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Background

How can you perform a poem, a painting, a pattern, a principle, a policy, a paradox, protest? What kinds of instruments, media, practices and locations might you use?

What does each of these things ask in terms of different kinds of disciplinary skills of interpretation, translation and expression? What can creative technologies and add or afford in terms of visuals and sound, incorporating hybrid physical and digital components and modalities in extended ways, weaving in people, places and things.

Each area of activity has its own cultures of doing based on the time it takes to develop content, the tools and instruments involved, the level of physical and technical skill required of its practitioners and the historical evolution of each discipline across varied and shifting cultural contexts, economic pressures.

What assumptions do we carry? What is the relationship of audience and performer; amplified sound and ‘acoustic’ sound; non-corporeal content and in-body performance?  Do any of these take primacy over the other and in what situations? How could that be accentuated, subverted or combined?

If we were to cease thinking about sound as sound and image as image and devise work that was genuinely audio-visual how would we dissolve the disciplinary boundaries of those involved and what would we gain, expressively, aesthetically and conceptually by learning to talk and act as an audio-visual ensemble?

This project aims to push its participants to seriously explore and experiment with performance as a research based and research led practice, to investigate the creative and expressive potential of different forms of media, instruments, performance and improvisation applied to diverse subject matter and motivations, and to learn about issues relating to live performance by giving live performances.

One way to approach this is through spatial sound and visuals using acoustic, electronic, physical and digital sources.

Where do we go from here?

What you will learn on this project:

  • To work collaboratively to produce a performance
  • To examine the experimental potential of composition, improvisation and live performance
  • To develop integrated audio-visual media and practices for performance
  • To develop ways to think critically about issues relating to performance by giving live performances

Suggested submission forms and formats:

  • a carefully planned series of short audio-visual studies prepared by the group
  • a set of new ‘instruments’ whether physical, digital, sonic or visual
  • a longer performance that integrates a range of instruments, media and practices
  • a documentary of a performance and its development

Suggested reading, resources and examples:

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