seen from United States
seen from United States
seen from Russia
seen from Russia
seen from United Kingdom
seen from United States
seen from United Kingdom
seen from United States
seen from China
seen from United States
seen from Jamaica
seen from France
seen from United States
seen from China
seen from France
seen from France
seen from United Kingdom
seen from United States
seen from United States
seen from Türkiye
Giannachi, Gabriella, and Nigel Stewart. 2005. Performing nature: explorations in ecology and the arts. Oxford: Lang.
Stewart, Nigel. "Dancing the Time of Place: Fieldwork, Phenomenology and Nature's Choreography"
Phenomenology. Dance as a mode of knowing nature. But what nature - objective nature or a reflection of the subjective experience?
nguage:b�WPGY$
Giannachi, Gabriella, and Nigel Stewart. 2005. Performing nature: explorations in ecology and the arts. Oxford: Lang.
May, Theresa J. "Re-Membering the Mountain: Grotowski's Deep Ecology."
Strip culture away from man, closer to nature. Via negativa
Create a human to be like an animal, wild
Language vs pre linguistic. Role of embodiment "It is time to recuperate metaphor as a function of our material and senatorial embodiedness, the language of our ecological imaginations" (356).
Deep ecology (lifestyle changes, you are responsible to your environment)
Grotowski reciprocity, interdependence. Ecological self, a process of reciprocation with and in natural world 351
Giannachi, Gabriella, and Nigel Stewart. 2005. Performing nature: explorations in ecology and the arts. Oxford: Lang.
Fraleigh, Sondra. "Spacetime and Mud in Butoh."
Butoh "as a unique kind of performed ecological knowledge with agricultural roots, intimacy with nature through the ground, and cross-cultural and urban juxtapositions" (327).
Dance with Nature 329
l hierM�WnY�
Giannachi, Gabriella, and Nigel Stewart. 2005. Performing nature: explorations in ecology and the arts. Oxford: Lang.
Birringer, Johannes. "Environments for Interactive Dance."
Dance, proprioception 313
Transactions between event, site, viewers
r0�WcY�
Giannachi, Gabriella, and Nigel Stewart. 2005. Performing nature: explorations in ecology and the arts. Oxford: Lang.
Bronet, Frances. "Beating a Path: Designing in the Posture of a Body."
Reciprocal relationships between movement and architecture
Movement is defined by space (enable and prohibit movement)
Experience space through our bodies; challenge visual culture
Ready-made space, built environment...space as a set of static parameters, constrain us to occupy space in a single or specific way
"Design in movement works over time, with the ability to transform under variable conditions, where the process and product respond to the current authors or occupants of the space" (287).
"The project...produced an arena where every audience member define how the event/pieces would work together. There was no 'one way' to view the piece. The audience was fully engaged in this situation, too close to the work. We could not see it all at once, and multiple engagements of the dancers with the moving pieces allowed for numerous ways of putting the work together. In a situation where there is movement in every part of the room for most of the installation, the eye must wander constantly to take it all in. I had watched The performance over a hundred times, and never saw it in the same way. The layering of the space and the movement offered possibilities to the audience that could not be predetermined" (300-1).
�s�WAX-
Giannachi, Gabriella, and Nigel Stewart. 2005. Performing nature: explorations in ecology and the arts. Oxford: Lang.
Kaye, Nick. "Performed Ecologies: Body, Material, Architecture."
"Invariably manifesting itself at the cusp of performance practice, the articulation of objects, materials and locations in visual art and architecture in terms of events has consistently implicated the viewer in processes of continuous exchange with their immediate environment,never realising, in bodily confrontations with materials or acting out of place and space, a 'performed ecology' of the subject. Approaching the environment as a complex inter-relationship of active systems, these practices prompt understandings of the interdependence of organism and environment, of performance and meaning, of the ubiquity of processes of change, as well as the possibility of disequilibrium and radical transformation" (269).
Arte povera. Ecology of the body in its material environment. An ecological logic, a logic of interdependency and transformation between object, environment, and organism
Performed ecology in which the viewer recognizes their enactment of and exchange in the environmental work.
Works that provoke a felt disequilibrium, articulating the viewers relationship with a play of natural forces defining the installation. 274. An ecological imperative. Placing interventions of nature against the limitations of the human body,
Henri Lefebvre. The production of space. 276. Space commands bodies, pre/proscribing gestures, routines, distances. The performance of the urban environment. Built environment.
Expose and disrupt the construction and performance of an urban body. 279. Expose exchanges between self and city in order to produce a space, or lacuna, where the pedestrian becomes aware of their own performance in and of the built environment. Encounter of an architectural text, through code, style, and form, and the experience of walking, of enacting, and so realizing the built form.
"In Tschumi's architectural strategies, like Wodiczko's interventions, the body is identified with the built environment, while performance becomes the means by which the purpose and meaning of architectural form is realised and transformed" (282).
�_h
Giannachi, Gabriella, and Nigel Stewart. 2005. Performing nature: explorations in ecology and the arts. Oxford: Lang.
Briginshaw, Valerie A. "From Performance through Narrative to Interconnected Subjectivities."
The interdependency of self, other, and environment fundamental to ecological consciousness. Related to and dependent on others - an ethical engagement with the world implicit in an ecological consciousness. 235
0�:�w�x�WJMY$
Giannachi, Gabriella, and Nigel Stewart. 2005. Performing nature: explorations in ecology and the arts. Oxford: Lang.
Heim, Wallace. "Navigating Voices."
"Over the past thirty years, artists-performers-activists have evolved a loosely-associated family of performative artworks and actions which are hybrids of performance, activism, image-making and social and environmental interventions - broadly known as social practice art. In many, conversation, in everyday time, is the performative and animating element, one which is mutually created between the artist(s) and participant(s)...The event created is more than a space for equitable public dialogue; it is an occasion through which a participant can enter into an embodied responsiveness - conversationally, imaginatively, perceptually - in relation to the artist, and in some works, with an other-than-human being. These we woks which do not only display an ethical capacity, but manifest it" (200).
Phronesis, a condition of reason and moral knowledge in a situation of uncertainty.
"bringing participants to a recognition of their position and a knowledge about themselves within the context of nature-human relations...how does your way of life, your identity, depend on other lands, other lives, other labours, in ways which you might prefer not to recognise" (201).
In social practice art, "the methods of discovery involve conversation or dialogue with participants and publics as the performative element, as negotiations towards an agreed action, as part of a collaborative process. Associated in this 'family' are social sculpture, littoral art, dialogic art, new genre public art, eco-art" (201).
"An action or work can be marked out as an aesthetic performance or can be indiscernible from everyday activities; it can exist as a transient event, or be settled in a location over an extended timescale. Many works explicitly incorporate different modes of knowledge - the imaginative and poetic, the reasoned, the factual, the emotional, the sensual, narrative and reflective analysis. The contexts and settings may have aesthetic and metaphoric elements. The works can instigate consensually determined decisions and actions, negotiate issues of justice, bring the aesthetic into processes of collaboration" (202).
"Not all works involve ecological concerns. In those that do, the incorporation of 'nature' may be oblique or symbolic, or involve direct, material involvement with environmental processes" (202).
Touch Sanitation by Mierle Laderman Ukeles
Visions for the Green Heart of Holland by Newton and Helen Meyer Harrison
Still Waters by PLATFORM
(What did art laboratory Berlin feature?)
"There is significant conceptual diversity between works, but something of a shared ethos, which - most broadly and idealistically - is based upon liberal social and environmental ethics. The democratic value of communicative processes in effecting social change and the artists' skill in creating equitable public spaces for conversation are markers for critical judgment. The political perspectives and moral accountability of the artists have become part of the critical remit. Because the works re within the everyday, they are performed within the ethical limitations of face-to-face engagement" (203).
"There are diverse variations in what constitutes conversation, it's location in the artwork and its purpose. For the two works described below, conversation is a process of communication which is dependent on finding enough common meaning between the artist and participant to sustain a dialogue. This mutual adjustment between the speaking partners is not only a prerequisite, it is an inherent process which forms the work. The artist navigates, rather than conducts, the flow of the conversation. The artist asks the instigating question, listens, ate a context for action, creates an aesthetic milieu in which an event is mutually created. The exchanges depend on the talents of the speakers to respond to the insights, fallibilities and allure of each other. The activist potential develops in the time it takes to speak about something and for it to be 'listened' into existence. This involves not only the matter conversed, but the subjectivities engaged, which are, in the action, opened to change. It is an improvisatory, slow activism" (203).
Radical potential and power of listening, of conversation.
i\.net�W6�]
