CARPA4

Annette Arlander The purpose of the biannual CARPA colloquia is to contribute to the development of artistic research practices in the field of the performing arts and to foster their social, pedagogical and ecological connections. The fourth Colloquium on Artistic Research in Performing Arts, CARPA 4, took place at the Theatre Academy of the University […]

Leena Rouhiainen Good morning everyone! Thank you for being here! My name is Leena Rouhiainen and I work as Vice Dean of research and Head of the Performing Arts Research Centre here at the Theatre Academy of the University of the Arts Helsinki. It is my pleasure to welcome you to our 4th Colloquium on […]

Esa Kirkkopelto Dear Audience, Let’s start with a familiar-looking news flash… “More than 4,200 refugees rescued in Mediterranean” (30.5.2015) This is how we, Europeans, Westerners, encounter the refugee problem, or “illegal immigration” as it is officially called. “They” are coming “here” in masses. We cannot prevent them from arriving, but we do not know either […]

Peta Tait Professor, La Trobe University and the University of Wollongong. (This paper is an edited version of the keynote address given at CARPA4, 12 June 2015, but without the visual examples.) Recent theoretical approaches that attempt to bridge the separation between the human and the nonhuman often do so by contesting the primacy of […]

Boyan Manchev A shorter version of this text appeared in German under the title Was wollen die Dinge? Dynamische Ontologie und die Zukunft der Performance, in Theater der Zeit, 3, 2015. In this essay I will propose a new articulation of the reflection on things in performance, in direct connection with the perspective of the […]

Elisabeth Laasonen Belgrano PhD in Performance in Theatre and Music Drama Keywords: Voice, Performance, Force, Form, Becoming, Trust Abstract This performance-presentation exhibits ornamenting processes of I/voice/force and becomings between sounding notes/structures/forms. In short: articulating mattering-processes through force and form. Following a transforming web of acts and encounters, desire and urge – becomings of I/voice – are […]

Joa Hug Abstract This workshop proposes to practically approach the question of the “(non)human” from the perspective of artistic research in and through “Body Weather”, a comprehensive performance training that emerged in Japan in the 1980’s and that has developed a wide range of practical tools to investigate how bodies and environments intersect. In the […]

Joanne “Bob” Whalley and Lee Miller Dogs are curious. Dogs complicate. They sit in an existential hinterland where they seem to be refused access to their own selfhood, unable to be one thing or another, but expected to be all things to all people. Even the word, dog, is a misnomer, indicating as it does […]

Ludvig Elblaus, Carl Unander-Scharin, Åsa Unander-Scharin (all authors are first author) Building on our team’s work with enhanced cross-over multi-modal expressivity through embodied interaction in opera and dance, we presented a participatory workshop at CARPA4. Following an overview of earlier work, the workshop included hands-on interaction with our new custom-built system OculiVocem. The workshop was […]

Tanja Beer PhD candidate, University of Melbourne, Australia A number of theorists exploring the relational dynamics between humans and nonhumans have interrogated notions of sustainability through the concept of “vigorous materiality”. One area of particular interest is “vital materialism” which views the concept of matter as vibrant and forceful – an “actant” in human experience. Emerging […]

Kristof van Baarle Ghent University “This publication is part of a doctoral mandate supported by the FWO (Research Foundation Flanders)”. I would like to start this talk with a personal experience I had a few months ago while I was traveling in Chilean Patagonia. For two weeks I stayed with friends on a sailing boat, […]

Teemu Paavolainen Abstract From Le Corbusier’s “machines for living in” to the “smart homes” of the present, discourses of architecture and technology have sought to extend the everyday assemblage of domestic performance (be it in registers of normativity or enhanced efficacy) in a human-scale middle ground between individual initiative and imposing ideology. With snapshot examples […]

Simo Kellokumpu In Theatre Academy Helsinki there are several dance-studios. The studios are equipped with basic technical equipment. They are variable and they are meant to be used for training, rehearsing and performing within the curriculum. When it comes to the equipment and material conditions of the studios there are studios with and without dance-mats. […]

Anu Koskinen In August 2015: This text is not exactly a text. It’s content is difficult to tell by only words. It is a performer’s script, planned to be performed in a specific situation, for a specific audience. I have added some parentheses and photographs that were taken afterwards, to make this more accessible to the […]

Macklin Kowal Abstract This presentation unpacks the idea of leakage as a theoretical principle and a tactic of performance. Questioning the associative links that the word presumes between the disclosure of covert information and the secretion of matter from a body or vessel, I adopt a leaky posture in my own body as I critique […]

Mikko Bredenberg The title of my lecture-demonstration-workshop is “Scenic Imagination – the actor/performer’s body as a scenic element.” My session is divided into three parts: – First I will give a talk about my research subject: from what kind of problems did my research emerge? I also demonstrate how my own acting embodies my phenomenologically […]

Malaika Sarco-Thomas University of Malta In 2006 in collaboration with my partner Richard Sarco-Thomas I danced a series of site-based improvisation performances with trees as part of a peripatetic, over-land journey from Devon, England to Guangdong, China. The project sought to answer the question, “how can improvisation be a practice of ecology?” The solo performances, […]

Vincent Meelberg Department of Cultural Studies, Radboud University Nijmegen Introduction Traditionally, music is considered a form of human expression. Through music human subjects may express emotions and affect other people. Often, objects are used to create music, and although much has been written about musical performance, musical emotion, and musical embodiment, the notion of a […]