By S. Broadhurst, J. Machon
This venture investigates the consequences of know-how on identification in embodied functionality, starting up a discussion board of discussion exploring the interrelationship of and among identities in functionality practices and contemplating how id is shaped, de-formed, blurred and celebrated inside of various ways to technological functionality perform.
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Extra info for Identity, Performance and Technology: Practices of Empowerment, Embodiment and Technicity
London and New York: Routledge, 25–7. Cooper-Albright, A. 2003. Dwelling in Possibility, Taken by Surprise: A Dance Improvisation Reader. Middletown, CT: Wesleyan University Press), 260. Corning, P. 2002. ‘The Re-Emergence of “Emergence”: A Venerable Concept in Search of a Theory’, Complexity 7: 18–30. Gere, D. and A. Cooper-Albright, eds. 2003. Taken by Surprise A Dance Improvisation Reader. Middletown, CT: Wesleyan University Press, 24. Halprin, A. 1995. ‘What and How I Believe: Stories and Scores from the 60s’, in Moving toward Life: Five Decades of Transformational Dance, ed.
Similarly, in 2007 the composer/improvisor George Lewis made the argument for listening as a mode essentially linked to the body and thus deeply tied listening to action when stating that listening is ‘a practice of active engagement with the world, where we sift, interpret, store and forget, in parallel with action and fundamentally linked with it’ (Lewis, 2007: 113). Listening is understood as a mode of exploration, a constantly changing mediation between subjects and objects, in which we actively seek, sift, select, rather than as a mode of simple reception.
0 can be understood as allowing for a listening experience that is shared by a community of listeners. A few years ago Lenohard argued that we have moved from an ego-system to an eco-system,7 from notions of the individual to the public, from what Lenohard refers to as ‘my stuff to our stuff’ (Leonhard, 2008a). What is mine becomes communal, what was once a monopoly has turned into an open forum accessible to most. 0’s notable characteristics. To paraphrase one of Lenohard’s possibly most stirring remarks, dating back to 2005, music now feels (and acts) like water.
Identity, Performance and Technology: Practices of Empowerment, Embodiment and Technicity by S. Broadhurst, J. Machon