15 & 16 April 2024 - Royal Conservatoire Antwerp
Initiated by Umut Eldem, Chiara Percivati, Giusy Caruso and Klaas Devos
A part of the contemporary artistic landscape is defined through combinations - between different disciplines, artists, and perspectives. As the artist creates something new through the reconstruction of older structures, it is often this act of reconstruction that is perceived both as the source and the destination of artistic creation. This impulse of reconstruction is further amplified by technology. A musician may reconstruct their own instruments to explore new dynamic relationships, a dancer may explore bio-data as a new type of movement material, or a composer may use commodified data to shape an AI model into a semi-creative presence on the stage.
In which ways can the interdisciplinary artist-researcher (re)construct their approaches, systems, and perspectives through technological tools and techniques?
The third edition of the Convergence seminar will focus on the concept and execution of (re)construction in the interdisciplinary artistic practices. This year the concept expands through the themes of Chiara Percivati’s doctoral research ‘Different Tubes’, in which she explores clarinet and bass clarinet preparation in a technologically up to date context. Researchers, artists, and anyone currently engaging with this subject are welcome to share their practices, experiences, and historical perspectives. The seminar will take place on April 15th and 16th 2024 at Royal Conservatoire Antwerp, Belgium. Our topics for this year are:
(Re)construction of Instruments: Structurally modifying an instrument involves approaches and consequences which question traditional notions of authority, status, and power—of which the instrument is a stronghold, the performer a minister. Which forms of new “virtuosity”, ways of out-of-the-box thinking, and connections between humans and instruments/technologies are made available by this practice of (re)construction?
(Re)construction of Performative Spaces: The development of increasingly complex machine learning algorithms make non-human presences possible on the performative space. Which creative new methodologies dealing with machine learning and artificial intelligence enable the (re)construction of the performative stage into novel musical expressions.
(Re)construction of Virtual Corporeality: The recent developments in technology open up different avenues in artistic corporeality for new means of experimentation. How does the integration of human-machine collaboration, digital media, and bio-data reshape ideas about embodiment, corporeality, and movement in dance and its dramaturgy?
You can send your proposal with the following information to
email@example.com before January 5th 2024:
- Name of the presenter
- An abstract of 250 words (maximum) describing the subject of the presentation
- A short curriculum vitae of the presenter
- A photo of the project or the presenter
This seminar is a collaboration between ARIA and research group Creatie at the Royal Conservatoire Antwerp.