<< KHÔRA >> 1.0
<< Khôra >> is a multimedia dance performance that highlights the psychological conflict of remaining present in both the physical and digital worlds at once. Drawing on the Platonic idea of space that lies “between the sensible and the intelligible, through which everything passes but in which nothing is retained,” << Khôra >> is a comment on the present moment in digital history, wherein the difference between access to information and sensory overwhelm is sometimes negligible, and actively negotiated. Utilizing haptic sensor technology to translate movement into sound, and live dance into digital avatars, vignettes focus on themes of human and technological connection and interruption, the ways in which technology limits and expands physical movement, the viral nature of miscellaneous internet content, and the omniscience and gender-politics of digital assistants.
Dancers: Sawako Gannon, Jen Gerry, Varsha Iyengar, Nekai Abriol, Divya Anantsri
EPOCH
Digital Vocab
Connection Duet
Siri
Video
ASMR for Angry People
Video: Angel O’Leary Music: Lewis Jay White
ASMR for Angry People is the live version of Angel O’Leary’s “political dripping” portraits of contemporary American politicians. Translating the vicarious joy of autonomous sensory meridian response video (slime, sand, power-washing) into a frustrated political helplessness, the viewer is encouraged to act “as if” the angry political drippings were their own, and feel the anger involved in physically marring the image of an enemy of the state, while knowing that ultimately, resistance can never be passive.
ASMR for Angry People
Video: Angel O’Leary Music: Lewis Jay White
ASMR for Angry People is the live version of Angel O’Leary’s “political dripping” portraits of contemporary American politicians. Translating the vicarious joy of autonomous sensory meridian response video (slime, sand, power-washing) into a frustrated political helplessness, the viewer is encouraged to act “as if” the angry political drippings were their own, and feel the anger involved in physically marring the image of an enemy of the state, while knowing that ultimately, resistance can never be passive.
Women Supporting Women Eating Breakfast
Video: Rebecca Senn and Zoe Komarin
Women Supporting Women eating Breakfast is a parody of the way in which political activism and virtue signaling overlap and negate one another in the context of social media. Utilizing the charged language of oppression to describe a political non-issue (eating breakfast), Senn and Komarin demonstrate the mutability of inane content into a call for action, thereby illuminating its operative rhetoric and empty performative nature.
M.I. (Miscellaneous Internet)
Performance: Shaun Gaynor Video: HiveMindGO! (Shaun Gaynor and Reaux Flagg) Music: William Duncan Morris and Kyle Gannon
HiveMindGO! focuses on the ways digital spaces allow for constant reflections on past experiences on and past the internet. From 2006 to 2014 Shaun Gaynor was a compulsive internet picture saver. By the time he stopped in 2014, he had amassed over 30,000 images. For this project, Gaynor sorted the images chronologically and asked volunteers to respond without constraints to the images in his archive. At the start, the artist acknowledged that a fair amount of the images in his archive are tasteless or downright offensive and was clear to communicate that he does not condone all the implications of the images he has saved over the years, nor their historical outcomes (racist, sexist, right-wing garbage). During the editing process, this feeling became intensified, particularly in light of the fatal outcome of the Christchurch shooter’s meme-inspired manifesto.
In his own words: “Sometimes things done alone in dark rooms need to be brought into the light of public scrutiny, and so it is with a sense of catharsis that I send these pictures out to you.”
ASMR for Angry People
Video: Angel O’Leary Music: Lewis Jay White
ASMR for Angry People is the live version of Angel O’Leary’s “political dripping” portraits of contemporary American politicians. Translating the vicarious joy of autonomous sensory meridian response video (slime, sand, power-washing) into a frustrated political helplessness, the viewer is encouraged to act “as if” the angry political drippings were their own, and feel the anger involved in physically marring the image of an enemy of the state, while knowing that ultimately, resistance can never be passive.
Open Aware Open
Paul Senn
Paul Senn records brainwaves using EEG and converts them into audiovisuals through software that he wrote. The result are audiovisual representations of the mind, or “neurosongs”
Live Music
