Stops and Drops

David Cheeseman

I propose a multimedia, sculptural installation entitled Stops and Drops. This work has already been exhibited in a different format for solo exhibition, Slime Mould Logic, at Tintype Gallery, London. This incarnation would involve a three channel video projection alongside three oak, glass, and stainless steel chain “assemblages.” The work takes its starting point from Ducha...

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conference: DARE 2017: aberrant nuptials
date: November 22, 2017
venue: Orpheus Institute, Penthouse
format: in absence

Articulating Thresholds: The Threshold as a Framework for Artistic Experimentation with Indeterminacy

Ally Bisshop

I present a proposition for thinking-through-making that asks, What if we consider the threshold as a framework for experimenting with the indeterminacy that arises between thought and action, between philosophy and art practice? I propose that the threshold allows us to understand processual artistic practices whose modes of composition are sensitive to the affective power of material-forces—th...

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conference: DARE 2017: aberrant nuptials
date: November 21, 2017
venue: Orpheus Institute, Penthouse
format: in absence
keywords: experiment, expression

A Ligeti Example of How to Make a Piano (or a Piano Piece) Stutter

Gustavo Penha

In his Étude 3: Touches bloquées, published in his First Book of piano studies, the Hungarian composer György Ligeti explores a singular piano technique in which some keys are depressed and held by one hand while the fingers of the other hand make some movements stroking these depressed and held keys without producing its correspondent sound notes. It is for this technical reason that...

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conference: DARE 2017: aberrant nuptials
date: November 22, 2017
venue: Orpheus Institute, Concert Hall
format: in absence
practice: music and sound
keywords: György Ligeti

The Imperceptible and Anti-Aesthetics: Deleuze’s Response to Phenomenology

Benoît Dillet

The character has become a kind of viewer. He shifts, runs and becomes animated in vain, the situation he is in outstrips his motor capacities on all sides, and makes him see and hear what is no longer subject to the rules of a response or an action. He records rather than reacts.
— Deleuze, Cinema 2: The Time-Image In Deleuze’s Logic of  Sensation (2005) the stakes...

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conference: DARE 2017: aberrant nuptials
date: November 21, 2017
venue: Orpheus Institute, Concert Hall
format: in absence
keywords: aesthetics, becoming-imperceptible