[-empyre-] "(E)MOTION FREQUENCY deceleration"
Johannes.Birringer at brunel.ac.uk
Thu Oct 20 08:25:02 EST 2011
very engaging posting, Sérgio, and I am just replying here with a couple of questions:
-- spectatorship, why do we have a discussion right now about active versus passive spectators, and why is this a political issue, in the sense in which Rancière seems to think? (See: "The Politics of Aesthetics," trans., 2004; and "The Emancipated Spectator," trans. 2009). Has the spectator not always been emancipated, and why is interactive art so condescending, or , in other cases, so coercive and so eager to test "compliance"?
and following Gordana's horrific post, to what extent is control and compliance management a goal of the interactional technologies used by corporate or incorporated practice?
-why would perception need to be resensibilized?
I would like to ask Atau whether in his performance practice the issues (mentioned by Sérgio) of density and lightness come up, and how you experience the bodily performance of your sound and sound instruments?
finally, as i now read the catalogue on Pipilotti Rist's exhibition ( and probably we could take about many such media or sonic installations), it mentions here that Rist considers her installations as attempts to "influence the movement of people in relation to the work"; I quote: "recognizing that gallery visitors usually behave in certain set ways, she deliberately disrupts these "viewing rituals" by projecting images that can only be properly seen by walking over themm lying down, or kneeling."
listening rituals? why not mention of listening to the work? and interestingly, the thing i tried to describe (where i stuck me head up a hole to see "I'm Not the Girl Who Misses Much", is actually an installation piece she describes a abox shaped like the beam of a projector, called "A Peak into The West - A Look into the East (or E-W)".
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