DISTRACTION AS DISCIPLINE 2016-19ALL RELATED ENTRIES >>>Distraction as Discipline
An investigation into the function of attention and participation in performance art, art pedagogy, artists texts, writing and thinking practices.
[research project || KASK School of Arts / Ghent 2016 - 2019
researchers || Heike Langsdorf, Anna Luyten
outside-eye, co-editor || Alex Arteaga
project coordination || Kristof Van Gestel]
"... Performance studies have a huge appetite for encountering, even inventing, new kinds of performing while insisting that cultural knowledge can never be complete," (...) "If performance studies were an art, it would be avant-garde. Projects within performance studies or act on or act against strictly ordered or settled hierarchies of ideas, organizations or people. Therefore, it is hard to imagine performance studies getting its act together or ever wanting to."
(Richard Schechner, 1934 - present)Can we find the resistant potential of art and art pedagogy, in times of massive desubjectification, in a critical reclaiming of attention and participation?
Wandering as thinking, as doing, as daring. Allowing for coincidences, mistakes and failures. What does that mean for an artist in times aspiring for high efficiency and where can it lead to?
In this research, performance artist Heike Langsdorf and theoretician Anna Luyten want to expand on a methodology that both of them apply in their artistic and educational practice: they want to elaborate on the value that can stem from 'being distracted' and equally investigate the significance of a certain kind of attention coming along with this.
Both depart with and in the same time question the method of participation: to actively participate and let others participate in artistic processes while acknowledging the consequences of that. It is a process of discretely embedding oneself in a reality, a physical or mental landscape, and finding one's way there. That leads to winding roads that can not cope with one single discourse. Their methodological problem is making them search for the significance of attention that is verbal, textual or corporeal, that is a focused distraction, an open system or play. How can we translate attentive distraction in a digital age?
The study consists of three pillars:
* A: a studio, * B: performance-work and * C: theory as practice.
In this triptych the problem is investigated respectively in a different way. The three pillars nourish one-another and allow for various forms of interaction.
In the studio, both researchers want to work with others, not only on the meaning of 'distraction', 'attention' and the 'participatory' in their investigations and other artistic practices, but also on its pedagogical relevance. Also here participation is a methodological key word. With 'Performance as Discrete Device' Langsdorf examines the critical approach of attention and participation in her own work (passed and current). With 'Attentive Distraction' Luyten explores facets of the same attention, participation and being astray, and the way one can communicate about, reflect on and theorize art practices.
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