DR3008 Allied Arts Review

How do we see? Anatomy of vision How do we sense? How do we make sense of what we see? http://picturescollections.com/wp-content/uploads/2012/04/Close-Up-colored-eye.jpg

What performances matter? To who? Performing a fluid continent – can we see climate change? Performances in Oceania … What performances matter? To who? http://emergentecologies.net/wp-content/uploads/2014/06/OPB_Full-Visual-Summary_2013_4.1-487x1024.jpg http://www.fluidstates.org/userfiles/images/OPB15_Poster_July2015_1.jpg

Bodies in /of / as / water … https://static1.squarespace.com/static/5387e773e4b06f2290e62333/538be223e4b0942d9664f409/538be27de4b07380a7de2eff/1433180749789/OPB+14.jpg?format=1500w

Animal bodies and perception Early developmental movement patterns and perception Dorothy Cross examples Donna Haraway: From Cyborgs to the Antropos—and beyond

Peggy Phelan: Unmarked What is the marked? What is unmarked? What is the politics of representation? What is the given to be seen? How do you make the invisible-visible? And do you want to? Does the invisible want/need to be seen?

Phelan continued… “The real is read through representation, and representation is read through the real” (2) “Taking the visual world in is a process of loss: learning to see is training careful blindness. To apprehend and recognize the visible is to eliminate as well as absorb visual data. Just as surely as representational technologies – the camera, the canvas, the theatrical frame, language itself – order visual apprehension to accord with a (constructed) notion of the real so too do human eyes.” (13)

“Visibility and invisibility are crucially bound; invisibility polices visibility and in this specific sense functions as the ascendant term in the binary. Gaining visibility for the politically under-represented without scrutinizing the power of who is required to display what to who is an impoverished political agenda” (26)  

Moving and making: Artist as wanderer Drawing and dancing- Ric Allsopp & André Lepecki (2008) Editorial: On Choreography, Performance Research: A Journal of the Performing Arts, 13:1, 1-6 Hiraku Suzuki, “Drawing as Excavating” PAJ: A Journal of Performance and Art, Volume 34, Number 3, September 2012 (PAJ 102), pp. 83-89 https://www.youtube.com/watch?v=CNuQVS7q7-A (Pina) (short) Longer extract: https://www.youtube.com/watch?v=Ys5xfdn5rlo How / does the body write?

UBU and the TRC How do you represent the ‘real’? How do you represent violence on stage? How do you adapt history? How do you integrate video, animation and puppetry? How do you represent race and identity politics? See sites and links for sources https://dtsalliedarts.wordpress.com/links- sites-exhibitions-etc  http://www.truthintranslation.org/educational_materials.pdf

Self portrait montages Eisenstein : film montage could create ideas or have an impact beyond the individual images. Two or more images edited together create a "tertium quid" (third thing) that makes the whole greater than the sum of its individual parts. Review: Your own montages

Diana Taylor: Disappearing Acts: Spectacles of Gender and Nationalism in Artgentina’s ”Dirty War” Percepticide “In order to qualify as “good” Argentineans, people were forced to focus on the given-to-be-seen and ignore the atrocities given-to-be- invisible, taking place around them. Signs indicated what the population was to see and not to see. The society of the spectacle, to borrow Debord’s term, ties individuals into an economy of looks and looking.” (p120)

Somethings left unseen Heather Cassils: http://heathercassils.com/ 103 Shots: http://www.huffingtonpost.com/entry/103-shots-listening-to- orlando_us_57714cd9e4b0fa01a1405b42 Guerrilla Girls http://www.guerrillagirls.com/#open Couple in the Cage: https://dtsalliedarts.wordpress.com/links-sites-exhibitions- etc/