfolding decision-making, the dynamic movements of ‘sense-making’, the durational ‘taking place’ of something happening live — and for asserting the epistemological significance of this habitually unseen or unshared aspect of the artist’s, choreographer’s or writer’s endeavor. Choreo-graphic Figures. Deviations from the Line gives tangible articulation to the meaning and weight of relations as generative forces within the making of knowledge, attending to the flows of thinking (with and between) operative within artistic enquiry, and in recording these modes of (non-)visual sense-making. Through processes of reciprocal exchange, dialogue and negotiation this research pressures drawing, choreography and writing beyond the conventions, protocols and domains of each discipline: for choreography, beyond the domain of the body and space of the theatre; for drawing, beyond the domain of the two-dimensional page; for writing, beyond the domain of language, the regime of signification. The collaborative research quest is one of tracing and understanding these permeable frontiers, to challenge the assumptions of the clear-cut disciplinary line and produce new articulations of ‘expanded practice’. Choreo-graphic Figures. Deviations from the Line gives makes productive the close relation between the German words “Aufzeichungen” (notes) and “Zeichnungen” (drawings), conceiving of the ‘in-between-space’ from draft to articulation as a site of potential for unexpected connections. To explore the performative character of notation, the researchers practice kinetic as well as graphic modes of inscription, expanded tactics extending beyond apparent physical limitations (of the mind, the hand, pencil and paper), integrating time, sound, movement and narration through the embodied practice of choreographic performance. Choreo-graphic Figures. Deviations from the Line unfolds through a series of intensive ‘Method Labs’ where the key researchers come together geographically in one place to practice thinking-moving relationally and to develop singular and sharable forms of practice-as-research. For the symposium Gansterer, Greil and Cocker propose to share and stage findings from their recent ‘Method Labs’ by presenting a series of ‘kinetic diagrams’ or “choreo-graphic figures” (e.g. figure of arrival, figure of touch [approaching the other], figure of ‘becoming comma’) in the form of a hybrid performative lecture involving live performance, drawing and spoken word. References ARTEAGA, A. (2014). Sensuous knowledge. Making sense through the skin. in: LUOTO, M., & ELO, M. (2014). Senses of Embodiment Art, Technics, Media. Pieterlen, Lang, Peter Bern. BRANDSTETTER, G. & BOEHM, G. & VON MÜLLER, A (2007) Figur und Figuration: Studien zu Wahrnehmung und Wissen. Munich Wilhelm Fink Verlag. BUTLER, J. (1997). Excitable speech: a politics of the performative. New York, Routledge. COCKER, E. (2013). Live Notation: – Reflections on a Kairotic Practice. Performance Research. 18, 69-76. CIXOUS, H. (1998). Stigmata: escaping texts. London, Routledge. LEEB, S. (2011). A Line with Variable Direction, which Traces No Contour, and Delimits No Form. in: GANSTERER, N. (2011). Drawing a hypothesis: Figures of thought. Wien, Springer. LEPECKI, A., & JOY, J. (2009). Planes of composition: dance, theory, and the global. London, Seagull. MANNING, E. (2009). Relationscapes movement, art, philosophy. Cambridge, Mass, MIT Press. NEGRI, A., & NEGRI, A. (2004). Time for revolution. New York, Continuum O'SULLIVAN, S. (2012). On the production of subjectivity: five diagrams of the finite-infinite relation. Houndmills, Basingstoke, Hampshire, Palgrave Macmillan. SABISCH, P. (2011). Choreographing relations: practical philosophy and contemporary choreography : in the works of Antonia Baehr, Gilles Deleuze, Juan Dominguez, Félix Guattari, Xavier Le Roy and Eszter Salamon. München, epodium. WHITE, E. C. (1987). Kaironomia: on the will-to-invent. Ithaca, Cornell University Press.
URL: http://www.semiotik.eu/index.php?id=0,45
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