{"id":2433,"date":"2014-12-12T12:10:00","date_gmt":"2014-12-12T12:10:00","guid":{"rendered":"http:\/\/thecpr.org.uk\/?post_type=product&p=2433"},"modified":"2016-01-12T11:33:52","modified_gmt":"2016-01-12T11:33:52","slug":"19-5-on-turbulence","status":"publish","type":"product","link":"https:\/\/thecpr.org.uk\/product\/19-5-on-turbulence\/","title":{"rendered":"19.5 On Turbulence"},"content":{"rendered":"

On Turbulence<\/em>\u00a0explores the challenges of complexity in performance. Turbulence is associated with open systems, with networks; it is not simply a \u2018complex and unpredictable cultural or physical environment.\u2019 It is the phenomenon of feedback: or, more exactly, it is the self-conscious awareness of the power of feedback mechanisms to inaugurate new behaviours. It is associated with changes of state that appear spontaneous (or unscripted)because they respond to or interact with surface phenomena in real time. As a property of fluid transformation, turbulence is a physical phenomenon but also a psycho-social one. Its foregrounding as a creative principle emancipates the performer, the dramaturge and the audience, but in ways that may bring into question the viability of representations as such. Inevitably, the transgressive or boundary-dissolving character of turbulent formations has political implications: the middle ground between bodies is reconfigured but so is the ownership of the public domain. The ambition of the issue is to build new dialogues between the digital arts and the analog arts and between both of these and the sciences (with particular reference to the ecological sciences whose attributes of creativity, growth, mutation and transformation form such an obvious parallel with the kinds of aesthetic effect that many contemporary practitioners strive to achieve).<\/p>\n

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Touchez \u2013 The Poetics of Turbulence
\nPaul Carter<\/p>\n

On turbulence : In between mathematics and performance
\nTelma Jo\u00e3o Santos<\/p>\n

The Turbulence Project : Touching cities, visual tactility and windows
\nKanta Kochhar-Lindgren<\/p>\n

Transference and Transition in Systems of Dance Generation
\nPil Hansen, Karen Kaeja, Ame Henderson<\/p>\n

Flash mobs, violence and the turbulent crowd
\nChristian DuComb, Jessica Benmen<\/p>\n

Auguries of discord : Protest, activism and the swarm
\nJames Riley<\/p>\n

Turbulent Rhetorics in Keith Hennessy\u2019s Turbulence: A Dance About the Economy
\nLynette Hunter<\/p>\n

A Choreographer\u2019s Notes on Making a Dance about the Economy
\nKeith Hennessy<\/p>\n

Performing the Paradox of Affect and Interpretation : Turbulence in Vertical City
\nBruce Barton<\/p>\n

Absent Audiences : Circuit-bending the feedback loop
\nPedro Manuel<\/p>\n

\u2018The Haunting\u2019 : Screened stages and turbulent collisions
\nRachel Joseph<\/p>\n

The Self\/portrait Effects and Dance Performance : Rineke Dijkstra\u2019s The Krazyhouse and William Forsythe\u2019s the second detail
\nTamara Tomi\u0107-Vajagi\u0107<\/p>\n

Scoring Storms : The chaotic air that does resist
\nElla Finer<\/p>\n

Aquabatics : A post-turbulent performance in water
\nSarah Jane Pell<\/p>\n

Performance in the Blockades of Neoliberalism: Thinking the Political Anew by Maurya Wickstrom (review)
\nAdam Alston<\/p>\n

Performance and the Global City edited by D. J. Hopkins and Kim Solga (review)
\nMelissa Poll<\/p>\n

Performing Exile, Performing Self: Drama, theatre, film by Yana Meerzon (review)
\nFreddie Rokem<\/p>\n<\/div>\n\n\n