Márcio-André (Brazil) Poesia sonora (Sound Poetry)
April 17, 2011
Poet, translator, essayist, performer, composer and editor of the Confraria do Vento. Author of the books Movimento Perpétuo (Perpetual Motion, 2002), Intradoxos (2007) and Ensaios Radioativos (Radioactive Assays, 2008), he collaborated with newspapers like O Globo, Jornal do Brasil, O Estado de Minas and with numerous brazilian and international magazines, having his works translated into English, French, Spanish, Catalan, Finnish and Dutch. He taught advanced training in creative writing and sound poetry at the University of Coimbra and the Federal University of Rio de Janeiro. As a translator, he published texts of Gherasim Luca, Gilles Yvain, Serge Pey, Mathieu Bénézet, Hagiwara Sakutaro and Forrest Gander. In 2008, he received the National Library Foundation Scholarship, for the book of essays Poética das Casas (Poetics of Houses) and in 2009, was resident poet in Monsanto, Portugal. Experimental poet, with emphasis on treatment of sound and word processing in real time, M-A presented in United Kingdom, France, Portugal, Spain, Peru, Ukraine, Argentina, Peru and several cities in Brazil, sharing the stage with poets such as Bruce Andrews, Stephen Rodefer, Miro Villar, Arjen Duinker and Jonathan Morley. His most recent presentations are Polyphonic Embolada Baobab (2008), Vertebrae (2009), Indivisible: Poem-polyphony for voices, violin, electronic processing, bells and whistles (2009), Polyphonic work for word, violin and subway (2009), presented in a subway station in Rio de Janeiro, and Multitubetextura (2010). Along with Maria Bethania, Edu Lobo and Zeca Baleiro, he read poems in the documentary and video installation Há muitas noites na noite, by Silvio Tendler. Because of its Radioactive-Poetic Conference (2007) in the ghost town of Chernobyl, in Ukraine, became "the first radioactive poet of the world." http://www.marcioandre.com/
NO PERFORMANCE´S LAND
Organização Centro em Rede de Investigação em Antropologia (CRIA)
Apoios Fundação Calouste Gulbenkian, Fundação Caixa Geral de Depósitos -- Culturgest, Fundação para a Ciência e Tecnologia, Fundação Luso-Americana para o Desenvolvimento, Instituto Italiano de Cultura, ISCTE-IUL
Exploring the limits and boundaries for both an onthology of performance and the conceptualization of its disciplinary field, in aesthetics and social sciences, we aim to interrogate the contemporary place for performance. No man's land? Performance as a fuzzy concept that flees to definitive focus, transdiciplinary difuse and cross-territorial, resembles today as a controversial reflexive and polyssemic object, and as a prolix generator of metaphors for the human experience. Usually not translated and cross-disciplinary, at the same time, performance incorporates and naturalizes an epidermic relationship with the so called bankruptcy of the great contemporary narratives.
After an entire century of confrontations and against-speeches, the performance emerges in the 21th century art world as a powerful vocabulary and a rhizome device for hibridism, virtuality, mediation and reflexivity of the human life, namelly by the cybernetic and digital potential of its most recent experiences. In social sciences, performance first was considerated as a "subordinated knowledge", in Foucault's terms, and then became an active body of meanings, out of books, deceiving or submitting to the inscripitive strategies that tried to turn it readable and therefore a legitimate scientific knowledge; however, performance emerges at present time as a knowledge shaped in the contemporary materiality, a blurred genre, liquid, global, that crosses borders and reinforces languages obliquely in several domains.
In this conference we try to rescue performance studies from its volunteer (or forced) conceptual exile provide by their several specialists and practitioners. Therefore, we intend to evaluate the senses of such (self)deportation but also to estimate its triumphal return underlined by a currently re-performative trend. Finally, we aim to explore the contemporary mise-en-scène that defines and builds up the borders between art and science, in which performance seems exactly to be consolidate as a no man's land in a permanent state of redefinition.
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