INOPPORTUNE and Antonia Barnett-McIntosh

INOPPORTUNE

on presence

2:I6P’ takes as its genesis the idea of mutuality in sound-based performance practices, both between the numerous performers on stage, and between the performers and audience. In traditional sound-based performance practices, there is the formation of a relational dynamic through the processes of encoding, transmitting, and decoding cultural histories bound in physicality, semiotic/semantic motives, and the resultant sound, as perceived by the audient.

Utilising the embedded cultural histories in musical performance, ‘2:I6P’ finds its form in a highly-choreographed, yet ultimately silent work, that requires the reading of a score by the audience. Through a series of a repeated motions, the audience orients themselves within the text score provided. The score provides a series of emotional, physical, and sonic prompts, in order to colour the silence. This process, entitled phonomnesis [Sonic Experience: A Guide to Everyday Sounds, ed. Jean François Augoyard and Henry Torgue] places the audience in the position of ‘encoder’ and ‘transmitter’ in the flow of information within the performance. Thus, the work subverts the traditional communication model of musical performance.

Through dense layering of ritualised tasks, X:NNN engenders a negotiated perceptual space between two individuals; here, limitations are materialised and dismantled. In the act of transcoding physical pain, distance and awareness is afforded; the instability of ethical peripheries disseminate at their modulating horizons.

‘expectation of a sensory event is enough to induce ownership over a fake hand’ takes as its genesis the idea of mutuality in sound-based performance practices, both between the numerous performers on stage, and between the performers and audience. In traditional sound-based performance practices, there is the formation of a relational dynamic through the processes of encoding, transmitting, and decoding cultural histories bound in physicality, semiotic/semantic motives, and the resultant sound, as perceived by the audient.

Shows Start 7:00pm Saturday

Antonia Barnett-McIntosh

Transcription Piece II

Transcription Piece II is a solo performance experiment, which sits at the intersection of Antonia Barnett-McIntosh’s interests in composition, performance, field recordings, speech, and interview transcription. A recorded element (interviews, readings, stories, music, and field recordings) plays through speakers, which Antonia will transcribe live. This work transforms the original material through the body of the composer and the transcribing machine; hesitations, mistakes, rewinds, stops and starts become embedded into the rhythm of the resulting piece.

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