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digital 1.5

digital 1.5

The digital 1.5 project is a series of five staging events that explore touch. Each event is an independent attempt to haptically read the world with a digital understanding of the physicality and the practice of mutual closeness and the coexistence of objects to which viewers are invited. The selected group of bodies establishes contact with other bodies in space – with the bodies of performers, the body of space, the sonic body, and the bodies of technological objects. The latter is an increasingly important interface for our entry into the world. By using them, the digital 1.5 questions the mediatization of closeness and intimacy, and by applying the solid digital logic of devices and their software to the soft organic bodies of people, it speculates about man, who is not only a source of information, but also a device for processing and storing data.

The touch in the digital 1.5 is a way of communicating and a means of encountering the other; it is a digitized data and a transmission medium at the same time. The project builds on the idea of ​​the medium as given by Y. Citton in his book The Ecology of Attention. The author describes the media as diffuse ecosystems that not only represent reality, but they actively form it. Thus, an ‘infrastructure of resonances that condition our attention’ is formed according to the ideas that ‘surround and fulfil us’. In this respect, thedigital 1.5 is not in search of a loud staging gesture, but it wants to provide a space of visibility or, in Citton's language, an environment of reasoning for increasingly marginalized and, at the time of the pandemic, transgressive practices of mutual closeness and touching.

digital 1.5.3
Art direction: Jan Rozman
Performers: Leon Marič, Jan Rozman, Mojca Sovdat
Music: Luka Seliškar
Costume design: Tanja Pađan / Kiss the Future
Video documentation: Juš Jeraj
Photography: Nada Žgank
Executive producer: Brigita Gračner
Kino Šiška, 27.9.2021

digital 1.5.2
Art direction: Jan Rozman
Performers: Maja Kalafatić, Leon Marič
Music: Luka Seliškar
Costume design: Tanja Pađan / Kiss the Future
Video documentation: Juš Jeraj
Photo: Marijo Župan
Executive producer: Brigita Gračner

25. 6. 2021, Tivoli, Ljubljana


digital 1.5.1
study / installation
Art direction: Jan Rozman
Performers: Beno Novak, Julija Pečnikar, Jan Rozman, Liza Šimenc
Music: Luka Seliškar
Costume design: Tanja Pađan / Kiss the Future
Video documentation: Juš Jeraj
Photo: Marijo Župan
Executive producer: Brigita Gračner

31. 5. 2021, Fotopub, Ljubljana

18.12.2024

Irena Z. Tomažin: kakor voda pôje kost #3 (Ventilator)

VENTILATOR: "kakor voda pôje kost" #3

Kako daleč potuje glas? Se ga sliši potovati z enega konca dvorane na drugega? Kaj se izgubi med potjo od ust do ušes? Je bližina glasu preintenzivna, če čutiš na svoji koži toplino sape, ki ga nosi? Je poslušanje glasu taktilno? Se zamolčani glas začuti? Ga vidiš v telesu? Se sliši glas v žuganju prsta, skomiganju ramen ali pa razprti dlani? Gospod Sacks se je zamislil, nato pa rekel: »videti glas« in začel pisati. Pardon: plesati. »kakor voda pôje kost« #3 je povnanjen monolog o glasu, njegovi materiji ter njegovih načinih izražanja in prisotnosti v medprostoru med telesom, ki izreka, ter telesom, ki posluša. 

Predzgodba: V prvem Ventilatorju »kakor voda pôje kost, je bil fokus zanimanja notranja intimna percepcija lastnega glasu. Udeleženci so dobili vprašanja o različnih vidikih, načinih razumevanja, čutenja, (po)slušanja glasu. Odgovore so si zapisovali v pismu, namenjenemu v prvi vrsti sebi. Po kratkem pogovoru je avtorici ostala v spominu predvsem misel, da obstaja razlika med tokom notranjih glasov ter glasovi, ki jih izrečemo in uspemo podeliti z drugimi. V drugem Ventilatorju je iz teh zapisanih, nekaterih celo »narisanih« glasov ter tudi neizraženih glasov, ki so kot zapisani predvsem »neslišni«, avtorica nadaljevala tok raziskovanja o poslušanju/preslišanju glasu, slišanosti ter poslušnosti glasu. Dopolnjevala in izmišljala si je in si še bo nadaljni dialog ter iz tihega zapisa naredila slišno telesno kompzicijo – med slišnim in preslišanim. V tretji izvedbi se motrenje glasu vrne v njegovo utelešenje izvajalke, skozi nasneti dialog notranjih, trenutnih miselnih tokovih prisotnih kot občinstva ter izvajalko, ki v prvi vrsti posluša – glas postane nekakšna merska »enota«, preko katere motrimo dimenzijo časa.

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