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Saturday March 16 | Session 10:30 - 12:15 (20 min)
De Brakke Grond | Rode Zaal
The first part of the title refers to a potential in combination, an extensions of possibilities. To admit means to let in, allow, accept as valid, acknowledge, leave room for. So this begs the question – who admits?

I explore intervention as manifested in the form of sonic gesture, one in which a performer body and live audio electronics interact, striking each other according to the audio definition of ‘interference’ and its derivation from s’entreferir [O.F.] Two worlds are brought together in a theatre of transformations that alters, intoxicates and alienates, allowing for vantage points of criticism and re-engagement to emerge as an other, third, ‘mad’ world shatters former parameters of analysis and control. Authority, and by extension, the institution, are subverted through a process of artistic co-creation.

I shall explore this fundamental shift with direct reference to an inter-medial performance that offers a site/space for interference. Zaum: Beyond Mind (2010 – 13) was created by two composer-performers, myself and Oded Ben-Tal, involving voice, bandoneon, interactive / live electronics, choreography and lighting. During performance there is a ‘play’ between a live sound source, audio electronics, and their rebound, the nature of which is so fast and spontaneous that the transformations lead to new and surprising areas, indicating the presence of another element that goes beyond the determination of either collaborator: ‘Interaction is built on the belief that to remove the hand of the artist is to invite unexpected results’ (LaBelle, 2007).

With a short intervention by Leona Jones (creative practitioner).

Independent Composer/Performer/Researcher Dr. Caroline Wilkins completed a practice-based PhD in Sound Theatre at Brunel University in 2012. She has presented at international conferences including ARTECH (Guimares), IFTR Congress (Munich), Sibelius Academy (Helsinki) and Caen University (Normandy). Publications online and in journals include Perspectives of New Music (2013), Studies in Musical Theatre / International Journal of the Performing Arts & Digital Media / Journal of Interdisciplinary Vocal Studies (2012 – 18) with Intellect Books, and Journal of Performance Philosophy, Vol. 2.1 (2016). Recently she presented at the Joint European Philosophy Conference (SEP-FEP) and TaPRA (Theatre, Performance and Philosophy Working Group).
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