{"id":355,"date":"2019-04-26T13:45:58","date_gmt":"2019-04-26T13:45:58","guid":{"rendered":"https:\/\/blogg.hiof.no\/blindspot\/?p=355"},"modified":"2019-04-26T13:47:34","modified_gmt":"2019-04-26T13:47:34","slug":"blind-spot-invited-to-montreal","status":"publish","type":"post","link":"https:\/\/blogg.hiof.no\/blindspot\/2019\/04\/26\/blind-spot-invited-to-montreal\/","title":{"rendered":"Blind Spot invited to MONTREAL"},"content":{"rendered":"

Karen Kipphoff has been invited to participate as a speaker with Carole Nadeau to the SQET conference in Montreal on the artistic research BLIND SPOT. Carole NADEAU is one of the international artists that took part in the first part of the project (staged production performed in Fredrikstad and in Bergen in 2017).<\/p>\n

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The title of the session is THE AUGMENTED OBJECT.<\/p>\n

You can find more information on the website of SQET.\u00a0https:\/\/sqet2019.com\/en\/<\/a><\/p>\n

Follows here an extract taken from the website about the thematic of the conference<\/em>.<\/p>\n

Until recently, thinking about the theatre revolved around its liveness, the co-presence of (human) actors and spectators in the same place at the same time. Increasingly, however, the discussion has broadened to include the role of technology, the environment and a wide variety of other factors. This shift accounts for the growing interest among practitioners and theoreticians alike in the other co-presences that make a performance and its effects possible. The series of \u201cturns\u201d in theatre studies of the past 20 years \u2013 performative, sound, non-human, intermedial, affective, postlinguistic, ecocritical, etc. \u2013 reflect this development. But theatre is not an isolated case. Those turns correlate with the emergence of a major new school of thought in the 21st<\/sup>\u00a0century, new materialism, which cuts across the humanities and ties in with advances in the natural sciences, irrevocably transforming the way humans perceive their environment, their role in it, and the role of its other components.<\/p>\n

One thing that is \u201cnew\u201d in the new materialisms is their rejection of traditional dualisms \u2013 dead\/alive, animate\/inanimate, energy\/mass, immaterial\/material, active\/passive, human\/non-human, intentional\/non-intentional, presence\/mediation, etc. \u2013 and of the anthropocentrism that dominated the humanities throughout the long 20th<\/sup>\u00a0century. The new materialisms ascribe to \u201cmatter\u201d a power of agency of which humans are neither the cause, nor the source, nor the beneficiaries. This is not to say they are anti-human, for humans are not outside matter, nature and the environment. They are part of it. Neo-materialist thinking replaces a vertical, one-way dynamic of agency, in which humans dominate the world (and exploit it), with a recursive, multidirectional dynamic in which humans, as agents among others, act on their environment but are also transformed by it.<\/p>\n

The stage, a site where humans face humans, is the quintessential anthropocentred space. It is also a fertile subject for neomaterialist investigation, for it constitutes a complex ecosystem where varieties of agency meet, powers collide, multiple vectors of meaning and affect emerge, and the physical, the discursive and the symbolic intertwine. The stage is therefore representative of complex forms of agency and promises to illuminate their operation.<\/p>\n

The \u201cTheatre and New Materialisms\u201d conference will examine live performance, past and present, through the lens of neomaterialist thinking, the schools of thought that animate it, and the aforementioned \u201cturns\u201d that have studded its development. Naturally, the discussion will not be confined to the traditional stage but will embrace live performance in all its forms.<\/p>\n

The topics for conferences are:<\/p>\n

1. Design and production<\/strong>:<\/p>\n