"In a parlor game played by the Surrealist group—the foremost avant-gardists of their time—participants made their marks on the quadrants of a folded sheet of paper: a many-eyed head, a distorted torso, hands fondling swollen breasts, snarling reptilian-dog feet descending from an egg-shaped midsection. The “Exquisite Corpse,” as it was called, is still very much alive, having found artistic and critical expression from the days of the Surrealists down to our own. This method has been used in collective artistic protocols as the “rules of engagement” for experimental art, as a form of social interaction, and as an alternative mode of critical thinking. This collection is the first to address both historical and contemporary works that employ the ritual of the cadavreexquis. It offers a unique overview of the efforts of scholars and artists to articulate new notions of crossing temporal and spatial boundaries and to experience in a new way the body’s mutability through visual, auditory, tactile, and kinesthetic frames. Bringing together diverse writers from across disciplinary boundaries, this volume continues the cultural and methodological innovations that have unfolded since the first days of the 'Exquisite Corpse.'"
For more information see: http://www.nebraskapress.unl.edu/product/Exquisite-Corpse,674153.aspx
Artists’ Notebooks: WaterFronts
This project, this casting forward and to the sides of itself—occasionally even regressing back toward the beginnings—lives along the edge of the waters, on that shifting threshold between the elements: land, sea, sky, all of which are always eddying about into new configurations. We ask, quite simply, what does it mean to live, here, in the between of all of these differences?
There are promenades and tourist wharves, piers and pools, ports, lagoons, harbors and typhoon shelters. There are highways and dirt roads, paths no one has walked for centuries, arrivals and departures along salt- and fresh-water and the estuaries that swirl slowly into each other while the moon is occluded. There are tidal basins teeming with life and rock shelves, impassable cliffs that plummet into the abyss toward the certainty of death. There are the grays-blues-greens-and-browns of the waters and none of these words does the indigo of the dappled shifts of color justice. There is architecture that spills from land to sea and back again; there are arrivals and departures: footprints that are embedded into sand or rock and then vanish. There are birds that migrate across the waters, fish that fly. There are continents, islands, and archipelagoes.
WaterFronts will bend down and stretch upward in order to listen to the seafronts and landfronts and skyfronts as they speak to us in a language all of their own, but that is, somehow, an invitation to show us the unexpected, to teach us something of the quick and immensely slow arts of metamorphosis.
There will be scraps of image and choreography; fragments and disquisitions of letters; arcades, feverish archives, long walks through the streets of the city, turbulences, assemblages, endless silence, and the transversalities of the dream of infinite nets of multiplicities.
"This study investigates the connections between hearing and deafness in experimental, Deaf, and multicultural theater. Author Kanta Kochhar-Lindgren focuses on how to articulate a Deaf aesthetic and how to grasp the meaning of moments of “deafness” in theater works that do not simply reinscribe a hearing bias back into one’s analysis. She employs a model using a device for cross-sensory listening across domains of sound, silence, and the moving body in performance that she calls the “third ear.”
The shift in attention limned in Hearing Difference leads to a different understanding of the body, intersubjectivity, communication, and cross-cultural relations, confirming it as a critically important contribution to contemporary Deaf studies."
For more Information see:
Pier Windows Performance Scores
Ghosts, Water and the Marvelous: A performance score for selected stories on ghosts and water from four sources: The Odyssey, Journey to the West, Strange Stories from a Chinese Studio, and Kalingathup Parani. How we dance through these stories to awaken the marvelous!
Writing Windows 1: Dance as a form of writing in space through the use of filmic projections across a wall of the pier, set to appear and disappear. Dancing that forms and un-forms in and across the pier, particularly in relation to the windows of the pier and a temporary set of irregularly shaped windows.
Writing Windows 2: This performance score focuses on how to tell some of Hong Kong’s three histories through traditional and classical dance forms, singing, acting, and nonverbal theatre while using projections of images and film clips of archival material across the Kwun Tong Pier walls.