a series of international conferences
► Wednesday | 9th of Novemver | 12 - 16 pm
► The National University of Music Bucharest - Auditorium Hall (33 Stirbei Voda)
► Free entrance
► Language of presentation & dialogue - ENG
Bucharest International Dance Film Festival launches the second edition of the festival with a series of artistic research meetings, a symposium that gathers artists from different fields, working in the multi-faceted realm of Intermedia Performing Arts. Austrian, Romanian and Bulgarian artists will present their projects & research, share working experience and take part in panel discussions.
At the border between body & media, in the eld of performing arts, these practitioners meet to share and exchange ideas, experience and knowledge about the work process during the realization of their projects in the context of the contemporary art world. The event gives the possibility for innovative projects to be presented in a format of public talks/ presentations, followed by Q&A sessions.
The topics of discussions will be centered aroundthe inter-media oneness in stage-based interaction, the human body as interface for interaction and tool for audio-visual expression, the role of the media as a “digital performer on stage", the transformative experiences during the interdisciplinary work process, the trans-cultural body, AR and VR in theater performances and many more.
The conference is co-organised by AVmotional platform, curated by Mihaela Kavdanska and hosted by The National University of Music Bucharest - The Centre of electroacoustic Music and Multimedia. The participation of Austrian artists is supported by The Austrian Cultural Forum / The Austrian Embassy.
Examination of possible strategies for cybernetic relationships between performer, audience and technology in the context of contemporary performing arts within the artistic practice of the Vienna based Bulgarian theater director and digital artist - Antoni Rayzhekov.
on intermedia oneness
In her latest research studies & projects Mihaela Kavdanska is concerned with the stage-based interaction in the field of Intermedia Performing Arts and the status of the performer's body, as main interface for interaction, a field where different artistic expressions and latest technologies go hand in hand. The performing body is the center of this experience: generator of data, interface for interaction, observer and receiver of feedbacks from a sensitive, reactive environment or from another performing body. The influence is mutual. The performing artists cause changes in the environment and the environment’s feedback could change their perception and further actions. The intermedia oneness between art, technology and the human body is a state of creation, where body, mind and consciousness expand, being all one.
Intermediality and Posthumanism
by Raluca Nestor Oancea
Raluca Oancea, lecturer al the National University of Art Bucharest will explore the interaction between art and technology. Breaking down the borders in between the media itself is connected to a wider phenomenon of redefining the art as an extended practice towards anthropology and humanist sciences, referring to the posthumanist person, defined by contemporary theoreticians as the highly disputed phrases earth-becoming, animal-becoming, machine-becoming.
[un]organising the body
In her latest works, the Romanian choreographer Simona Deaconescu is preoccupied to find and expose an unformed and disjointed body, made up of infinite particles of information that travel back and forth allowing the dancer to stretch or compress time in a hallucinatory way. While faced with the multilayered world of technology, this passive aggressive body merges its synapses to sound and video, allowing himself to be transformed into an emotional machine, a tensionate combination of superpower and fragility. The unorganised body constantly returns to 0 and beyond 0, depersonalizes, lets the stream of information flow trough the micro particles of the organs, lets himself be ruled by randomness. Simona presents the insights of her process of working with dancers and technology, both as a tool to augment the sensory power of the body on stage, but also as a challenge of technology through the carnality and the vulnerability of the human body.
Technologic intermediate gestures in the piano performance
Been interested in the use of new technology and its implementation in interactive music systems, Catalin Cretu (composer, multimedia artist and researcher at the Centre of Electroacoustic Music and Multimedia in the frame of the University of Music Bucharest) extended his research in the field of sensors, and decided to create a hyper-electroacoustic piano, which should make the unification of algorithmic composition technique with the traditional way of making music possible.
by Gerhard Funk
In his presentation Gerhard Funk talks about the long-standing cooperation with the Ars Electronica, the TIME OUT exhibition series that enables young artists to show their work in the Ars Electronica Center and the annual course ‘Deep Space’, where a group of students have the opportunity to develop pieces in the Deep Space with its integrated tracking system. This system allows to track the position of the visitors. All works are takes on “cooperative aesthetics” in which visitors to Deep Space 8K explore the changes their own movements bring about in the displayed projections and, in some instances, on the acoustic level too. Working together and coordinating the movements it is possible the create choreographies and in October 2015 a dance group has developed a performance with 3 of these pieces.
A (personal) take on mediaturgy in the stage based performance
Cinty Ionescu, multimedia artist, focuses her presentation the way mediaturgy impacts the working dynamics in a contemporary stage performance by breaking down the traditional parameters of the theatrical experience and calling as well for alternative modes of perception on the part of the audience. Cinty analyses, with practical examples from her expertise, performance as a design. Particular focus on methods of composition in media works gives new meanings and directions to the way we use text and live image, live and virtual performers. Contemporary performance, by situating the media as the center of the study, becomes one dominated by a multiplicity of images (visual, aural and verbal imagery). Therefore contemporary stage performance denies, more and more, the traditional supremacy of language as a critique of reality by reorganizing the audience, performing relationships, eliminating dialogue from drama and investing actors as images and icons in a context where text is merely a pretext.