The Performance Studies International conference’s theme “OverFlow” takes a reverse view on the political tropes customary in “times of crisis” – “OverFlow” focuses on abundance, transgression, and leakage instead of the usually evoked themes of lack, restriction, and loss.
Cathy O’Carroll’s paper – ‘When the Amateur appears on the Scene: Leakage and Transgression between memorial, drama and personal testimony’ – Responded to the overall conference theme of ‘Overflow’ examining the ‘overflow’ between performance, memory and ritual in Ireland Shed a Tear? by Michael Collins and These Rooms by ANU and CoisCéam Dance Theatre.
“I pursue the interconnection of amateurism, motivation and intervention through philosopher Bernard Stiegler’s theoretical construction of ‘the amateur’ […] Amateur participation acts within a libidinal economy of desire producing an abundance that represents a redemptive milieu within our exhausted economy of creative capital. This is a motivational force, that overflows the boundaries of passive spectatorship to initiate further doing in the world; to open both work and world to beneficent processes of psycho social transformation.” (Cathy O’Carroll, 2017)
Connell Vaughan has published a chapter in the following anthology
“Whereas liberal arts and sciences education arguably has European roots, European universities have evolved over the last century to become advanced research institutions, mainly offering academic training in specialized disciplines. The Bologna process, started by the European Union in the late nineties, encouraged European institutions of higher education to broaden their curricula and to commit to undergraduate education with increased vigor. One of the results is that Europe is currently witnessing a proliferation of liberal arts and sciences colleges and broad bachelor degrees. This edited volume fills a gap in the literature by providing reflections on the recent developments in Europe with regard to higher education in the liberal arts and sciences. The first section includes reflections from either side of the Atlantic about the nature and aims of liberal arts and sciences education and the way in which it takes shape, or should take shape in European institutions of higher learning. The edited volume takes as a distinct approach to liberal arts and sciences education by focusing on the unique way in which core texts – i.e. classic texts from philosophical, historical, literary or cultural traditions involving “the best that has been written” – meet the challenges of modern higher education in general and in Europe in particular. This approach is manifested explicitly in the second section that focuses on how specific core texts promote the goals of liberal arts and sciences education, including the teaching methods, curricular reflections, and personal experiences of teaching core texts. The edited volume is based on a selection of papers presented at a conference held in Amsterdam, the Netherlands, in September 2015. It is meant to impart the passion that teachers and administrators share about developing the liberal arts and sciences in Europe with the help of core texts in order to provide students with a well-rounded, formative, and genuinely liberal education.”
Connell has recently published an article in OAR: The Oxford Artistic and Practice Based Research Platform Issue 1 (2017).
“The anthem, when considered as a dynamic site, as opposed to a static symbol, might expand the zone of the Republic to different temporal and spatial contexts. In the spirit of an enquiry into ‘sites of research’, this paper therefore considers the space of Moriarty’s imaginary kingdom and its significance for rethinking the contemporary anthem. Anthems can be seen as symbolic signs of unity and/or division.6 Shana Redmond, for example, has seen the anthem as emblematic of solidarity and citizenship. The anthem she argues, in its varied composition and performance, is a ‘sound franchise’ contributing to the political domain.”
A recent publication by Connell Vaughan “Mega-Spectacles of Engagement”.
“The tricky contortions of the vilified weasel are an apt t for the language of contemporary aesthetic theory, practice and policy. There is today, in Ireland and beyond, a palpably cavalier and casual attitude to the language of aesthetic sensibility. Aesthetic concepts are routinely reduced to keywords to be cited, referenced and namechecked. Words such as ‘deconstruction’, ‘modern’, ‘critical’ and even ‘aesthetic’ itself, are recycled like fashion trends. Rarely are they consciously complicated, interrogated or even reappointed.”
As part of this years Venice Biennale the Aesthetics Group will be presenting new research at the Research Pavilion. More to follow…
The Graduate School of Creative Arts and Media (GradCAM) at the Dublin Institute of Technology propose a 2-day program of seminars, panel discussions, interventions and performances in line with the overall thematic of The Utopia of Access. The focus of the program will be twofold, firstly, to revisit questions of digital aesthetics in the wake of the development of computational analytics and cognitive computing and secondly, to raise questions of new political economy through the development of new forms of economy, namely, the contributive economy.
This years conference takes place in Berlin. Abstracts are in. Let’s see what happens…
Following a hugely successful and enjoyable conference The Beautiful Game: The Poetics and Aesthetics of Soccer in Transnational Perspective at the University of Basel in July both Connell and Mick are writing a proposed book chapter titled “Caveman stuff”: Ireland’s Soccer Struggle with Identity, Style and Success”.
The chapter considers the complex relationship between style, success and Irish identity in relation to Irish soccer. Hoping to wrap it up over the coming week.
Style over substance…
The Creative Agency in Local Communities conference in DIT Grangegorman, Dublin and the European Society for Aesthetics 8th Annual Conference in University of Barcelona
The Aesthetics Group also presented a live web conference between Barcelona and Dublin during the European Society for Aesthetics Conference and the Creative Agency in Local Communities conference. Members of the group chaired a live web session between both cities responding to a turn to education in aesthetic theory and practice and a mobilisation of Friedrich Schiller’s concept of the play drive.
The session brought together a range of theorists, art practitioners and educators including Professor Doris Sommer (Director of the Cultural Agents Initiative at Harvard University).
Live link from ESA Conference in Barcelona to The Creative Agency in Local Communities conference in DIT Grangegorman, Dublin, June 2016.
The European Society for Aesthetics Conference took place in the Department of Philosophy of the Autonomous University of Barcelona and the Faculty of Philosophy of the University of Barcelona in June past.
Members of the Aesthetics Group presented papers on a variety of topics. Néill O’Dwyer presented a paper “Death and Ecstasy: Reflections on a Technological Sublime” which focused on the shift, taking place in the arts, brought about by the migration from mechanical to digital technology and the import of software into working processes.The materialisation of mathematics and algorithms in artistic practice was highlighted which led to a questioning of the experiential shift taking place in the encounter with new digitalised art forms.
Mick O’Hara presented a paper titled “Tracing the Invisible” which addressed Jacques Derrida’s deconstructive reading of Merleau-Ponty, focusing particularly on both philosophers’ writings on the visual arts. Defending Merleau-Ponty, the paper considered the role of embodiment in the mark making processes of drawing and painting while pointing to Merleau-Ponty’s deepening ontology of his later work.
Connell Vaughan returned to the experiential nature of digital media offering a critical analysis of iconoclasm in state building with a particular focus in Islamic State’s mobilisation of digital technology and the deliberate digital documentation of the destruction of cultural heritage sites. The paper titled “Statecraft: Vandalism and Iconoclasm in the Digital Age” argued that such documentation was strategic and not simply blind iconoclasm but vandalism in the service of state formation.
The Proceedings from the conference have just been published and can be read and downloaded here.
The Enquiry is a seminar group affiliated with the Graduate School for Creative Arts and Media, Dublin (GradCAM) and hosted by IMMA. It was first convened in 2009 by Georgina Jackson, who was then a PhD candidate with GradCAM. Originally the group was concerned with collating research on seminal counter-exhibitionary strategies. The current working group comprises Jeanette Doyle, Jennie Guy, Fiona Hallinan, Emer Lynch and Kate Strain. We are concerned with developing a performative analysis of exhibition-making modes, both historical and contemporary.
As a culmination of six months of regular meetings, ‘The Enquiry @ IMMA’ was conceived as a platform to perform our practice-based research. The event took place on Friday 15 July 2016, commencing in IMMA’s former bookshop, where visitors were welcomed with warm beverages prepared by Fiona Hallinan.
Download review here