Friday February 1

7.30pm – 8.00pm

Sweetness Follows

SEAP

sweetness follows

Sarah leaves the hospital too soon. Why was she there? Where is she going? How long does she have? Two sides of Sarah’s story run simultaneously. Choose which Sarah to follow or watch both journeys from their perspective being streamed through to the Robert Gill Theatre.

The Social Experiment Art Projects Collective (SEAP) was founded by Erinn Brush in 2004 and later joined by Colleen Osborn, a former classmate from the University of Guelph.  SEAP has had shows in Toronto, Guelph and Waterloo. SEAP’s projects are devised in an experimental and methodological process that is rooted in viewer interactivity. Early SEAP projects include the Tomato Experiment, an interactive experiment that allowed gallery visitors to inject tomatoes with either growth hormone or banana flavoured protein shakes, andSEAP Radio, where gallery visitors could broadcast them selves or tune in to listen to art at night. SEAP’s last work, an interactive installation entitled Payphone Therapy, was on display in a group exhibition Tel-Talk at the Telephone Booth Gallery in the Junction last summer. Sweetness Follows, their latest social experiment, is the first project in which SEAP will combine theatre with technology and chance for the 2013 FOOT Festival.

Starting at 8:00pm

CrossTalk

Michael Palumbo

CrossTalk - Michael PalumboCrossTalk is an electroacoustic performance environment. Two performers interact with each other through the Crosstalk program – our program allows for gestural control over DSP (digital signal processing) parameters in real time. What you will hear: the interplay between live vocals, spectral analysis, and a series of processes within Crosstalk, which include vocoder, chorus, delay, stereo panning, and audience-initiated audio loops.

Michael Palumbo is a guitarist, composer, and computer musician, working towards a Bachelor of Fine Arts in Electroacoustic Studies at the Department of Music, Concordia University, Montreal, Quebec. His areas of interest include the augmentation of musical instruments and of audience perception of a musician’s performance. His paper, Using an Augmented Electric Guitar as Both a Controller and as a Polyphonic Instrument, along with compositions can be found at www.objetsonore.com/michaelpalumbo. Collaborator and contributor of written materials for CrossTalk, Jonathan Meriano is a writer and philosophy student at University of Toronto. Jonathan’s interests include lyrical realism, mind/machine interfaces, soft-serve ice cream, and equity studies.

Relaxation Tape

Aynsley Moorhouse

colourFINAL2

This piece explores the relationships between intimacy and anxiety, past and present, and performer and spectator entirely through recorded sound. Listeners are invited to enter a dimly lit room – alone – and are guided by a soothing voice whispering in their ears. The listeners/spectators become performers in a private drama as their bodies, memories, and emotions complete this unusual and interactive experience.

Do as you’re told. Don’t worry… nobody is watching.

Aynsley Moorhouse (MFA, MA) is a Toronto based artist who is currently pursuing her Master of Social Work at the University of Toronto. Her sound installations have been showcased at a number of academic conferences and art festivals, and most recently her piece “Walk With Me” was broadcast on CBC Radio One’s Living Out Loud. In February and March 2013 she will be presenting new work at the Blackwood Gallery at the University of Toronto’s Scarborough campus and at Fordham University in New York City.

aynsleymoorhouse.com

Shannon’s Fireflies

Seth Hardy

Shannon's Fireflies

A grid of suspended light nodes in a cube frame which respond to external flashes of light. Each node, or “firefly”, flashes its own light, passing a message along in the same direction. However, the fireflies aren’t perfect: instead of reliably passing along a message, they may send it in another direction, to another person, split it up into multiple directions, or not relay it at all.

Seth Hardy‘s background in technology is the basis for his focus on what he’s told is best described as “industrial and mixed-media interactive sculpture,” but is probably better summarized as “giant interactive flamethrower things.” He works primarily with fire art and lighting installations that involve physical engagement with technology, providing participants with very personalized experiences.

snap and shoot

Kimberley McLeod

Installation photo

From 2000-2003, before the advent of social media sites, net artists 0100101110101101.org (Eva and Franco Mattes) shared all of the information on their personal computer with online users via their website. For the duration of the project, which was entitled Life Sharing, users could go on the site and view information normally considered private. In hearkening back to this work, I will present a mobile device with personal information on it as an installation object that spectators can engage with. This project aims to mobilize and interrogate digital presence, and highlight the ability of the digital to enable non-linearity, connectivity, networks and social relations through the presentation of this digital archive, which spectators can interact with and add information to. This project will be an extension of a previous performance project, platform jumping(2011; http://platformjumping.wordpress.com), which explored how citizens – and particularly women – engage in political movements online.

Kim McLeod is a PhD student in Theatre Studies at York University whose dissertation research investigates the political effects of intermedial performance. Her ongoing performance practice questions political engagement and gender in digital interactions. Most recently, she co-devised the intermedial performance Straight Talk, which examines the role of conservative media in Canada. She is also an active dramaturg and performer whose work has been shown at projecttheater Dreseden, Lesya Ukrainka National Theatre (Kiev), Riverside Studios (London) and Assembly (Edinburgh). 

 

Random Article

headshotKevin Brouder

An attempt to map out the experience of surfing wikipedia in an entirely analogue format, and an exploration of the pros and cons of using and abusing the most ubiquitous source of knowledge in the digital age. Random Article: An Etude, is a half-hour solo piece where one performer will make his way through a series of wikipedia articles, faithfully recreating the unpredictable rhythms by which we slide from subjects as diverse as Slavic Pagan Religion to Tiki Kitsch Culture. On the way we’ll touch on the strangeness of language, the unreliability of wikipedia editors, and the dangers of internet multitasking when coffee is on the stove. Inspired by the works of Elevator Repair Service and the intellectual comedy of Bill Irwin, Random Article is a story about how we absorb (and excrete) knowledge in the digital age.

Databending: An tutorial glitch-art

Kevin Brouder

Over the last 20 years, artists around the world have been experimenting with the intentional corruption of digital files to create unpredictable aleatory works of art. By altering small amounts of data in the source code of image and video files, colourful aberrations are created at random by the computer’s attempts to interpret the flawed files. In this presentation we will go through a brief history of glitch-art and delve into a few basic techniques for creating your own ‘glitched’ files using software found on all computers. I will also demo a few of my practical applications for glitch art for film and live projections.

Kevin Brouder is a theater performer and technician who lives in New York City.
He has a strong interest in devised theater, and has been a part of devised works by New York artists like Dan Hurlin and Brian Rhinehart. He is a freelance sound and projections designer for theater. Kevin graduated from Sarah Lawrence College, and is also former student and employee at the Accademia dell’Arte, a physical theater school based in Arezzo, Italy.

Saturday February 2

8:00pm – 9:15pm (Robert Gill Theatre)

Three Intermedial Scenes – Deconstructed

Ars Mechanica

IMG_2287

Ars Mechanica will perform three scenes from three different shows that are in various stages of development (phase I, phase II, and phase III). The goal is to show the audience how we develop theatre that explores the living body in relation to technology, digital mediation and social interaction.

The most “complete” scene will be a core extract from the performance Show and Tell Alexander Bell (performed in Toronto, October 2011; and in Arezzo, Italy, July 2012). The next scene, which is currently in its second stage, is from another show currently in development “Charlotte” (developed in September 2012). The final scene, which is from our newest show “Knots” (conceived in October 2012) is in its earliest stage of development.

These three intermedial scenes will then be deconstructed by the audience and the troupe members through an open discussion.


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