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1.
The DreamTogether Machine
Peter Purg, 2016, artistic performance

Abstract: The DreamTogether Machine (2016) was a migrating ideation event, supported by Gruentaler9 (Teena Lange), The Space Berlin (Rawan Hourani, Issa Khatib), the IDEATE.me project (co-fin. by European Commission), inspired by the FEI "Transformation Through Innovation" conference and MyMachneGlobal;moderated by pETER Purg of University of Nova Gorica, School of Arts, on October 6, 18 - 21h, at Gruentaler9, Berlin, Germany. A dozen of MachineDreamers -- mixed between the most propulsive innovators from the West, and the most promising young immigrants from the East -- Together drafted Machines, such as they dream of! And then, they might even come true... The event was directly linked to the presentation of Peter Purg at the 10th FEI (Front End of Innovation) Conference in Berlin, Germany (same day 12:15 - 13:00, at which hi-profile (creative) industry representatives have chosen to take part in "The Dream Together Machine" event (same day 18:00 - 21:00).
Found in: ključnih besedah
Keywords: event, intercultural, interdisciplinary, mymachine, mymachineglobal, participative
Published: 16.11.2016; Views: 6025; Downloads: 0
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2.
Quo vadis 2.0
Peter Purg, 2021, artistic work

Abstract: When asked "Quo Vadis?", Saint Peter decided to follow Jesus back to Rome, where he was crucified upside down. In this performance, the increasingly alienated condition of communication is reflected between remote social and present physical media. "Quo vadis? participative crucifixion performance by pETER Peter Purg , 22.9., Kortil gallery, Rijeka, Croatia >>
Found in: ključnih besedah
Summary of found: ...between remote social and present physical media. "Quo vadis? participative crucifixion performance by pETER Peter Purg , 22.9.,...
Keywords: performance, participative, intermedia
Published: 23.09.2021; Views: 665; Downloads: 0
.pdf Fulltext (53,92 KB)

3.
Unlearnig Piece
Peter Purg, 2022, artistic work

Abstract: The performative intervention is articulated both through spoken word as well as in physical (re)presentation of the body in situ. Along the ELO 2022 programme we select and remix fragments in a way that corresponds to the principles of Bertolt Brecht's " Lehrstücke,“ the so called learning or teaching pieces that deconstruct and expose the mechanisms of (power) relationships inherent to the (media/art educational ) system in question. The participants and audiences are invited to comment upon the intervention, opening a space of (self)reflexive interaction among all the involved people, and perhaps machines as well. The focus is on eLit /ELO production and dissemination conditions as related to (if not limited by) the presented aesthetics and mechanics, the narratives and poetics exposed. Provoking both rational and emotional perspectives of the ELO 2022 community, possibilities of (un)learning through acting, playing roles, adopting postures etc. are explored, dissolving (or at least questioning) the divide between authors and audiences, both invited (in Brechtian terms) to acquire attitudes rather than to consume an entertainment. The challenge at ELO 2022 would also consist of surpassing Brecht's principles as e.g. derived by the Brasilian director Zé Celso and his Theatre of Discovery, or Augusto Boal's Forum Theatre that abolished the division between actors and audiences who were invited to actively intervene in the discourse presented, a collective experiment and search for solutions to social (and in this case aesthetical and poetical) issues at hand. With no actor audience separation, the emphasis on performance shifts upon the process, rather than the final product be it the artwork itself, or theoretical discourse about and around it.
Found in: ključnih besedah
Summary of found: ...unlearning, perfromance, participative, Brecht, e-literature...
Keywords: unlearning, perfromance, participative, Brecht, e-literature
Published: 03.06.2022; Views: 168; Downloads: 0
.pdf Fulltext (164,73 KB)

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