Co-Chairs Nina Czegledy and Gis\u00e8le Trudel<\/i><\/p>\n\n\n\n
Tuesday, March 23rd 2021, 12:30 p.m. – 2:00 p.m.
Tiohti\u00e0:ke | Montreal
Free online video conferencing via Hexagram\u2019s YouTube channel<\/a><\/h5>\n\n\n\nIn French<\/p>\n\n\n\n
With <\/b>(in order of presentation)
Andr\u00e9e Martin (Choreographer and Professor, D\u00e9partement de danse, UQAM; Hexagram research member)
Armando Menicacci (Independent researcher; Hexagram collaborator member)
Alfonso Santarpia (Humanist psychologist and Professor, D\u00e9partement de psychologie, Universit\u00e9 de Sherbrooke)
Bruno Pucella (Sound designer and independent artist)<\/p>\n\n\n\n\n\n\n\n
The chosen theme is slowness, a renewed relationship to temporality, an operating mode of creation. Slowness as a philosophy of action, a perceptual modality and a way of resisting what depletes us a little more each day. This is an invitation to see and live the work differently, to dwell on experience and its transformative value. The ways of thinking and discussing of this theme are related to the same object, the research-creation processes of two dance works K-Kalos, e\u00eedos, skope\u00een<\/i> (2019) and L-Lib\u00e9ration<\/i> (2020) as two sides of the same coin, with slowness being their motor and focal point. This LASER panel will be a multimodal presentation with video excerpts, the discussion of creative strategies – from artistic, philosophical and technological points of view – and will also include analysis of the spectator’s reception through the lens of humanist psychology. One subject, two objects, forming a plurality of views about the prism constituting an expression of slowness in the performing arts.<\/p>\n\n\n\n
Presented with the financial support from Hexagram<\/a>, funded by the Strategic Clusters program of the Fonds de recherche du Qu\u00e9bec \u2014 Soci\u00e9t\u00e9 et culture (FRQSC). The Leonardo\/ISAST LASERs are a program of international gatherings that bring artists, scientists, humanists and technologists together for informal presentations, performances and conversations with the wider public. The mission of the LASERs is to encourage contribution to the cultural environment of a region by fostering interdisciplinary dialogue and opportunities for community building to over 40 cities around the world. To learn more about how our LASER Hosts and to visit a LASER near you please visit our website<\/a>. @lasertalks<\/p>\n\n\n\n![\"\"\/](\"http:\/\/hexagram.ca\/wp-content\/uploads\/LASER10affiche.png\")
<\/figure>\nSummaries<\/h5>\n\n\n\n
Slowness as an engine of creation<\/i>
Andr\u00e9e Martin<\/b>
It was not me who came to the slowness. Rather, it was the slowness that came, imposed itself on me. My team and I were looking for a way, through bodily presence, movement and dance, to bring more well-being to the spectators, to contribute to what we have called \u201ctheir homeostatic balance\u201d. We realized very quickly that in order to achieve this we had to find a way to slow down the pace, to slow down the time of creation and in the performance, to eventually slow down the time in the bodies of those who were watching us. Giving and taking time thus became the keystone of the two dance works (named above) of our research-creation project.
Slowness and the creation process<\/i>
Bruno Pucella<\/b>
The experience of slowness in the creation of the soundtrack for the two immersive pieces gave me great creative freedom to take the time to try and test different sound ideas in the process. This slowness brought me into a contemplative state, directly influencing the structure of the narrative arc of the soundtrack.<\/p>\n<\/div><\/div>\n\n\n\n
Thus, the slow movement of the two pieces plunges the viewer into an immersive universe where the sounds of nature are transformed almost imperceptibly into musical sounds. This pace of work and the great artistic freedom that resulted from it were unique in the time managing aspect of sound creation compared to my practice in cinema and television.<\/p>\n\n\n\n
The effects of slowness on the experience of presence among spectators and performers<\/i>
Alfonso Santarpia <\/b>
My presentation aims to better understand the psychological effects of slowness on the complex experience of the presence (feelings, ideas, emotions, anxiety) of K-Kalos, e\u00eedos, skope\u00een<\/i> (2019), the immersive and interdisciplinary works by Andr\u00e9e Martin. More specifically, I will present the quantitative and qualitative data of the experience of the presence of spectators and performers. Thus, the slowness experienced in the dance seems to mobilize an experience of the self in the presence, rich in symbolic, spiritual and emotional dimensions.<\/p>\n\n\n\n
As a conclusion<\/i>
Armando Menicacci <\/b>
I will put in resonance the different approaches, discourses and methods that the researchers have deployed around the theme of slowness, for the first project (2019) produced at the LAVI. Our laboratory was conceived from the onset as a project of physical architecture and media architecture as well as an epistemological framework for the intersection of disciplinary fields. I will present our rhizomatic way of doing research-creation under a model that is both concentric and eccentric. I will also present the current production of a future digital web platform, born of the first project. The platform is a transversal prototype of collaborative, horizontal, non-hierarchical crosspollination and not dependent on the traditional system of production and publication of scientific knowledge. The platform is also an example of what is called in contemporary historiography: \u201cthe sharing of authority\u201d (M. Frisch, 1990), through the creation of technological tools such as \u201cDigital humanities 2.0\u201d (Y. Citton, 2014) by which the proposed tools, voices, postures and perspectives will reflect each other and the works in multiple ways.<\/p>\n\n\n\n
Andr\u00e9e Martin (Choreographer and Professor, D\u00e9partement de danse, UQAM; Hexagram research member)
Armando Menicacci (Independent researcher; Hexagram collaborator member)
Alfonso Santarpia (Humanist psychologist and Professor, D\u00e9partement de psychologie, Universit\u00e9 de Sherbrooke)
Bruno Pucella (Sound designer and independent artist)<\/p>\n\n\n\n\n\n\n\n
<\/figure>Summaries<\/h5>\n\n\n\n
Slowness as an engine of creation<\/i>
Andr\u00e9e Martin<\/b>
It was not me who came to the slowness. Rather, it was the slowness that came, imposed itself on me. My team and I were looking for a way, through bodily presence, movement and dance, to bring more well-being to the spectators, to contribute to what we have called \u201ctheir homeostatic balance\u201d. We realized very quickly that in order to achieve this we had to find a way to slow down the pace, to slow down the time of creation and in the performance, to eventually slow down the time in the bodies of those who were watching us. Giving and taking time thus became the keystone of the two dance works (named above) of our research-creation project.
Slowness and the creation process<\/i>
Bruno Pucella<\/b>
The experience of slowness in the creation of the soundtrack for the two immersive pieces gave me great creative freedom to take the time to try and test different sound ideas in the process. This slowness brought me into a contemplative state, directly influencing the structure of the narrative arc of the soundtrack.<\/p>\n<\/div><\/div>\n\n\n\n
Thus, the slow movement of the two pieces plunges the viewer into an immersive universe where the sounds of nature are transformed almost imperceptibly into musical sounds. This pace of work and the great artistic freedom that resulted from it were unique in the time managing aspect of sound creation compared to my practice in cinema and television.<\/p>\n\n\n\n
The effects of slowness on the experience of presence among spectators and performers<\/i>
Alfonso Santarpia <\/b>
My presentation aims to better understand the psychological effects of slowness on the complex experience of the presence (feelings, ideas, emotions, anxiety) of K-Kalos, e\u00eedos, skope\u00een<\/i> (2019), the immersive and interdisciplinary works by Andr\u00e9e Martin. More specifically, I will present the quantitative and qualitative data of the experience of the presence of spectators and performers. Thus, the slowness experienced in the dance seems to mobilize an experience of the self in the presence, rich in symbolic, spiritual and emotional dimensions.<\/p>\n\n\n\n
As a conclusion<\/i>
Armando Menicacci <\/b>
I will put in resonance the different approaches, discourses and methods that the researchers have deployed around the theme of slowness, for the first project (2019) produced at the LAVI. Our laboratory was conceived from the onset as a project of physical architecture and media architecture as well as an epistemological framework for the intersection of disciplinary fields. I will present our rhizomatic way of doing research-creation under a model that is both concentric and eccentric. I will also present the current production of a future digital web platform, born of the first project. The platform is a transversal prototype of collaborative, horizontal, non-hierarchical crosspollination and not dependent on the traditional system of production and publication of scientific knowledge. The platform is also an example of what is called in contemporary historiography: \u201cthe sharing of authority\u201d (M. Frisch, 1990), through the creation of technological tools such as \u201cDigital humanities 2.0\u201d (Y. Citton, 2014) by which the proposed tools, voices, postures and perspectives will reflect each other and the works in multiple ways.<\/p>\n\n\n\n