scholarly journals A PERFORMANCE ART AS AN INTERACTIVE ACTION TOOL

2021 ◽  
Vol 10 (77) ◽  
Keyword(s):  
Performance Art ◽  
Real Life ◽  
Relational Aesthetics ◽  
Work Of Art ◽  
Participatory Art ◽  
Process Art ◽  
Artistic Process ◽  
Art Practices ◽  
Audience Interaction ◽  
Data Collection Technique

When considered as an artistic process, art questions the art problematism of the audience in the place of consumer, where the boundaries between art and real life are blurred, and the connection between them through the work of art. Art forms the precursors of fictions where the distant and uncertain relationship between the work and the audience is centered on mutual communication with new artistic approaches as an intervener/participant in artistic practice. In the first quarter of the 20th century, it is realized that the audience should be included in the work in order to remove the boundaries in the formative process of the work of art by taking an opposing attitude on the strict boundaries of the artist and the art work. As a matter of fact, the process that started with avantgarde formations in the early 1900s completely changed the nature of the relationship between the art work and the audience with the artistic practices of the 1960s. In the 1990s, the increasingly widespread audience-oriented participatory art practices initiated a period in which the audience was interactively involved in the performance and evolved into relationality with new approaches with active participation. In this direction, while the changing art practices in the historical process of Performance Art have evolved into new trends, placing the audience in a participatory/active position, the formation of relational-oriented new expressions will be examined in the context of relational aesthetics, the roles of artist-art work-audience interaction and new artistic understanding and formations. The idea of “togetherness” realized by participatory art according to the changing roles and practices of the audience creates a state of collective consciousness by providing an environment of socialization. Within the scope of the research, by reviewing the literature, document analysis was used as a data collection technique. In the light of the collected data, the relationality dimension of participatory art practices and the similarities, distinctions, interactions, and connections between concepts and subjects were tried to be clarified between these art formations. As a result of the research, it is seen that performance art provides a multi-disciplinary environment where the audience participates in the artistic production process, interacts and actively participates in contrast to modern art movements. Keywords: Relational art, viewer and participator, performance art, relationality

9/11 as Avant-Garde Art?

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1820-1829 ◽  
Author(s):  
Richard Schechner
Keyword(s):  
Performance Art ◽  
Small Extent ◽  
First Century ◽  
Political Systems ◽  
Work Of Art ◽  
Karlheinz Stockhausen ◽  
Social Morality ◽  
Avant Garde ◽  
Single Moment ◽  
History Of

[The attacks of 9/11 were] the greatest work of art imaginable for the whole cosmos. Minds achieving something in an act that we couldn't even dream of in music, people rehearsing like mad for 10 years, preparing fanatically for a concert, and then dying, just imagine what happened there. You have people who are that focused on a performance and then 5,000 [sic] people are dispatched to the afterlife, in a single moment. I couldn't do that. By comparison, we composers are nothing. Artists, too, sometimes try to go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world. … It's a crime because those involved didn't consent. They didn't come to the “concert.” That's obvious. And no one announced that they risked losing their lives. What happened in spiritual terms, the leap out of security, out of what is usually taken for granted, out of life, that sometimes happens to a small extent in art, too, otherwise art is nothing.—Karlheinz Stockhausen (“Documentation”)Stockhausen aside, how can anyone call the 9/11 attack on the Twin Towers a work of art? Of what value is such a designation? What does calling the destruction of the Twin Towers a work of art assert about (performance) art, the authenticity of “what really happened,” and social morality during and after the first decade of the twenty-first century? To even begin to address these questions, I need to refer to the history of the avant-garde—because it has been avant-garde artists who for more than a century have called for the violent destruction of existing aesthetic, social, and political systems.

Conclusion: between image, act, body and language

2018 ◽  
pp. 136-141
Author(s):  
Sruti Bala
Keyword(s):  
Social Impact ◽  
The Other ◽  
Participatory Art ◽  
Other Hand ◽  
The Arts ◽  
The Social ◽  
Art Practices ◽  
Participatory Practice ◽  
The One ◽  
Historical Legacies

I have argued throughout this study that participatory art practices need to be understood in conjunction with the anxieties and contradictions that accompany them. Whether or not this is a formally constitutive characteristic worthy of naming as a genre is, in my view, less important than finding ways to account for and be responsive to the questions it poses. This is the place that this study departed from, yet oddly, it also the place it finds itself arriving at. For if this study has inquired into some of the conditions for and articulations of participation in the arts, it has also turned out to be an investigation of the ways in which participation is already circumscribed by the questions we ask of it, such as the social impact of participatory art, or its specific aesthetic features. The frictions in this endeavour will have become apparent to the perceptive reader: on the one hand I attempt to identify commonalities and systematic coherences in a field named as participatory art, and on the other hand I seek to analyse it in terms of its deviations from, and incommensurability with, a systematic narrative, in the emphasis of unruly, subtle, non-formalizable modes of participation. I treat participatory art as an inherited category, looking at its diverse, specific operations, or disciplinary routes and historical legacies. At the same time, I try to alter the terms of received wisdom by extrapolating principles and observations from the confines of one disciplinary arena into another. I search for ways in which affiliation to a given type of participatory practice might be described, only to find that formal coherences are perforated by aspects that exceed those same terms of affiliation. The analysis of participatory art and the conceptualization of participation in and through art thereby become intertwined in complex ways....

A Musical Suite Composed by an Electronic Brain: Reexamining the Illiac Suite and the Legacy of Lejaren A. Hiller Jr.

2018 ◽  
Vol 28 ◽  
pp. 19-24 ◽  
Author(s):  
Tiffany Funk
Keyword(s):  
Visual Arts ◽  
Performance Art ◽  
Electronic Music ◽  
Digital Art ◽  
John Cage ◽  
Computational Experimentation ◽  
Art Practices ◽  
Conceptual Performance ◽  
The 1950S

In 1956, Lejaren A. Hiller, Jr., and Leonard Isaacson debuted the Illiac Suite, the first score composed with a computer. Its reception anticipated Hiller’s embattled career as an experimental composer. Though the Suite is an influential work of modern electronic music, Hiller’s accomplishment in computational experimentation is above all an impressive feat of postwar conceptual performance art. A reexamination of theoretical and methodological processes resulting in the Illiac Suite reveals a conceptual and performative emphasis reflecting larger trends in the experimental visual arts of the 1950s and 1960s, illuminating his eventual collaborations with John Cage and establishing his legacy in digital art practices.

The gestures of participatory art

2018 ◽  
Author(s):  
Sruti Bala
Keyword(s):  
Collective Action ◽  
The Netherlands ◽  
Visual Arts ◽  
Civic Life ◽  
Institutional Critique ◽  
Community Theatre ◽  
Participatory Art ◽  
Art Practices ◽  
The Subject ◽  
Critical Investigation

The gestures of participatory art offers a critical investigation of key debates in relation to participatory art, spanning the domains of applied and community theatre, immersive performance as well as the visual arts. Rather than seeking a genre-based definition, it asks how artists, audiences and art practices approach the subject of participation beyond the predetermined options allocated to them. In doing so, it inquires into the ways that artworks participate in civic life. Participation is the utopian sweet dream that has turned into a nightmare in contemporary neoliberal societies. Yet can the participatory ideal be discarded or merely replaced with another term, just because it has become disemboweled into a tool of pacification? The gestures of participatory art insists that the concept of participation must be re-imagined and shifted onto other registers. It proposes the concept of the gesture as a rewarding way of theorizing participatory art. The gesture is simultaneously an expression of an inner attitude as well as a social habitude; it is situated in between image, speech and action. The study reads the gestural as a way to link discussions on participatory art to broader issues of citizenship and collective action. Moving from reflections on institutional critique and impact to concrete analyses of moments of unsolicited, delicate participation or refusal, the book examines a range of practices from India, Sudan, Guatemala and El Salvador, the Lebanon, the Netherlands and Germany. It engages with the critiques of participation and pleads for a critical reclaiming of participatory practices.

«AVANGRAD»: VOLGOGRAD PERESTROIKA AND POST-SOVIET PERFORMANCE (1986–2005)

Servis plus ◽  
2016 ◽  
Vol 10 (3) ◽  
pp. 93-106
Author(s):  
Антон Вальковский ◽  
Anton Valkovskiy
Keyword(s):  
Cultural Education ◽  
Performance Review ◽  
Artistic Process ◽  
Systematic Process ◽  
Art Practices ◽  
History Of ◽  
Abandoned Spaces ◽  
The City

The article aims to reconstruct systematically the history of the Volgograd performance, trace the lineage and interferences, the role of the major art-festivals in the emergence of new generations of artists, as well as to disclose variability of procedural art-practices in Volgograd from 1986 to 2005. Summing up the performance review of the Volgograd two decades (mid-1980s to mid-2000s), the author notes that it was not a coher- ent movement or systematic process, and was not institutionalized due to the lack of a system of commercial galleries, inspiring artistic process in Moscow and St. Petersburg. A gradual attenuation of the Square as a social and cultural education and place of attraction for artists, localized in the heart of the city, caused a gradual centrifugal movement towards the outlying, uninhabited, abandoned spaces and places of pilgrimage (the graveyard of ships, Krasnoslobodskaya kosa, Moratnike), which was associated with their romanticize, aestheticization, by a certain opacity. However, throughout the period under review we can identify several General trends: the desire of artists to theatrical, carnival, spectacularity, as well as spontaneous and impro- vised action.

scholarly journals Re/Presenting Artful Pedagogy: Relational Aesthetics in Early Childhood Contemporary Art Experiences

2017 ◽  
Vol 41 (4) ◽  
pp. 4 ◽  
Author(s):  
Maria Iafelice
Keyword(s):  
Young Children ◽  
Art Education ◽  
Contemporary Art ◽  
Relational Aesthetics ◽  
Art Making ◽  
Young Learners ◽  
Art Practices ◽  
Inquiry Curriculum ◽  
New Directions ◽  
Early Learners

<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>Young children are experts in creating unpredictable </span><span>projects akin to the work of contemporary artists and within contemporary art practices. The author utilized a hybrid method of a/r/tography and action research to reveal the </span><span>relational moments, specifically conversations, collaborative </span><span>art making, and interactions of early learners. Contemporary </span><span>art, specifically as it relates to relational aesthetics, has the </span><span>potential to blend with pedagogy and point to new directions for art education of young children: an artful pedagogy. Art </span><span>created with a relational aesthetic emphasizes and only exists from participation and interactivity. Within the context of classroom experiences, compelling findings surrounding unpredictable projects and young learners as experts are deeply explored. In particular, implications are brought into focus </span><span>for visualizing conversations with young learners through art. The connections of relational aesthetics in art education to artful pedagogy are revealed through images of conceptual work by young learners and blurry photographs. Interpreting relational aesthetics with a pedagogical lens led to conclusions that point to an elevated view of the art of young children, a view that reveals the possibilities and further questions for art education that is informed by contemporary art. An artful pedagogy suggests that art education catch up with </span><span>contemporary art and reflect the living inquiry, curriculum, </span><span>and art of the educator and young learners. </span></p></div></div></div></div>

scholarly journals Estrategias del arte participativo: Entre la micro-política y el software social

AusArt ◽  
2016 ◽  
Vol 4 (1) ◽  
pp. 207-216
Author(s):  
Cuautli Exal Martínez Sánchez
Keyword(s):  
Social Relations ◽  
Social Software ◽  
Social Production ◽  
Daily Lives ◽  
Participatory Art ◽  
Art Practices ◽  
Relationship Structures ◽  
New Research ◽  
Self Production ◽  
Software Social

La hibridación de las tecnologías digitales con la totalidad de las actividades humanas ha desencadenado una transformación irreversible en múltiples aspectos de nuestra vida cotidiana pero sobre todo, en los procesos de construcción sociocultural; Lo efímero, híbrido, virtual, interactivo, heterogéneo, son ejes entorno a los cuales construimos nuevas relaciones sociales. Material de análisis y reflexión para el desarrollo de las prácticas artísticas contemporáneas. En este sentido, las estrategias participativas impulsadas desde las prácticas artísticas desarrollan estructuras de relación, espacios de encuentro, diálogo y autoproducción colectiva. Podríamos afirmar que exploran el campo de las relaciones sociales (la conectividad social) y sus potenciales expresivos, narrativos, políticos, poéticos, estéticos, etc. Este artículo propone un análisis de las estrategias artísticas participativas como herramientas híbridas e interdisciplinares que propician a través de nuevas metodologías de investigación, la reflexión sobre nuevos modos de producir subjetividad y visualidad, producción social y emancipación cultural.Palabras Clave: ARTE PARTICIPATIVO; SOFTWARE SOCIAL;TECNOLOGÍAS BLANDAS; ARTIVISMO; ESTRATEGIAS MICROPOLÍTICAS Strategies of participatory art : Between micro- policy and social softwareAbstractHybridization of digital technologies with all human activities has triggered an irreversible transformation in many aspects of our daily lives but especially in sociocultural construction processes; ephemeral, hybridity, virtuality, interactivity, heterogenity, disruptiveness, are axes around which we build new social relations. Matter of analysis and reflection in the developing of contemporary art practices. In this sense, participatory strategies promoted by artistic practices develop relationship structures, spaces for encounter, dialogue, common action and collective self-production. We could say that these artistic practices explore the field of social relations (social entanglement and engagement) and their expressive, narrative, politic, poetic or aesthetic, potentials. This article proposes an analysis of participatory artistic strategies as hybrid and interdisciplinary tools that lead through new research methodologies to new ways of producing subjectivity and visuality, social production and cultural emancipation.Keywords: PARTICIPATORY ART; SOCIAL SOFTWARE; SOFT TECHNOLOGIES; MICROPOLITIC STRATEGIES

scholarly journals False Identity dalam Media Online Dating (Fenomenologi pada Pelaku Catfishing Media Online Dating Tinder)

2021 ◽  
Vol 3 (3) ◽  
pp. 1011-1022
Author(s):  
Rifai Septian Nurdin
Keyword(s):  
Online Dating ◽  
Real Life ◽  
Identity Theft ◽  
Qualitative Approach ◽  
Self Presentation ◽  
Depth Interview ◽  
False Identity ◽  
Data Collection Technique ◽  
Self Presentations ◽  
The Ideal

This study aims to determine the process of a person's interaction on Tinder social media, causing a new phenomenon known as catfishing. This research uses a qualitative approach. The data collection technique was obtained by using in-depth interview techniques. The results of the study show that the self-presentations displayed by Tinder users are not using their real photos or identities. The scope of self-presentation shown in this study does not extend to false identity or paint through identity theft. Tinder users in this study tended to use their original photos that they had edited to look better and closer to the ideal Tinder users liked, use their old photos that were considered better and closer to ideal, blur their original photos, use their real photos but not using real names, to using photos of objects or objects that interest them to show their interests and hobbies to other users. In this study, there were no users who used other people's existing identities either by using other people's photos or identities that showed someone who was in real life.

scholarly journals Does the Artist Need to Be Present? The “Paradigm of Visibility” and Art Practices in Public Space

2017 ◽  
pp. 111-119
Author(s):  
Łukasz Białkowski
Keyword(s):  
Public Space ◽  
Social Presence ◽  
Social Impact ◽  
Participatory Art ◽  
Object Based ◽  
Art Practices ◽  
Social Efficacy ◽  
Production And Distribution ◽  
Participatory Practices

The thesis of my paper is that art participatory practices in public space have a paradoxical potential to avoid a paradigm of visibility. What I call the paradigm of visibility is a formula of social presence of art which is based on a necessity of occupying a certain physical or symbolical space and an effort to sustain it. This kind of public presence of art is traditionally considered to be a guarantee of its value in terms of both artistic and social legitimisation. A question arises if this formula has an alternative. It seems that participatory art practices in public space – focused on production of objects and searching for social impact and social efficacy – can formulate a different model of presence of art (of its production and distribution) than object-based art.

Parody and Pastiche

2020 ◽  
Author(s):  
Leonard Diepeveen
Keyword(s):  
Status Quo ◽  
Work Of Art ◽  
Artistic Process ◽  
Representational Practices ◽  
Historical Practice

Parody is the name given to a range of representational practices that involve citation of an earlier work, but an inexact citation—citation with polemical difference, always purposive, and often to comic effect. Arguments over parody as a category inevitably establish a position on how specific an activity it is and how far it reaches into culture, even into the nature of language itself. Parody’s range is at times understood to be quite general; at others, it is presented as a very specific artistic process. Thus, some argue that parody is at the heart of language itself, that all language is parodic, while others limit parody to the affectionate discrepant citation of another text or work of art. Pastiche, as a subcategory of parody, generally is considered to be less polemical about its sources, less satirical, more flat, and less focused. All parody (including pastiche) is interpretive of its source, and in interpreting that source it makes an argument about that source—its features and the value of those features. In making that argument, parody establishes or reacts to a norm, a norm at times in line with a cultural dominant and at other times opposed to it. While that relationship to a norm often raises the question whether parody is inherently dispersive and liberatory or whether it exists to affirm a status quo, historical practice reveals that there is no inherence here; parody can move in either direction. Parody is always in some relation to a norm, a relationship that points to the heart of its activities: to the consequences of citation, the place of personal expression, and polemics.

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