Touch Me, If You Want Janša, Janez
Performance research,
10/2020, Letnik:
25, Številka:
6-7
Journal Article
Recenzirano
In one of the Tuesday gatherings at the IRC Interweaving Performance Cultures, the writer and artist Paul Carter said that having the name Paul Carter is as if you have no name at all. The name ...appears to be so frequent that you bump into countless others with the same name. There would always be some Paul Carter crossing your path. However we may identify with our names however we may think that they are unique, they are given to us in order to imprint on us a certain regime that a name-giver wanted us to belong to or was obliged to follow. There is always a prolongation of something a name relates to and there is always an announcement of something a name-bearer can contribute. There is something that doesn't want to die in a name we get. There is a very little a bearer can do about their name, but there is a lot one can do with the name.
Breathing is an unavoidable, vital act, yet it cannot be taken for granted, as the experiences of the pandemic, profound changes in our environment, but also structural, racist discrimination make ...clear. In the physical act of breathing, we are symbolically, materially and radically thrown back to our own bodies and connected to the bodies of others. In conversation with artists and theorists from different fields, the contributers to this volume explore different acts of suffocation and release. They show how the protection of bodies is unequally and ambivalently distributed and how it can be an act of resistance. It is an insistence on life, a demand for existential, political, symbolic and ethical recognition.
To Name or Else Jansa, Janez
Performance research,
07/2017, Letnik:
22, Številka:
5
Journal Article
Recenzirano
This article, part creative and fully scholarly, is part of larger research on the performativity of names that explores how names--including proper names, names of companies or collectives and ...titles of artworks--are an important part of the social construction of an artistic endeavour, and will explore the boundaries and permutations of control over naming by artists and authors and other namegivers.
What Names (Un)do Georgelou, Konstantina; Janša, Janez
Performance research,
07/2017, Letnik:
22, Številka:
5
Journal Article
Recenzirano
Odprti dostop
This issue explores instances in which names question subjectivity, authorship and political regimes, among others, in the performing arts and beyond. How does a name perform? How do subjects perform ...their own names? The effort to move outside the regime of names and to arrive at a type of knowledge that can exist in a state of namelessness, point to how meaning and representation have been traditionally treated.
We present the self-paced 3-class Graz brain-computer interface (BCI) which is based on the detection of sensorimotor electroencephalogram (EEG) rhythms induced by motor imagery. Self-paced operation ...means that the BCI is able to determine whether the ongoing brain activity is intended as control signal (intentional control) or not (non-control state). The presented system is able to automatically reduce electrooculogram (EOG) artifacts, to detect electromyographic (EMG) activity, and uses only three bipolar EEG channels. Two applications are presented: the freeSpace virtual environment (VE) and the Brainloop interface. The freeSpace is a computer-game-like application where subjects have to navigate through the environment and collect coins by autonomously selecting navigation commands. Three subjects participated in these feedback experiments and each learned to navigate through the VE and collect coins. Two out of the three succeeded in collecting all three coins. The Brainloop interface provides an interface between the Graz-BCI and Google Earth.
Janez Janša's Camillo 4 Georgelou, Konstantina; Janša, Janez
Performance research,
06/2012, Letnik:
17, Številka:
3
Journal Article
Recenzirano
Janez Janša: Camillo 4.0
presents and discusses Janša's art projects that are inspired by Giulio Camillo's Theatre of Memory (
The Cell
,
Camillo Memo 1.0: Constructing the Theatre
,
Camillo Memo ...4.0: the Cabinet of Memories
,
The Wailing Wall
,
Drive in Camillo
). Drawing the emphasis first on Camillo's enigmatic and complex structure of theatre, this article observes how it elicited imagination but also assumed faith in an absolute universal knowledge. Although in Janša's projects memory operates by means of imagination too, it is nevertheless experienced very differently than in Camillo's Theatre. Janša's spectators are namely invited to engage with their memory in performative, creative and critical ways, experiencing how memory works not only imaginatively but also as a constructed system. In this way, any absoluteness of knowledge is cracked, rendering one aware of historical and cultural factors that determine perception and ways of remembering. Showing how Janša's projects in-question contain, make visible and unsettle implications about theatre, knowledge, spectating and performing, this article also turns to W. Benjamin and suggests to consider them as processes of '(re)collecting' and 'unpacking' memories. Consequently, the actions of imagining, spectating and remembering, as they happen in Janša's theatre, are understood through the perspective of a non-linear, a-systematic and performative relationship to time and memories.
It has become fairly obvious that the EU will be able to realise its original goals in the following decades only by expanding its influence on the outside world. Some people define this influence as ...the ability to co-design globalisation. But it is important never to lose sight of the founding objectives of the EU. The EU exists because Europeans share basic values of personal, political and economic freedom, values that must be defended.
BREATHE—An Introductory Dialogue Sandra Noeth; Janez Janša
Breathe - Critical Research into the Inequalities of Life,
04/2023, Letnik:
1
Book Chapter
This book opens Corporeal Matters, which is a publication series dedicated to research that places the body at the core. In the following dialogue, Sandra and I will follow a key principle and ...working modality of the series by translating oral and performative knowledge to the written word. We will introduce the idea of breathing, the topic that runs through all contributions gathered in this volume, connecting a vital, physical act to fundamental questions about life and its inequalities.
Sandra, what were the initial areas of interest that you had in mind when designing the Breathe lecture series at the
PDF
