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IdeaAssassins will be presenting their performance Project No. 66 – In a Pool as part of Latitude 53’s Performance Art Festival, Visualeyez. We have posted the following videos as a way to extend the performance. We would love for you to respond to the videos in any way you see fit. Your responses will become part of Project No. 66 – In a Pool.
Kim’s Pool Story – Video One
Kim’s Pool Story- Video Two
Performance Date / Time / Location
Friday September 18th / 10 PM / Scona pool, 10450 72 Avenue, West entrance
Sunday September 20th / 10 PM / Scona pool, 10450 72 Avenue, West entrance
This performance includes water, live bodies and projected online material. This performance will force spectators in real time and space, to situate—and if they choose, implicate—themselves in the event.
Additionally, while the project will center around the proposed live event, we will begin the performance—and relationship with potential audience members— on our blog and on YouTube. During the live event, each participant will receive an artist book multiple which will serve to extend the performance further.
As IdeaAssassins one of our main goals is to engage—via performance—with intersections between theory and practice. All of the theories that we have previously engaged with, and continue to explore are heavily mediated by the notion of water. We seek to both activate and explore contemporary forms of subjectivity, which are inherently fluid and unstable. Fueled by the placement of technology on the body, subjectivity becomes an expanded notion that takes into account and questions the body, the mind, and the tools we use in quotidian existence. This project attempts to perform and problematize these contemporary notions of the subject, and highlight forged connexions, broken binaries, and saturated, hypermediated modes of perception.
We are headed to the Media in Transition 6 conference at MIT, April 24-26, 2009. The vlogs discussed in our paper as well as our mimic response are below.
The vlog has developed into one of the most popular modes of production on YouTube. These videos account for almost 5% of all content on YouTube with over 10 000 new vlogs added to the site each day (Digital Ethnography Project). Although this format is commonly recognized as one that propels users into instant celebrities, TV and film personalities also use this format to extend their performed subjectivities. Three of Disney’s most bankable stars, Miley Cyrus, Demi Lovato and Selena Gomez, regularly vlog for their fans. Miley’s YouTube Channel (http://www.youtube.com/ user/mileymandy) currently has almost 14 million views, while Demi and Selena’s shared channel (http://www.youtube.com/user/therealdemilovato) has over 9 million. Vlogging, when contextualized as digital performance, inhabits a virtual space that extends beyond the screen, moving into both the performer and audience members’ body. Vlogs, in both their performance and reception, create a space in which the internet’s inherent virtuality forces bodies to locate an in-between-ness, as they are neither entirely present or absent. This in-between-ness, which is inhabited by both the vlogger and viewer, differentiates these performances from other forms of entertainment featuring Cyrus, Lovato and Gomez that have been constructed for traditional mass consumption (film, TV, radio etc.) The TV shows, movies and music featuring these teen stars come out of a Disney tradition that contains a problematic ideology that supports not only family and friendship, but also American mass consumerism. On the other hand, the stars’ vlogs, as a result of their virtuality and seeming self-mediation, can potentially destabilize this ideology. This destabilization is linked to a contemporary break in the performer-audience binary. The Ngeners watching these vlogs are actively participating in the creation and dissemination of these celebrities’ intersubjectivities. This participation includes both text comments and video responses, which frequently feature mimics of the three stars.
How do contemporary definitions of new media, intermediality and liveness, all of which focus on the performed body, reveal the contemporary spectralized subjectivities of these Disney stars and their fans? How does the vlogs’ inherent virtuality enable a sort-of liveness that invigorates not only the body of the performer, but that of the spectator as well? Additionally, how do these vlogs perform female teen sexuality, especially in light of leaked photographs featuring a scantily clad Cyrus posing for the camera?
As part of our ongoing belief in performance as research, we will construct a series of performed mimics as an extension of our ongoing performance project IdeaAssassins (http://www.youtube.com/user/ideaassassins). These mimics, along with the countless response videos posted by fans, will extend our ability to write about the body of the spectator as we will be directly implicated in this collaborative subjectivity and the ongoing intertextual mediations surrounding these stars.
The “Original”: Demi Lovato and Selena Gomez
The “Original” Mimic: Miley Cyrus and Mandy
We have set-up a page where all responses to the poster project will be posted.
theory / theatre: an introduction OR networkofnonevents
Art is not about stories.
Art is about dying.
And how we get there.
Act now or die.
Manifesto 2.0 – PERFORMIX
1. Theatre is not better than TV/the internet. It would be if the live existed.
2. We need to break free of binaries and hierarchies. And outdated definitions of performance.
3. PERFORMIX is how the social is reinvigorated. Our reality—the hyperreal— can become a radical, transformative space/place/subject/temporality. Via performix.
4. Art is not about stories.
5. Art is about dying. And how we get there.
6. Act now or die.
On February 23, 2009, IdeaAssassins installed a 60-poster provocation campaign in the Fine Arts Building at The University of Alberta. FAB is home to the departments of Drama, Visual Arts/Design, and Music. Although the posters were focused to interrogate the students and faculty in the Drama department, the poster project aimed to question the institutional, academic, artistic, and personal biases of all the “Fine Arts” at the university.
The project lasted two days- ending with a “Ideas Intervention” performance which included the take-down of the posters. Each poster shared two elements: the title- theory/theory: an introduction, and a link to the project’s manifesto (which begins this post). The content of the posters varied greatly and included general statements and questions about art practice, theory quotes, direct pulls from the Drama website regarding their programs, and state-of-the-world opinions (Obama’s election, robots, theatre versus film etc.).
For a closer look at each poster, click the link under “pages” on the right.
Poster Installation – Day One (23 February 2009)
Poster Installation – Day Two – Documentation of Interventions (24 February 2009)
On the second day of the project we documented the anonymous interventions made to the posters. Responses included the take-down of posters and general responses written directly on the posters. One poster was ripped in half and written on. Responses continued in one-on-one conversations. They included the desire to have the posters removed, confusion regarding the creation of and the meaning behind the project, and support for the project. These photos document the interventions.
Poster Installation – Idea Intervention (Poster Take-down)
The poster project was removed from the walls of the Fine Arts Building via a staged intervention/performance on Day Two. The Graduate Seminar on Provocation was removed from their class, handed a card with YES on one side, and NO on the other. Flyers with the project’s manifesto were also distributed. The Provocation students moved from one part of the project to another, answering questions about the content of the posters. These short discussions began with YES/NO questions, and, when necessary, follow-up questions were posed. Each time a poster was removed, it was handed off to one of the provocation students. They were responsible for transporting the posters to their final destination. The intervention culminated with the staged photos below. Each participant was asked to pick the poster which they had the strongest response to. They then formed a line in front of the empty display cases on the second floor and had their photo taken. They were left there. They only stayed a few moments.
Please note one of the participants demanded that his photo not be posted on our site. That is the reason for the slight alteration to the photos:
On the day following the removal of the project, two (seemingly) separate mimics/responses were posted in the Fine Arts Building.
Response #1: A poster printed from a computer was placed in many of the same places as our posters had been.
Response #2: As part of the advertising campaign for an upcoming dance, hand written posters were placed in several locations around the drama department.
CLOSED (due to reorganization) University of Alberta’s
Office of Human Rights
CLOSED (due to reorganization) University of Alberta’s
Office of Human Rights