Christiane Makward* Mettre un texte en musique est un exercice du fond des âges mais il est question ici, plutôt que de musique au sens habituel, de travail de création sonore pour la scène partant d’un texte et dialoguant diversement
Caroline Schlenker* and Rebecca Guy** We live our lives in boxes. . . . The boxes I’m referring to, as is Sam Shepard in his disturbing, tempestuous play, “Fool for Love,” are the ones that constrict the space between our
Lambros Pigounis* The notion of a “politics of sound” or “micropolitics of noise” refers to processes that seek to intensify frequency vibration as a technique of affective mobilization. On a performative level, the term refers to the transformation of energies
Marci R. McMahon* Mexican artist Luz María Sánchez’s series detritus—performed in both Mexico City and Houston, Texas (2011-13)—confronts viewers with over 10,000 altered images of narco violence from Mexican media. The images are abundant and projected for two seconds each
Ariel Nereson* I was alone in the casita, puttering around and listening to John Cage. I decided to sit down at my desk and transcribe what you say. Cage is quoting of the answer Jasper Johns gave to a Swiss
Fabrizio Manco* What I call “aural choreography” is moving by following environmental sounds, it is where the acoustic environment is the choreographer and where movement responses are never exactly immediate and perfectly synchronized with it. One is moved and “composed”
Isabelle Choinière* The Body in Its Contact with Technology In this age of complexity and interaction, what possible performative aesthetic models can artists generate in resonance with the changing world of interconnectedness in which we live? This was one of
A conversation between Valentina Valentini* and Chiara Guidi** [Valentina Valentini] One of the foundational aspects of Italian New Theatre is the non-centrality of the text, which is seen as interchangeable with all the other languages present on stage. What were
Stephanie Schroedter* Corporeal dimensions of music as an audible though not visible art of movement manifest themselves in no other form of art as forcefully and plastically as in dance; that is, in the interaction with choreographic or improvised movements.
Gretchen Jude* Technology does not meet a body. Instead, the matters, flows, forces and intensities of the corporeal link and connect with other flows and the forces and materials of the technology and different bodily and technological multiplicities are elaborated.