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OPENPORT:
Realtime Performance, Sound, & Language
www.openportchicago.com
Week Three: February 17
Tyne Dogger event Panel
Discussion
Week Four: February 22-23
The Disappearance
of Latitude:
Live Presence and Realtime in Contemporary Practices
A two-day symposium
Symposium Bios
Week
Four: February 19-24
Exhibition: Tyne Dogger artists
TNWK (UK) - Sheet of Paper
Tyne Dogger event Panel Discussion
Chicago Cultural Center, 78 E. Washington
First Floor Garland Room
Saturday February 17, 2 – 3:30pm
Free
Tyne Dogger artist
Donna Rutherford, TNWK (cris cheek and Kirsten Lavers), and Fiona
Wright discuss their individual work, their experiences in the field
of Live Art, and the current climate of Live Art/Performance in
the UK/Europe. Issues of commonality and distinction between Chicago
and the UK, and the challenges of creation, presentation and sustainability,
will be addressed. The panel will be moderated by OPENPORT curator
Mark Jeffery.
The Disappearance of Latitude:
Live Presence and Realtime in Contemporary Practices
A two-day symposium
Thursday February 22 & Friday February 23
Free
This symposium brings together theorists and practitioners from
a variety of backgrounds to present lectures and participate in
discussions formulated around the themes of “Live” and
“Realtime,” and topics that arise from this convergence
of terms. As with the OPENPORT performance series, the intention
of the symposium is to group speakers from fields and backgrounds
that, while perhaps not normally exposed to one another, may share
a common vocabulary. This symposium is presented in collaboration
with The School of the Art Institute of Chicago’s Performance
Department.
ADVANCE REGISTRATION ESSENTIAL: email mjeffe@saic.edu
or write to SAIC, Performance Department, c/o Mark Jeffery, 280
S. Columbus Drive, Chicago, IL 60603. Please include name, phone
number, email address, affiliation (if any), number and names of
people you are reserving for. Reservation deadline: Monday, February
19.
Opening Address
Adrian Heathfield (UK) - Impress of Time
Thursday February 22, 6pm
SAIC Auditorium, 280 S. Columbus Drive
Friday February 23, 9am – 4:30pm
SAIC Performance Space 012 &
Base Space, 280 S. Columbus Drive
Performance and live art are currently undergoing a critical, curatorial,
and artistic renaissance. Performance practices have proliferated
at the vibrant borders of visual art, dance, and theatre, while
a broad stream of visual artwork has taken a performative turn towards
ad hoc, itinerant, process-based, participatory, and ephemeral expressions.
How might we now think of the cultural force of performance, especially
those practices that utilize ‘realtime’ tactics and
long durations? Evoking the lifeworks of artist Tehching Hsieh –
exemplary models of art pressed to conceptual and physical limits
– Heathfield re-considers the critical paradigms through which
performance has previously been interpreted. Moving away from ideas
of performance as a momentary shattering, a technique of disappearance,
Heathfield explores the way that performance remains in and through
the experience of duration, and how performance allows a vital space
for the lived understanding of time within the contemporary.
Adrian Heathfield (UK) is President of Performance Studies International.
www.adrianheathfield.com
Introduced by Lin Hixson, Professor in Performance at SAIC.
Friday’s symposium events consist of talks from two distinguished
visiting scholars, in conjunction with panel presentations from
OPENPORT artists and SAIC faculty members.
Visiting Scholars:
Wendy Hui Kyong Chun, Brown University (US): Realtime Imagined Networks
N. Katherine Hayles, UCLA (US): The Time of Electronic Literature
OPENPORT Artists / Panelists:
jonCates (US) – OPENPORT artist/SAIC Faculty
John Cayley (UK) – OPENPORT artist
Lin Hixson (US) – SAIC Faculty
Kirsten Lavers (UK) – OPENPORT artist
Matthew Goulish (US) – SAIC Faculty
Laetitia Sonami (US) – OPENPORT artist
Alan Sondheim (US) – OPENPORT artist
Fiona Wright (UK) – OPENPORT artist
Symposium Bios (in alphabetical
order):
jonCates
(US) is an Assistant Professor in the Film, Video, and New Media department
at The School of The Art Institute of Chicago, developing and teaching
New Media. jonCates's individual and collaborative projects have been
screened or performed at various festivals, exhibitions, and events
including The MusicAcoustica 2006 Festival (Beijing, China), The Zacheta
National Gallery of Art (Warsaw, Poland), The Academy of Fine Arts
(Vienna, Austria), The Museum of Contemporary Art (Chicago), South
by South West (Austin), and The Boston Cyber Arts Festival (Boston).
His individual and collaborative projects are also widely available
online through various online exhibitions, networks, and platforms
including Low-Fi, Netbehaviour (London, United Kingdom), empyre (New
South Wales, Australia), Rhizome.org (NYC), and Turbulence (Boston).
jonCates also organizes and curates New Media events including FRAY
(2006), r4WB1t5 ("raw bits") micro festivals (2005 - present),
Version (2002 - 2004), and Game-Video (2003). Often invited to present
at various international conferences, jonCates has recently participated
in Hack the Knowledge Lab (Lancaster University, UnitedKingdom), The
Warsaw Electronic Arts Festival, (Warsaw, Poland), Share Share Widely:
A Conference on New Media Education (New York University, NYC), Read_me
2004 Software Art Festival (Aarhus, Denmark), and ISEA2004 (Helsinki,
Finland). http://systemsapproach.net
John Cayley (UK) Tyne
Dogger artist, is a London-based poet,
translator, publisher, and book dealer. Links to his writing in networked
and programmable media are at www.shadoof.net. Cayley was the winner
of the Electronic Literature Organization's Award for Poetry 2001.
He is an Honorary Research Associate in the Department of English,
Royal Holloway College, University of London, and has taught and directed
research at the University of California San Diego and Brown University,
among other institutions.
Wendy Hui Kyong Chun (US) is Associate Professor of Modern
Culture and Media at Brown University. She has studied both Systems
Design Engineering and English Literature, which she combines and
mutates in her current work on digital media. She is author of Control
and Freedom: Power and Paranoia in the Age of Fiber Optics (MIT, 2006),
and co-editor (with Thomas Keenan) of New Media, Old Media: A History
and Theory Reader (Routledge, 2005). She has been a fellow at the
Radcliffe Institute for Advanced Study at Harvard and a Wriston Fellow
at Brown University. She is currently a visiting scholar and visiting
associate professor in the History of Science Department at Harvard,
and is finishing a monograph entitled Programmed Visions: Software,
DNA, Race (forthcoming MIT, 2008). www.controlandfreedom.net/eula.php
N. Katherine Hayles (US) is a noted postmodern literary critic
and theorist as well as the author of How We Became Posthuman: Virtual
Bodies in Cybernetics, Literature and Informatics which won the Rene
Wellek Prize for the best book in literary theory. She is currently
the Hillis Professor of Literature in English and Media Arts at the
University of California, Los Angeles where she has taught since 1992.
Hayles received her BS in Chemistry from the Rochester Institute of
Technology in 1966, her MS in Chemistry from the California Institute
of Technology in 1969, her MA in English Literature from Michigan
State University in 1970, and her PhD in English Literature from the
University of Rochester in 1977. She has taught at the University
of Iowa, University of Missouri–Rolla, the California Institute
of Technology, and Dartmouth College.
Adrian Heathfield (UK) writes on, curates,
and creates contemporary performance. His work has long been concerned
with questions of time, duration, and presence. He is the editor of
the books Live: Art and Performance and Small Acts: Performance, The
Millennium and the Marking of Time, and co-editor of the journal issue
On Memory and the box publication Shattered Anatomies: Traces of the
Body in Performance. He also co-curated Live Culture, a four-day performance
series and two-day international state-of-the-artform symposium at
Tate Modern and the national performance series Small Acts at the
Millennium. He has worked with many artists on critical and creative
collaborations and has lectured extensively in Europe and America.
He is a Principal Research Fellow in Art and Design at Nottingham
Trent University in the UK and the President of Performance Studies
International. He is currently completing work on the monograph Out
of Now: The Lifeworks of Tehching Hsieh. www.adrianheathfield.com
Matthew Goulish (US), writer, performer,
and member of Goat Island performance group, teaches in the MFA Writing
Program and the Liberal Arts Department of The School of the Art Institute
of Chicago. In 2000, Routledge published a collection of his writing
39 Microlectures– in proximity of performance. His recent essays
have appeared in the journals P-Queue and Parakeet, and the anthology
Performance and Place. Lin Hixson (US) is the director of the collaborative
performance group Goat Island. She teaches at The School of the Art
Institute of Chicago where she is a full professor in the Performance
Department.
TNWK (cris cheek and Kirsten Lavers) (UK)
Tyne Dogger artist, is
a collaborative authorship of interdisciplinary poetic textual and
visual practices. The work is about issues raised by co-authorship,
site-responsiveness, conversation, and participation, using a diversity
rather than a singularity of modes and medias to explore questions
of value.
"TNWK's process releases value - variously coded as commodity,
memory, connoisseurship, etc. - into the intensity of shared work."
Sandy Baldwin
Kirsten Lavers’
(UK) Tyne Dogger artist,
practice is willfully diverse in its processes, outcomes, and challenges
to the fetish of the solo artistic voice. Ranging through media including
drawing, sound, print, photographic/object based installation, and
performance, her process is one of gathering and care-taking, often
through collaboration in response to a specific context. Her consistent
thread is the commitment to conversation, the everyday, and the happening
upon witness/participant. www.kirstenlavers.net
Laetitia Sonami (US) is an electronic composer, performer,
and sound installation artist. Her performance work combines text,
music, and found sound, in compositions which have been described
as "performance novels." Her interactive installations focus
on embedding everyday objects with kinetic and sonic personalities.
Best known for her lady's glove, an evening black lycra glove studded
with a myriad of sensors, she is performing worldwide and is based
in Oakland, CA. www.sonami.net
Alan Sondheim's (US) books include the
anthology Being on Line: Net Subjecti- vity (Lusitania, 1996), Disorders
of the Real (Station Hill, 1988), .echo (alt-X digital arts, 2001),
Vel (Blazevox 2004-5), Sophia (Writers Forum, 2004), Orders of the
Real (Writers Forum, 2005), and The Wayward (Salt, 2004) as well as
numerous other chapbooks, ebooks, and articles. He is currently working
with the Swiss dancer/choreographer Foofwa d'Imobilite on new work
premiered across Europe. In 2006, he had a major exhibition at Track
16 Gallery in Los Angeles. For the past few years, he has been doing
laptop performance at a number of venues, from Los Angeles to Geneva.
Sondheim's emphasis is on writing, theory, and reproductive media
in general.
Fiona Wright (UK)
Tyne Dogger artist, is an independent artist, lecturer, and researcher.
Her series of performance lectures titled Other versions of an uncertain
body was seen at both performance and conference programs. These were
linked to a PhD submission at Nottingham Trent University (2005) concerned
with writing as documentation of performance practice and also included
a collaboration with video maker Becky Edmunds.
Exhibition:
Tyne Dogger artist
TNWK (UK) - Sheet of Paper
February 19–21, In progress public viewings 12noon-1pm &
4-5pm
Final installation and performances, February 22—24, 10am-5pm
SAIC Base Space, 280 S. Columbus Drive
"There are few events which don't leave a written
trace at least. At one time or another, almost everything passes
through a sheet of paper, the page of a notebook, or of a diary,
or some other chance support (a Metro ticket, the margin of a newspaper,
a cigarette packet, the back of an envelope, etc.) on which, at
varying speeds and by a different technique depending on the place,
time, or mood, one or another of the miscellaneous elements that
comprise the everydayness of life comes to be inscribed." Georges
Perec, Species of Spaces
In an orgy of intertextuality, UK transdisciplinary
art and text collaboration TNWK (things not worth keeping) will
be working from February 19–21 at SAIC, where they will be
open to visitors each day from 12noon-1pm and 4-5pm. The result
of TNWK’s efforts will be presented on February 22 through
24, a “mesh of occurrences” potentially generated and
documented by sound works, digital photography, performances, book-art,
and hyper-text. Sheet of Paper is being made specifically for the
OPENPORT symposium. www.tnwk.net
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