Thursday, December 19, 2013

Remixing Personae: A Hybrid Performance

And so I took the stage -

Not just any stage, but the stage at the Théâtre du Conservatoire National Supérieur d’Art Dramatique in the heart of Paris where Berlioz debuted his Symphonie Fantastique in 1830 -

I opened the performance, titled Remixing Personae, with an eerie ten minute remix of my "Glitch Ontology" manifesto -

"Glitch. Ontology.

Glitch. Ontology.

Glitch. Ontology."

"Engineering the differance via optimized ontological machining, this Fused Deconstruction Modeling Program enables vital Critical Making like never before. You too can experience the pleasure of the text by simply allowing yourself to machine-the-machine."

"Glitch is the soul in the machine."

"Writing is the flesh I just can't keep my hands off of."

"Writing, I just want to touch it -- to lick its outer edge and slowly, 
if it will let me, go in deep."

"To take hold of it the way I would take hold of any apparatus 
and just make it come, make it come back, TO writing."

"A profusion of uncensored glitch markings
that leave a raw data trace."

"The hand-coded smear of a glitchy mark-up language
that always tells the tale."

"The tale of metadata circulating in this intersubjectively 
networked space of flows remediating desire."

"If we give the attributes of a medium to the artist, 
we must then deny him the state of consciousness 
on the esthetic plane about what he is doing 
or why he is doing it."

"Mediums immersed in mediums immersed in mediums ..."

A Guest + A Host = A Ghost?

[all but the second image photographed by Rachel Van de Meerssche]

Keywords: Mark Amerika, Remixing Personae, hybrid conference, performance art, University of Paris 8, Labex H2H, Théâtre du Conservatoire National Supérieur d’Art Dramatique (CNSAD)


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