Articles selected by the Scientific Committee of DRIFTING BODIES / FLUENT SPACES. The articles are published in the original version. The opinions expressed are the sole and exclusive responsibility of their authors.
The organization is authorized to reproduce and distribute, through online or paper publications, all or part of the papers or project material, including images, always quoting the respective authors, and will archive all documentation generated as part of this open call.
Audio Papers & Papers
Independent Artist, Victoria, Canada
alan [ ] degreezro.org
Audio paper summary (up to 300 words);
The Imaginary Drift is a series of audio works that have arisen out of daydreams of travel to far off lands during the isolation experienced because of the COVID-19 pandemic. Our seclusion indoors, is interrupted only by the briefest of walks outside for essentials such as food, through a world that seems familiar, yet is uncannily different. Using various online and compiled text generators based on OpenAI’s GPT-2 language model, texts are generated to describe various macroscopic and miscroscopic worlds. The AI, together with an initial human iput seeding the generated texts, produces scripts for spoken word descriptions of dreamlike spaces and imaginary walks.
Brief biography (up to 150 words);
Alan Dunning is a new media and installation artist and founding member of the interdisciplinary art and science collaboration, the Einstein’s Brain Project. In partnership with the Project and individually he has an extensive Canadian and international exhibition record and is represented in public collections including the Museum of Modern Art, NY and the National Gallery of Canada. Awards include grants from the Daniel Langlois Foundation, SSHRC, the Canada Council, and the Alberta Foundation for the Arts. References to his work and research include: Interartive 100: Walking Art/Walking Aesthetics, Caroline Langill’s project for Fondation Langlois, “Shifting Polarities”, Anna Munster’s “Materializing New Media”, and “Future Bodies”, Edward Shanken’s “Art and Electronic Media”, Ted Hiebert’s, “Digital Inflections” for CTheory, Kate Hayles’ “Flesh and Metal: Reconfiguring the Mindbody in Virtual Environments”, “and Mark Hansen’s “New Philosophy for New Media”. He currently lives and works in Victoria, BC, Canada.
Graphic Designer / Researcher / Educator
avoudouri [ ] uowm.gr / avoudouri [ ] yahoo.com
Prespa-Ohrid 1848: A drifting walk of Edward Lear
ABSTRACT: Images can trigger memories. They can be a form of communication and revelation. They can be physical images as well as those existing in an artist’s imagination. An image can be a special tool for studying the evolution of culture. In the beginning of 19th century, during the growth of the Romantic movement, landscape became an autonomous form of art
expression. English painter and novelist Edward Lear condemned the antiquated view of his own peers by expressing a strong interest in wild, natural landscapes. In his distinctive way, Lear depicted the scenes he encountered as well as the intense emotions he experienced during his trip from Thessaloniki to Ohrid, in the period of the Ottoman rule, in September 1848. This journey
was partially a walking exploration of the landscape and the urban environment of the cities he encountered. In 19th century, he was the only Englishman who investigated and created a large collection of paintings, drawings and sketches of the landscapes of the wider area around the Prespa basin. He walked in those “primitive” places, at different hours of the day and sketched the form
of the mountains and the streetscapes of the cities he reached. In his own way he used the practice of “walking art”, in a primitive way, to share his knowledge of the topography of this region.
This paper presents Edward Lear’s travelogue and descriptive works in the wider area of the Prespa basin, as inspiration for aesthetic and historical knowledge; while simultaneously, creating “quick narrarive skethes”, which is an experiential landscape practice.
Antônio Carlos Queiroz Filho
queiroz.ufes [ ] gmail.com
Rafael Henrique Meneghelli Fafá Borges
rafaelfafaborges [ ] gmail.com
Ver de Ouvir ao Caminhar
mapear narrativo dos lugares e paisagens de um corpo sonoro polifônico (experimentações em binaural audio)
Nosso trabalho toma como amparo e inspiração conceitual as reflexões postas pela “estética do caminhar” (Francesco Careri), pela “polifonia da comunicação urbana” (Massimo Canevacci) e pela filosofia da experiência (Jorge Larrosa), articuladas por uma cartografia e narrativa do/pelos afetos produzidas por um corpo “multissensorial” (Pallasmaa, 2011) e “poético” (Gil, 2001) . Assumimos como nossa principal baliza a ideia de que a experiência que temos com o mundo se dá de corpo inteiro. Ao caminhar, ouvimos, sentimos cheiros, esbarramos, tocamos, e também, vemos. Foi com esse entendimento que produzimos experimentações corpo-sonoro- polifônicas. Utilizamos técnicas de multidimensionalidade sonora (binaural audio) para potencializar a imersão do espectador-ouvinte e, assim, promover, pelo “ver de ouvir” de cada um, a criação de mapas, também narrativos, de lugares e paisagens alinhavados pela ativação de suas sensações e memórias de um caminhar que é, sobretudo, para dentro de si e que compõem, não somente a experiência de seus autores, mas também, a nossa experiência com o mundo. Buscamos, nesse sentido, contribuir com as questões levantadas por diversas áreas do conhecimento e pelo campo da arte, especialmente aquelas que lidam com a experiência contemporânea do habitar as cidades, sobretudo, a partir da perspectiva das narrativas urbanas produzidas pelas grafias do corpo e seus sentidos estético-políticos.
Pesquisador-Artista. Professor da Universidade Federal do Espírito Santo – UFES no Curso de Geografia, no Programa de Pós-Graduação em Geografia – PPGG e no Programa de Pós-Graduação em Arquitetura e Urbanismo – PPGAU. Atuou como Professor Visitante no Earth Institute, em colaboração com a School of Architecture, Planning and Environmental Policy da University College Dublin – UCD (Irlanda). Pós-doutorado pela Universidade do Minho (Braga, Portugal) realizado em 2017/2018. Líder do Grupo de Pesquisa RASURAS – Geografias Marginais (Linguagem, Poética, Movimento) e do GRAFIAS – Laboratório de Geografia Criativa.
Doutorando em Geografia pela Programa de Pós-Graduação em Geografia – PPGG da Universidade Federal do Espírito Santo – UFES. Integrante do Grupo de Pesquisa RASURAS – Geografias Marginais (Linguagem, Poética, Movimento) e do GRAFIAS – Laboratório de Geografia Criativa. Bolsista da Fundação CAPES – Coordenação de Aperfeiçoamento de Pessoal de Nível Superior.
Dublin School of Creative Arts, Technological University Dublin
Walking West: a dérive along the “longest, wickedest street in America”
Walking West centres on a dérive by the author along Denver’s Colfax Ave, the “longest , wickedest street in America”, with this paper an account of that dérive and its resulting artwork.
Walking West comprised walking the length of Colfax in a single continuous movement while drawing a line on the sidewalk, tracing the route with a GPS device, while a satellite photograph captured the entire length of the street in a single image during the performance. The project additionally involved an outdoor screening of a film documenting the performance on prairie lands near Denver, and a gallery exhibition of a large-scale print (33x2m) of the satellite photograph and a film of the event.
The very act of walking has become marginalized in many American cities, yet by walking we can experience the city itself, at a human pace, as a space of discovery and encounter. The symbolic act of walking Colfax acted both as a lens to focus discussion on the role of the street in the cultural, social and political life of Denver, and as psychogeographic exposition of the urban ambiance, whilst acknowledging the interlocking multi-scalar hybrid nature of digitally mediated urban space, from embodied street-level action to the technological assemblages of surveillance satellites.
Walking West is rooted in a Situationist understanding of the dérive as research method; a exposition of the city’s psychogeography. However, this was not a pure drift, as it set itself strict parameters that owe more to a tradition of durational performance art whilst maintaining an awareness of the psychogeographic contours of the street. The paper suggests this hybridity asserts the continued validity of the dérive as research method within artistic research, through reflecting on the practice of the walk, its art outcomes, and the future directions it suggests.
Keywords: Psychogeography, walking art, situationism, Denver Colorado, Colfax Avenue, dérive, GPS, Satellite photography,
Conor McGarrigle is an artist, researcher and educator working primarily with digital media. His practice is characterised by urban interventions mediated through digital technologies and data-driven explorations of networked social practices.
He is a faculty member at the Dublin School of Creative Arts, TU Dublin and a fellow at the Graduate School for Creative Arts and Media.
He has exhibited extensively internationally including the Venice Biennale, Fundació Miro Mallorca, the Saint-Étienne Biennale, Redline Gallery Denver, SIGGRAPH, FILE São Paulo, Art on the Net Tokyo, Seoul New Media, SITE Santa Fe as well as EVA International, Tulca, Green on Red, and the Science Gallery.
Dilar Pereira (FBAUL, CIEBA)
dilarcpereira [ ] gmail.com
Deriva no Estúdio: Transitus e Pensamento de William Kentridge
A ação motora de caminhar, como deriva no estúdio, é uma forma de pensar
através do corpo e é fundamental para William Kentridge (1955-).
No estúdio, o transitus, além de deriva é também passagem, animado pela transposição intermedia e multidisciplinar regida pelo desenho. Através de um processo cognitivo, reúne pensamento e perceção, que tem no caminhar a vitamina que atravessa e enforma a hibridação da prática de Kentridge: “It is only when physically engaged on a drawing that ideas start to emerge. There is a combination between drawing and seeing, between making and assessing, that provokes a part of my mind that otherwise is closed off” (Kentridge, citado em Tone, 2012).
Estuda-se, pois, o quiasma entre o andar e o pensamento, no lugar orgânico e central de criação artística, o estúdio – contexto de uma prática intermedia fluída, concretizada através do desenho. Propõe-se a análise do estúdio como o lugar onde o desenho, por meio do caminhar, é, por natureza, o cruzamento entre possibilidade e impossibilidade, definido pela particularidade de ser pensamento em potência e pensamento prático, traduzido em distintas e originais materializações intermedia.
Palavras-chave: Pensamento/ Caminhar/ Estúdio/ William Kentridge/ Desenho.
The physical action of walking, as drift in the the studio, is a way of thinking through the body, and it is fundamental for William Kentridge (1955-). In the studio, the transitus besides drift it is also passage, animated by the intermedia and transdisciplinary transposition guided by the drawing. Through a cognitive process, which brings together thought and perception, that has in the physical action of walking, the vitamin that crosses and forms the hybridization of Kentridge’s practice: “It is only when physically engaged on a drawing that ideas start to emerge. There is a combination between drawing and seeing, between making and assessing, that provokes a part of my mind that otherwise is closed off” (Kentridge, as cited in Tone, 2012).
In this paper, we study the chiasm between walking and thought, as the organic and central place of artistic creation, the studio – the context of a fluid intermedia practice, realized through drawing. We propose the analysis of the studio as the place where drawing, through walking, is by nature the crossing between possibility and impossibility, defined by the particularity of being, thinking capacity of thought and act, translated into distinct and original intermedia materializations.
Key Words: Thought/ Walk/ Studio/ William Kentridge/ Drawing.
Investigadora | Professora | Artista Visual
Bolseira de Doutoramento da Universidade de Lisboa, Ref.ª da Bolsa C00305O.
Doutoranda em Belas-Artes, Especialidade Desenho, na Faculdade de Belas-Artes, Universidade de Lisboa.
Investigadora do Centro de Investigação e Estudos em Belas-Artes (CIEBA), desde 2018.
Pós-graduação em Arte Sonora (2019), pela Faculdade de Belas Artes, Universidade de Lisboa.
Mestre em Desenho (2013) e Mestre em Teorias da Arte (2006), pela Faculdade de Belas Artes, Universidade de Lisboa.
Licenciatura em Ensino de Educação Visual e Tecnológica (2001), pela Escola Superior de Educação, Instituto Politécnico de lisboa.
Atividade docente, em Portugal, no Ensino Básico e no Ensino Superior (2001-2012; 2016-2018) e no estrangeiro (em Timor-Leste, 2012-2015), no Ensino Superior e, no âmbito da Formação de Professores, área de Educação Artística.
Atividade no âmbito das Artes Visuais, com participação em exposições individuais e coletivas, em Portugal e no estrangeiro, desde 1990.
Embodied Cartographies: Mineral Liquidities and Fluid Heritage in Bath (UK) and Guimarães (Portugal)
I write this abstract in lockdown living in Bath (UK), imagining Guimarães (Portugal). Both are UNESCO World Heritage Cities known for their natural spa waters, archaeology and beauty. These are liquid locales built upon mineral fluidity. Places shaped around the presence of ancient water that has flowed for thousands of years deep within the geology and archaeology of the land.
Fay Stevens is an archaeologist, curator, artist and writer specialising in the philosophy of phenomenology, theoretical landscapesvii, cultural heritage, ethics, and material cultureviii. Her work is a process of excavation, an unravelling of time, memory and substance. Fay is currently Adjunct Assistant Professor at University of Notre Dame (U.S.A.) in England and lectures at universities of Oxford, Winchester and London.
She has curated a number of visual and performance art events, including Where Performance Happens at Arnolfini Bristol and Embodied Cartographies at Walcot Chapel in Bath (as part of Fringe Arts Bath). Fay has held artist residencies in Hungary, Berlin, Scotland, Spainix , UK and exhibited her work in the UK, Hungary, Berlin and Swedenx
Gerald Gordon (USA)
Baika Women’s University, Osaka, Japan
g-gordon [ ] baika.ac.jp
Drifting Through Bodies and Auguring Spaces: Terminalian Drift
In my experimental novel Terminalian Drift, the narrating voice has recently started living in André Cadere’s used skin. It’s not going well. A foreign resident of Osaka, Japan, the voice decides to wanders through a particular district in Osaka, searching for ways to facilitate a collaborative acceptance between the residential skin and the occupying skeletal/innards that the voice associates with. In its city drift, the narrator reveals shifting self-associations with locations and events that occur. The voice becomes embodied by the locations embodying its borrowed body as it interacts with what co-exist in those places, each entangling the other in ways which alter the relationship between skin and guts, internal workings and external surfaces, here and there, past and present, etc. Bodies drift in spacial/self fluidity. Layering summaries and quotes, this paper analyzes of how this pseudo-fictional/pseudo-documentary story works to facilitate similar fluidities for me, the author. By using a fictional character to tell a story of factual and fantasized happenings in actual locations, I can wear the city like a personal skin. I can take it personally. I can claim it as a pseudo-self, weaving/entangling fictional layers with historical portrayals that layer and co-inhabit the locations. Documented snippets of past happenings are used as an
armature onto which imaginary events attract, co-occupy, conflict and mitigate belief. The novel replaces the trend of generalization that rolls through history with specific occurrences, even if false—putting focus on the undeniable fact that nothing general has ever actually taken place. The novel is used as a way to perform a ritual of actualization, to nurture speculative seeds of specificity and let them germinate as half-truths, rumors, lies or whatever. The novel is used to auguristically increase the city by enfolding my poetics into its layers, letting it function as a Geopoetic machine.
Gerald Gordon is a writer, poet, scholar and improvising musician residing in Osaka, Japan. Born and raised in Los Angeles, he has lived the last 26 years in Osaka. He is an associate professor in the International English Department at Baika Women’s University. His research focuses on improvisation, particularly in relation to music, dance, poetry and other arts practices. Gordon’s ongoing research project is interviewing improvising musicians regarding collaborative aspects of instrument/player physicality and improvisation. Since 2011, Gordon has served as the director of MIIT House, a small former-factory in the Konohana district of Osaka City which has been repurposed as a venue for improvised and experimental music, dance and performance. As well, Gordon is an avid bike rider and cook.
Undergraduate student of Photography and Audiovisual Arts,
University of West Attica,Athens, Greece.
fo17111 [ ] uniwa.gr
The Peripatetic Photography of Georges Salameh
Sensing Body and City
The Audio format works as an audio walk and is also based of the same named film Sensing Body and City (2020). In a 12-minute inner stream of consciousness, elements from different times, reflections and personal memory mesh together with a soundscape. As a poetic introspective a female* voice is moving through a mosaic of her present perception and memory that arise in certain places in Berlin.
The protagonist seeks for new images and representations of personal memories that are non-visible for others, written in the body just as the city.
University of Northern Colorado
joseph.chaves [ ] unco.edu
The Unfamiliar City in Christina Kubisch’s Five Electrical Walks
This paper examines Christina Kubisch’s Five Electrical Walks, a piece of sound art in which participants don special headphones that sonify electromagnetic waves emanating from any electric sources in the proximate environment, from automatic banking tellers and cell phones to neon signs and streetcar cables. As the peripatetic auditor traverses this normally hidden, newly manifest urban sound-world, her experience is defamiliarized in ways that I suggest are fundamentally ambiguous. On the one hand, FEW reveals the city’s organic order through what Kubisch calls the “surprisingly musical” sounds actuated by the walker’s presence. Unintended patterns coordinate, sometimes harmoniously, beyond the strict control of the artist and even, to some extent, the walker-auditor. On the other hand, in revealing the city’s “hidden sounds,” FEW may be said to discover the inorganic essence at the core of urban life. Alien-sounding screeches, aperiodic buzzes, and inscrutable whirs index a potentially terrifying ‘infra-world’—noisy, unreal, chaotic, inhuman—beneath the city’s apparent sense and normalcy. The function of FEW, I suggest, is less to endorse either of these urban visions than to play them off one another as continuously and as variously as possible.
While much of the presentation will consist of a traditional scholarly analysis of Kubisch’s FEW, this voice will be joined by two others. THE NAVIGATOR will direct the audio paper’s listener on a walk, which will of course vary according to the listener’s location. In turn, THE COMMENTATOR will compare the sonic world created in Five Electrical Walks to that of the walking listener of this audio paper. The commentator will introduce subtle background sounds generated by sampler and analogue synthesizer, to be heard as examples of the sonic phenomena the paper discusses.
Haunting the Archive
When your work as an artist-researcher is about a response to place, how do you continue to conduct that research when you can’t physically be on site? This is a question that I have been forced to come up with answers to in the last few months. Since Spring 2019, I have been traveling to Ireland to live and work as artist-in-residence at Killruddery House; Gardens in Bray, as part of a practice-based PhD at SMARTlab University College Dublin, supported by the Irish Research Council. Staying at the house has been an integral part of a project to create a series of immersive 3D audio installations using geo-location in order to sonify some of the 400-year old written archives of an Anglo-Irish family, the Brabazons, who have lived and worked on the Killruddery estate since 1618. I have made hundreds of hours of recordings of informal conversations with the family, field recordings of the contemporary soundscape of house and surrounding landscape, plus recorded walks accompanied by my own spoken observations. This new recorded archive now takes on extra significance in providing a virtual experience of place, as I continue to research at a distance.
The audio paper, in the form of a binaural sound walk, was recorded locally here in Brighton over an area of Stanmer House; Gardens in the South Downs National Park which most closely approximates to an area surrounding Killruddery House; Gardens. Stanmer Park was a regular venue for my permitted daily exercise during lockdown. The paper explores whether one place can creatively stand in for another so that an artistic practice based upon walking, listening and learning can continue as a form of haunting, one that ultimately bridges physical and imagined space.
Joseph is a specialist in the binaural recording technique and is interested in what the contemporary soundscape can tell us about the prevailing social climate. He has exhibited and performed at Tate Modern, Tate Britain, Jerwood Hastings in the UK, and also Seoul Museum of Art, Wall St NYC, Errant Bodies Berlin. His sound work has been broadcast by BBC Radio, Radio Papesse and Resonance FM and is held in several permanent collections.
Since 2019, Joseph has been working in Ireland as part of a practice-based PhD at SMARTlab UCD, funded by the Irish Research Council, at the Killruddery estate in Co. Wicklow on a research project entitled “Listening to the Archive”. Killruddery is the home of the Brabazon family and the seat of the hereditary title, the Earl of Meath – the family and their descendants have lived and worked on the estate since 1618.
Judith Ph. Franke (MA);
Ruhr-University Bochum (Germany)
judith.ph.franke [ ] gmail.com
Let’s go – On the concept, literature and practice of female* flanery
„We have to rebuild a world from the rustles of paper. Or we could put on our shoes and go out the door.“1 – Theory und practice of female* flanery A contemporary trend of walking cities has been emergent during the last years – more and more done by people other than the cis-male person, by women*. In this paper I would like to examine the female* flaneuse both in theory and practice. The assumption I am making here is that the double male gaze has an impact on all layers of historic and contemporary flanery – concept, literature and physical practice. Yet female* flaneuses are, and have been, walking the cities and making appearances in literature. I will lay the focus on how the female flaneuse – now and in future – has to be understood as fundamentally transgressive – not only in delimitation of the male flaneur. As claiming space and the freedom to one’s own pace is a emancipatory and feminist act. In a third step, looking at my own practice as a performative researcher and artist working in the field of strolling I will look at how flanery can re-imagine and re-shape cities both in our minds and through our bodies.
Keywords: flaneur / flaneuse; feminism; performative research
Judith Ph. Franke is a performative researcher and performance artist interested in on creating intimate spaces of shared experiences and grasping the ephemeral – both in public and private spaces. She holds a BA in Performative Arts (University of Hildesheim, Germany) and a MA in Performative Research (Ruhr-University Bochum, Germany).
Lissa Holloway-Attaway & Jamie Fawcus
Submitted by Lissa Holloway-Attaway and Jamie Fawcus
(Division of Game Development, University of Skövde, Sweden)
Trans-Missions and Resonant Encounters: composing the non-human body
In Insect Media, Jussi Parikka frames his discussion of ‘media as insect ’as a way to foreground media as more-than-technology and more-than-mediation. Insect media do not exist as a site between the natural world and the constructed, built, or human world. They do not negotiate duality. Instead such ill-conceived binary spaces converge in embodied forms of bestial, non-human, interconnectedness within living/lived spaces. Insect media do not interpret, describe, or represent realities for us (that is us humans). For Parikka, insect media are “a contraction of forces of the world, specific resonating milieus: internal milieus with their resonation, external milieus affording their rhythms as part of that resonation.”
What does it mean then to inhabit, discover, and become such an insect media body? How might such intensive states of being be revealed in the act of encountering, resonating with, and moving through embodied spaces? How might one be both inside and outside bodies, subject and other? In an age where transmission and infection bring fear of the ‘foreign body ’and its impacts, and where human bodies inscribe their devastating impact on the geological and atmospheric forces of the earth, what can we learn from becoming with such non-human, inhumane, bodies? What are their fluid, multimodal methods of cross-disciplinary trans-mission and how might we receive them?
In our audio paper/audio walk, we explore what it is to inhabit these resonant spaces. Reflecting on theoretical models from posthuman, non-human, and more-than-human perspectives, we design a narrated audio experience that incorporates psychoacoustic phenomena such as auditory brainwave entrainment, binaural beats, and fragmentation/granulation of sound materials that de-centralize and deconstruct the sounding world. The boundaries between music, field recording, sound art and sound assembly are blurred and reinterpreted in the listening/explorative space. Spaces convolve, disperse and digitally re-order through patterns and rules evolving simultaneously through the sounding expanse, developed and mediated by the sounding, resonating space that emerges.
Lissa Holloway-Attaway is an Associate Professor in Media Arts, Aesthetics, and Narration in the Division of Game Development within the School of Informatics at the University of Skövde (Sweden). She is the leader for the Media, Technology and Culture research group, and she teaches in the games education. Her background is in theatre performance, literature, and digital culture/media studies, and she works across many digital media forms, from digital art, to electronic literature, and games. Her creative and critical work has been
published, exhibited and performed in a number of International venues. Her current research is focused on emergent media (AR/VR/MR), experimental narrative, digital cultural heritage games, and environmental posthumanities.
Jamie Fawcus is a composer, sound designer and performer based in Stockholm, Sweden. He studied philosophy and political theory at Keele University, England, electroacoustic composition at the electronic music studios in Stockholm (EMS), film music + musicology at Stockholm University and was awarded his PhD. in electroacoustic composition (Huddersfield University) in May 2013. His interests centre on the language of physical space in acousmatic art, location-specific performances and sound assembly, archaeoacoustics, links between writing/narrative and EAM, and new forms of intellectual and emotional expression using sound. Jamie is currently senior lecturer in electronic music and sound design /production at in the Division of Game Development within the School of Informatics at the University of Skövde (Sweden)
Dr Mikhail Peppas
Walking in LifePlace
The paper for the ‘Drifting Bodies – Fluent Spaces’ Conference is focused on the theme ‘Walking Stories, Looking into Walking Narratives.’
I have originated three activations around walking narratives that are outlined below:
1) Ways of Seeing, Walks of Life
A student exploratory visual, sensory and photojournalistic experience about the streets, structures and neighbourhoods of the multicultural city of Durban.
The ‘living experience’ aims to improve their skills and heighten their observational faculties of ‘life place’ through ‘walking in the making’ of interpretations and pictures.
Through a series of 10 themed walks spanning out across the city, a sense of social cohesion unfolds through support, friendship, protection, and camaraderie.
2) KulturKonneKt – Walking Tours of X-ploration
A series of walks through the inner city of Durban that connect citizens with the social heritage, cultural geography, fractured origins and growth of the city into the new democracy of the Rainbow Nation.
The walks aim to develop a sense of tolerance and acceptance of the ‘other’ from widely different cultures.
3) The Labyrinth – Walking Journeys for Writers, Poets and Artists
‘LifePlace’ routes from maps of Durban guide groups of literary creatives through streets, buildings and recreation centres that are textually rich in aspects of the five senses. After the walk the writers gather in memory and sensory recall sessions where they ‘finger walk’ through the route on a map whilst dramatising what they have seen and felt.
An extension project involves combining elements from the three walks into a heritage arts
exploration that ends up at a community-built Labyrinth in a central city park.
The plan is to connect local with global in a synchronised experience that reaches to fellow
Labyrinth walkers in other countries.
Each walker will carry a compass to fix the locational point of view of interactions with the
Dr Mikhail Peppas
Media entrepreneur and film historian Mikhail Peppas holds a PhD in Visual Anthropology. He is an Honorary Research Associate in the Faculty of Arts and Design at the Durban University of Technology.
His interests cover graphic narratives, comic book production, photography, board games, streets as living texts, city identity and sustainable living activations. Peppas was awarded the 2017 Simon ‘Mabhunu’ Sabela Film and Television Award for Lifetime Achievement. Firsts for Africa originated by Peppas include: a film school called the Free Film School and a community television station, Greater Durban Television (GDTV).
His photograph entry, ‘Equus with Warrior: Ancient Intersections’ was selected as a finalist in the 2018 Sasol New Signatures Art Competition and was featured in the Exhibition of Winning Works at Pretoria Art Museum.
Peppas was selected as a participant in the 2019 American Arts Incubator – South Africa at KZNSA Gallery.
He is Vice-Chairman of Durban Central Tourism.
Rui Filipe Antunes, Daniel Tércio, Sérgio Bordalo e Sá.
TEPe – Technologically Expanded Performance (PTDC/ART-PER/31263/2017) INET-md Faculdade de Motricidade Humana, Universidade de Lisboa
Sincroni-cidades – Um percurso partilhado em confinamento
Sincroni-cidades aconteceu em Abril de 2020 no âmbito do projecto TEPe [PTDC/ART- PER/31263/2017].
Concepção: Daniel Tércio, Rui F. Antunes e Sérgio Bordalo e Sá.
Participação: Allan Diniz, Ana Macara, Ana Mundim, Ana Pais, André Guedes, Beatriz Cantinho, Carlos Antunes, Catarina Canelas, Cecília Lima, Daniel Tércio, Elisabete Monteiro, Ivani Santana, José Carlos Costa, Jonas Runa, Luca Aprea, Luísa Roubaud, Maria Baderna, Maria João Alves, Rita Vilhena, Rui F. Antunes, Sophie Coquelin, Sara Gebran, Sérgio Bordalo e Sá, Sofia Soromenho, Sílvia Pinto Coelho, Thaís Gonçalves e Thembi Rosa
O projecto de investigação TEPe – Technologically Expanded Performance é financiado pela Fundação para a Ciência e Tecnologia.
Locução: Rui Filipe Antunes e Sílvia Pinto Coelho
Montagem: Rui Filipe Antunes
Rui Filipe Antunes
Investigador do projecto TEPe (Technologically Expanded Performance) no INET-md | FMH. Nos últimos anos tem trabalhado sobretudo nas áreas da animação gerada por computador e da realidade virtual. Foi Fellow Marie Skłodowska-Curie (Individual Global Fellowship) no MIRALab, da Universidade de Genebra, e BioISI da Universidade de Lisboa trabalhando na área da simulação do comportamento humano em grupos e multidões. Doutorou-se em arte e ciências computacionais no Goldsmiths College da Universidade de Londres com o apoio da FCT. O seu trabalho artístico foi premiado por duas vezes no certame de arte e inteligência artificial VIDA (edições 12 e 13).
Daniel Tércio possui um bacharelato em Filosofia (UL), uma licenciatura em Artes Plásticas (ESBAL), o mestrado em História da Arte (UNL) e o Doutoramento em Dança (FMH). Actualmente é Professor Associado na Faculdade de Motricidade Humana da Universidade de Lisboa, onde leciona, ao nível da licenciatura e do mestrado, cursos de História da dança, Estética, Movimento e expressão plástica, e novas tecnologias aplicadas à dança. Integra a direção do INET-MD e coordena o grupo de investigação sobre estudos da dança. Coordena também a especialidade de dança no programa doutoral em motricidade humana. É investigador responsável por projectos competitivos, como o projecto Technologically Expanded Dance, desenvolvido entre 2004 e 2007. Para além de numerosos artigos publicados em Portugal e no estrangeiro, é autor de obras de ficção e tem participado em projectos performativos e de formação artística, numa perspectiva transdisciplinar. Enquanto crítico de dança, tem colaborado regularmente com a imprensa desde 2004.
Sérgio Bordalo e Sá
Sérgio Bordalo e Sá, nascido em 1976, é licenciado em Ciências da Comunicação pela Universidade Nova de Lisboa (1998), tem um mestrado em Film Studies pela The University of Iowa (2001) e um doutoramento em Estudos Artísticos – Estudos do Cinema e Audiovisual pela Faculdade de Letras da Universidade de Lisboa (2013). A sua tese de doutoramento intitulou- se: “Triunfos e Contradições da Vontade: Para uma Releitura de Lopes Ribeiro e Leitão de Barros no Contexto do Cinema de Propaganda” (Riefenstahl, Eisenstein e cinema mussoliniano). Depois de terminar o doutoramento, teve uma bolsa de investigação durante um ano para trabalhar num projecto académico do CRIA (Centro em Rede de Investigação em Antropologia) relacionado com filmes turísticos. Em Junho de 2015, começou a trabalhar no projecto de investigação do INET-md – polo FMH, primeiro como bolseiro e desde Abril de 2019 como investigador auxiliar, onde pesquisa a relação entre a dança e o cinema.
vivcorringham [ ] gmail.com
key words: walking, sounding, communities, memory, narrative, In this audio paper I describe my ongoing Shadow-walks project, which has occurred in Asia, Europe, Australia and the Americas. The process is straightforward. I arrive in a new place and ask local inhabitants to take me on a special walk, one that has been repeated many times and has meaning or significance for that person. While walking together, I record our conversations and their stories. I then go back along the same route alone, attempting to get a sense of my previous companion’s traces on the walk, and I sing what I feel using wordless improvisations.
An idea attributed to James Joyce is that places remember events and I find this idea very engaging – as if everything that happens leaves traces that we might be able to sense. If a person walks through certain places repeatedly, along the same route, does that act of walking impose a trace that can be mapped across time and space? In a sense Shadow-walks is an attempt to make a person’s traces, their shadow, audible through my singing, improvising voice.
During the Covid 19 pandemic I have adapted the project to become Shadow-walks (at home), in which I gather recorded descriptions of walks and my singing reflects how I imagine them.
Examples of these and other Shadow-walks are played, including one in the
borderlands of the Greek Prespes area and another with two women who discuss their fear of femicide in Mexico City.
VIV CORRINGHAM is a British singer, walker and listener, who studied
and worked with Pauline Oliveros for many years, and holds a Certificate to teach Deep Listening. She facilitates workshops in listening and sounding, most recently in Hong Kong, Mexico, London, Bangalore, New York, Kolkata and Manila.
Her work includes concerts, soundwalks, radio and audio installations, exploring
people's sense of place and the link with personal history and memory. She received an MA in Sonic Art from Middlesex University London and awards include two Composer Fellowships from McKnight Foundation, through American Composers Forum. Her work has been presented in twenty six countries in venues including Hong Kong Arts Centre, Fonoteca Nacional de Mexico, Issue Project Room New York, Onassis Centre Athens, ICA London, Serralves Museum Portugal, Ohrenhoch Berlin, Arts University Taiwan, Shantou University China and Tempo Reale Florence.
SENSIBILIZE: UM PROJETO DE ENSINO
SANT’ANNA, CAMILA ; GONÇALVES, NAYARA & MIRANDA, LARISSA
O presente pôster trata da disciplina “Sensibilização da Paisagem” ofertada pelo curso de Arquitetura e Urbanismo da Universidade Federal de Goiás, Regional Cidade de Goiás(UFG). Essa disciplina propõe, através de um olhar sensível aos fatores cotidianos urbanos, a descoberta ou [re]descoberta da paisagem da Cidade de Goiás (GO), para além do seu centro histórico mais turístico. Além de ser conhecida como cidade patrimônio histórico e de nascimento da poetiza Cora Coralina, ela desponta como uma cidade universitária, abrigando três instituições públicas, com alunos, técnicos e professores, muitas vezes, originários de outro lugar, que possuem pouca familiaridade com o Bioma Cerrado e com o patrimônio cultural de Goiás. O objetivo da disciplina é apresentar e desenvolver métodos de estímulo de vivências paisagísticas tanto individuais (diário da paisagem) quanto coletivas (debates, leituras e walkscapes), desde a apreensão até a atuação no território da cidade. Este pôster descreve e analisa os resultados desse projeto de ensino e avalia quais seriam os próximos passos.
Palavras-chave: Ações de sensibilização, Paisagem, Ensino, Participação e Goiás.
Keywords: Awarenesse-raising measures, Landscape, Teaching, Participation, Goiás.
Camila Gomes Sant’ Anna – é professora brasileira assistente de Teorias e Projeto da Paisagem Urbana do Curso de Arquitetura e Urbanismo da Universidade Federal de Goiás. Nos últimos anos, vem desenvolvendo metodologias de ensino de projetos em Arquitetura da Paisagem, as quais estimulam a comunicação e a integração entre alunos, professores e atores sociais; promovendo novas formas de aquisição de conhecimento em Arquitetura da Paisagem.
Nayara Cristina Gonçalves – bacharela brasileira em Artes Visuais, com habilitação em Design de Interiores, pela Universidade Federal de Goiás, atualmente discente do curso de Arquitetura e Urbanismo pela mesma universidade. Ilustradora, aquarelista e pesquisadora nas áreas de habitação social, paisagem e moradia camponesa.