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Cornered
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friday, 29 october 2010
interface fictions


interface fictions - photos
interface fictions


diary thursday 28 october
interface fictions


diary wednesday 27 october
interface fictions


diary tuesday 26 october
interface fictions


bureau d'espoir - blind practice
Bureau d'Espoir


bureau d'espoir - first thoughts
Bureau d'Espoir


Senseradio: week 2

Senseradio - week 1

yellow sticky note animation
modeling the program


peace and levinas
Peace


photos interactive burka
INTERACTIVE BURKA


the interactive burka
INTERACTIVE BURKA


vitrine proposal: caretaker aud ...
vitrine


90's euphoria - mladen
toolbox res&ref


virginie - violin
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mladen
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kahlo according to ismaïl
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ismaïl's icon
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postcard fahmi
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kathakali - zuleikha
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sujata's photos
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lazy native fahmi
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sujata's music for deep listening
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clément à battre
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light design by clément
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richard serra - zuleikha
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haiku zan
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sujata mishima
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the never ending story by mladen
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bamboo fahmi
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zuleikha's tube light holder
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music zan
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ecstatic mladen
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zan on go-book
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virginie on broadway
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zulaika's diagonal obsession
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the tiger - fahmi
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virginie and mummenschanz
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julien clerc for clément
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zuleikha's hamlet machine
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daniel's black book
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virginie - piece of metal
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daniel flatland
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toolbox fahmi 1
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the arrival
RES&REF diary


my madonna contribution
madonna


steve paxton video

my room of my own/project rogerio

participant contact info

Belgium   --   24/03/71

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friday, 29 october 2010

interface fictions -- elke van campenhout -- Fri 29 Oct 2010
FRIDAY, 13h24

Things start going wrong today. Michiel doesn’t arrive then after our first interaction, so i’m a bit stuck in space. Adva has preparation stress for the Dominokingdom next day in nadine, so she arrives later for the breakfast. Lilia becomes her stand-in for the first part of the breakfast score. We pick up the conversation I had with Adva the day before, and use the time to discuss the potential of this workshop formula to use in different contexts. We also precise the need for modifications to the scores: they have to be communicative to the outside and the others, so that their affective potential is released. Maybe we should ban computers out of the scores, since a bunch of people sitting around a table working is not really stretching out the concept to its fullest power. We also try to come up with different ways to understand the scoring: not only based on time, but on musicality, on the spatial constructions, on the affective landscape, etc...  Repetition in this environment becomes a very complex given, residing on the different possible parameters to follow. Right now every one is kind of struggling throughout this enormous amount of choices to make at every single moment of performing the score. Also on a documentation level this poses a lot of questions, since everyone always only carries one perspective on what is happening. So the question arises how to think of a fragmented but communal form of archiving. We try to bring it into our communal talks, but what prevails is the question of (self-induced) power: the scores are quite stringent and demanding, and some participants need to blame an outside force for the power exercised over every single moment of their day. on the other hand everybody knows this power is self-induced and can thus not be turned into a refusal towards the exterior. You can only fight yourself here. But if you fail, you also deny the other ones the completion of their stories. It is at moments quite stressful to realize your interwovenness with the ‘bigger group’, the fact that not doing something in these kinds of circumstances is a clear statement of absence to the other’s, since they perceive this as a clear gap in their work.


elke


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