Please make your repertoires available ...
Please make your repertoires available ...
‘Performance / Performativity / Objects / Subjects’ is an a.pass basics-workshop covering some of the basic knowledges we share on an (almost) daily basis in a.pass, and that need some in-depth attention.
In this workshop we will read texts and discuss the problematics from the point of view of objects and subjects: how does an object perform its objectness and how does it perform us. In other words: how does the object perform our subject-ness. And how does the subject perform the object. Or: how can we replace our subjectness by objectness and what does that entail?
In other words, although the basic performativity texts like the ones of Judith Butler and the speech act theory of Austin will certainly play a role in the backseat, in these reading sessions we will concentrate more specifically on Object Oriented Ontologies like the ones of Timothy Morton, the extended concept of ‘the democracy of objects’, go deeper into the concept of ‘compositionism’ as coined by Bruno Latour, revisiting phenomenology with Sara Ahmed through her (queer) concept of 'orientation' and mobilizing metaphorically the notion of 'ventriloquism' by reading some pages of François Cooren's ‘Action and Agency in dialogue’ .
What if human interactants were not the only ones to be considered, paraphrasing Austin, as “doing things with words”? That is, what if other “things” could also be granted the status of agents in dialogical situations?
(this workshop is part of the opening week and compulsory for everyone!!)
I'm Eric Thielemans, trained and drowned in a musical practice. I'm a drummer, composer and sound artist with a broad range of interests and experience with cross, multi en interdisciplinary artistic collaborations. For the last couple of years my artistic practice became more research based and reflective, and my work was touched by that evolution. I'm proposing a workshop in apass at the beginning of the january block. The workshop deals with the notion(s) of repertoire. Of what stuff are they made? How did they come about? I did this work once before with my musical ensemble EARR. It will be a first time for me to adapt the questions and reflections to a wider and multidisciplinary field of expertise and practices. In order to use our time well during this week, I propose an introduction text and some questions that are meant to open up the reflective juices. I would kindly like to ask you to prepare the sessions based on the questions and preparative tasks you will find underneath. It will make the workshop and sharing surely richer and denser. So, here we go. Looking forward to meet you in january.
If you have questions regarding this document and how to deal with the questions, you can reach out to me by mail: firstname.lastname@example.org.
repertoire - the entire range of skills or aptitudes or devices used in a particular field or occupation; "the repertory of the supposed feats of mesmerism"; "has a large repertory of dialects and characters" - The range or number of skills, aptitudes, or special accomplishments of a particular person or group.
For this workshop I’m looking for the entire range of skills, patterns, aptitudes in which we come home to. I really like to connect “repertoire” with “home”. “Practice” with “life”. As in: “Something to come home to.”
Repertoire(s) is a research and reflective workshop in which I see us all, like a bunch of passionate amateur entomologues (insectologues...), observe,repertorise , taxonomise, and share the constitutive phenomenons of our life with our craft and the repertory of skills, tools, techniques, practices that we use to build that life. Furthermore we will investigate various strategies and ways to weave the sensibilities, disciplines and practices of each participant together into meaningful wholes or collective spaces and cosmologies.
First the focus will lie on each of us individually. For this I have formulated some questions and notions (see under) for you to get started and prepare the first 2 days of our week. After that we will dive into group related observations. How do we behave as a group? What’s the repertoire of the group? How do we deal with the multidisciplinary aspect of it all? Off coarse this separation individual-group is artificial and not always easy to keep but I think it will give us a strategy, plan, focus and ground during the work.
I also want us to look for appropriate ways to propose this work in a performative situation.
At the end of the workweek, on friday, we will propose a showing of the work in which there will be place for each individual to share and propose some of his/her findings and reflections in whatever way suitable as well as there will be group propositions.
List of questions and notions to get you started: