Just Situations: Project(ed)s/Situations
CLARINDA MAC LOW: "Walking Distance"
Walks can be scheduled from 10 AM – 1 PM and from 2 – 8 PM. Each walk is in 30-minute increments, but you may sign up for two or more consecutive slots to extend the experience. If you wish the walk to remain private, please indicate this in your sign-up form. A meeting place will be sent to you once you sign up. Google form for sign-up (http://bit.ly/2r60rvd) and also a new email address (in case somebody has trouble with the form)--walkingsituation@gmail.com
https://clarindamaclow.com/walking-distance/
https://www.facebook.com/events/1347940658589081/
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ALEXANDRA DELAFKARAN:
2-4PM Saturday, July 22 at Panoply Performance Laboratory (Parts I and II)
7-8PM Saturday, July 22 at Grace Exhibition Space (Part III)
A three part performance collage including the collection of words prompted by themes of exotification and power, a multi lingual and abstracted theoretical reading, all followed by a presentation and critique of the collected data and recited text via movements and “dance”. At PPL parts one and two of the performance will commence from 2-4pm. Durational recitations, writings and movements. The final part of the piece will be performed at Grace at 7pm.
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DAVID IAN BELLOWS/GRIESS: "until the batteries are dead"
2-8pm Saturday, July 15 at Panoply Performance Laboratory
2-8pm Sunday, July 16 at Panoply Performance Laboratory
All-day Sunday, July 23, screening at Grace Exhibition Space
"until the batteries are dead" employs dog masks, camcorders (with a finite amount of battery life) and sights/sites (camcorder operators, static objects, moving bodies, public, and private).
Meet at PPL to sew dog masks, make videos as a group in public locations, screen videos on the last day of the convention.
until the batteries are dead information and schedule:
https://untilthebatteriesaredead.tumblr.com/
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KARL COONEY:
Can video documentation amplify the reach of a performance or only commodify it?
Which performances should be documented and who decides?
Will processing and organizing of raw footage with a machine learning algorithm yield any insight or beauty? Is there any way to avoid appropriation of the images of others or is a sterile art object devoid of context or spirit inevitable?
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These projects are part of JUST SITUATIONS: https://justsituations.wordpress.com/
https://www.facebook.com/events/1975315539357388/
