The Adventure ist ein multi-lateraler Rahmen für Wissensproduktion. Während des ImPulsTanzFestivals lud The Adventure eine Gruppe von 12 bis 16 ChoreografInnen und VeranstalterInnen ein, ihre spezifische Expertise auf einer ganzen Reihe von Gebieten miteinander zu teilen.

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The Adventure


Introduction

An adventure is the moment between two secure points when we don’t know what will take place. It is those rare instants when something completely unknown enters into consciousness, forever becoming part of out lives.?Sometimes brave people challenge the nature of things. Afterwards others will write their biographies provided that they made it or failed magnificently. More often adventures happen around the corner, in our daily life. But all of them have one thing in common; they offer us to experience things and phenomena in new ways.
In our times adventure has often been connected with physically demanding situations. But in fact there is only one Mount Everest to climb and uncountable mountaintops so conquer in thought, knowledge and in the practice of where we stand. Adventures happen to you, and it is always you that offer yourself to their potentiality.
The Adventure is an experience-based university in progress collecting young high-end researchers and specific expertise to produce and collaborate in a laterally conceived do-tank investigating and expanding contemporary notions of performance and its expressions.
Performance defines adventure, opening paths to experiences we cannot foresee. Performance is everywhere, in cultural performance and performance management, in the process of creating identity and in political activism. To experience is a matter of performing in the world, and to change perspectives. The Adventure offers broad and innovative perspectives into the research of performance through trans-disciplinary practices and pioneering technologically enhanced platforms of exchange, process and production. The Adventure brings together expertise from performance related technology, management and marketing, as well as from architecture and animation to research side by side and in collaboration with the most advanced practitioners from contemporary dance and performance.
The Adventure is a non-profit open source based research platform operating outside institutional frameworks where the researchers and users themselves organize the curriculum. The Adventure is a knowledge intensive node, activating ground-breaking interfaces for distribution and circulation of performance related blue sky projects. The Adventure take as its departure point to create new lineages of empowerment and involvement between cultural performance and corporate performance related strategies and tactics.
Humans cannot produce adventures only the possibility for them to bring us somewhere else. The Adventure transforms those potentialities to lived experiences constituting events that allow us to think different.
The Adventure demonstrates through its practical and theoretical research the supremacy of performance through involvement and user empowerment.

Studio without intention

Significant for inventions is that they possess no purpose, but gain intention, or uses, when emerging into representation. A workshop is often understood to be a situation where knowledge is passed from an authority to a group of students, which implies to facilitate already existing information in a homogenizing manner. Workshop, however, can also be understood as an open forum, a studio, where expertise and tools are laid out open for use in a multiplicity of ways. A field instead of a path, where knowledge can be produced in and through each participant in his/her own way, a self-generating machine fueled by each individuals input and responsibility for the continuation of processes and production.

The Adventure is a studio collecting active producing individuals to share and invent expertise, tools and knowledge in relation to performance, choreographic and dance practices and theory. It is a situation that emphasizes doing and activity in an in situ manner: The Adventure works in full scale and never with experiments or models, and is simultaneously questioning modes of production and presentation.

The Adventure is a studio where it is up to each individual to mobilize activity and exchange, to optimize, invest and research in respect of their own specific needs and desires in practice and thought, and simultaneously be open to share and participate in other’s needs and desires, in order to produce knowledge without purpose: invention.

Practically this implies that the group has to establish its own working ethics, where sharing and an open source like environment seems appropriate, and where each individual independently of background, expertise or age have the same right to propose, criticize, invent, play and refuse. One parameter, however, is given: a small but heterogeneous group of adventurous people have a months together in order to if not change the universe so at least their own and collective perception of their practices and thoughts.


Practice Practice Practice

Changing behavior requires that we rewire our brains for progress and invention. The only way in which we can assure this change is by rehearsing. Practice, practice, practice.

The Adventure takes as its starting point the individual and his/her needs and desire. Each participant independently of background, age or expertise, is responsible for his/her input, output and tools. Each participant can propose and be proposed any activity, individually or as a participant in a group activity. It is up to ourselves to produce a strong and positive working atmosphere with different models of collaboration.

The Adventure – the studio – will be open or active from 09.45 – 23.00 Monday – Saturday, 13.00 – 20.00 Sunday. The Adventure has only one ambition, a big one: WORK. Each individual participate as he or she desire, the daily editorial (see below) is obligatory.


The Adventure will be structured around a daily editorial meeting or briefing, where each participants lay out his/her current activity and interests next to a general briefing concerning the whole group. This model offers and infrastructural control without interfering in the different participants work and activity.

The Adventure is structured around three fundamental dynamics:


Alternative interfaces for performance, function as a daily lab where individuals and the group work on and with new, especially digital, interfaces for processes and presentations.

We will work in relation to a 3D emerging online platform “Second Life” where we have opportunities to interact, create and ‘perform’ in real-time, also inviting participants from around the world working online (see www.theadventure.at and www.secondlife.com).
Through Second Life we will also research and work with e.g. Machinema.
Second Life will provide us with options both for live presentations and to work with recorded material.

We will work with high-end digital tools in relation to animation, movement capturing and 3D modeling. Investigate in animation tools both as choreographic devices but also in order to invest in modes of issuing performance and dance practices, in relation to our own practices but also related to commercial use or animated bodies.

Within this frame we will also work on more conventional tools and modes of presentation such as video editing (Final Cut Pro, Premiere), web pages (html, content managing, uploading etc.). During The Adventure we will try to set-up an international user governed website for uploading of performance and dance video. We will also provide options for each individual to set up his or her own webpages.

The Lab will be active through out The Adventure and will include both individual and group activities. Tor Lindstrand (S), Andrea and Ivan Redi will function as supervisor, but will participate in The Adventure on the same basis as everybody else.


Immaterial Performance, is a field of interest where we invest in performance/choreography based on different kind of protocols, notions of participation and presence. Immaterial performance expands the field out of the binary framework of the conventional theatre and research alternative modes of active spectatorship and participation, where concepts of distribution, accountability and ownership is being brought into consciousness

The field of interest will further bring the group to invest in contemporary publishing strategies, research performance like practices within current marketing strategies. The group will work in situ with immaterial performance through different actions and set-ups.

The Adventure webpage will be one forum and we will further set up a marketing machinery for our studio and activity.

Immaterial performance will also include a series of smaller workshop/seminars including issues around open source/creative commons, camp(s), the theatre of operations, magic, industrial design, architecture and fluidity, history of computer gaming etc. (see bios).


Studio practices, during The Adventure participants can/shall work on his/her individual proposals, individually or in group situations. Participants can engage any other participant as performer, choreographer, coach, lover, critic, set designer, manager, and can be engaged to the same extent. Collaborations can naturally also be made in relation to other activities and there is no frame of expression that can not be understood as choreography.

During The Adventure a series of guests will visit us participating on the same basis engage and be engaged, i.e. as a performer, choreograph, coach, lover, set designer, critic etc. The guest have their background to an extent in choreography and dance but also in architecture, programming, philosophy, marketing etc.

The Adventure will not facilitate technical training or task based workshop, but each participant are open to propose moments/tasks/seminars/discussions where such issues can be negotiated.


Adventure tourism, during The Adventure the group will have the opportunity to participate in a series of excursions.


The Adventure Crash Course, The first few days of The Adventure will be organized as a crash course in which all participants take part. After a day of introductions we will work together on a secret mission which will be presented for a public audience the first Saturday of The Adventure.


Performances/Presentations/Events, during The Adventure each participants can present his/her work in more or less informal sessions. The group will in different set-ups be asked to engage in performance/presentations/events through The Adventure.


Practicalities

The basis for The Adventure is that each of us bring desire and hell uf a lot of disco. It is up to us if we want The Adventure to be adventurous or stay middleclass, up to us to work without security or produce something as predictable as Tom Cruise.

The Adventure is a situation that function outside conventional territories and techniques and each participants whatever his/her work is is always equally important to engage in and discuss. So bring what you need for you practice and ideas, and bring all what you think you need in respect of other’s desire and needs.

We have access to a large office and two/three studios, to share between eight students, guests and others.

Bring whatever technology you have, machines, cameras, computers, DVD’s, Xboxes, play stations, Ipods, video projectors, mp3 players, software, vacuum cleaners. Anything you are not ashamed of, but most important bring you computers/laptops. The Adventure will facilitate computer power but it is very positive if we can bring our own machines. It is preferable to have min. 512 Mb ram and for apple users min. 1 GHz processors.


Tasks

In order to map out different interests as well as getting to know each other slightly the following is asked by you, to be submitted asap or due the 12 July. Proposals will be send to other participants via group mail. Please submit you proposals as PDF.

Write a concept:

- for a work/performance/choreography to be concluded over the four weeks of our disposal. Solo of group. Consider this work as context specific, i.e. something that you can work on only within our framework. The work shall be possible to conclude without larger set-design pieces or extraordinary spatial circumstances.
If this is a dance piece or something else is all up to you.

- for a digitally orientated work to be concluded over the four weeks. Solo or group. See above. Preferably utilizing real time interaction, and platform specific choreographic material.

- for a collaborative work based on 1. a specific collaborate methodology, 2. to be based on some kind of score (not improvisation) to be possible to present within 3 x 5 work hours.

Submit a text of a format that we can together process it during The Adventure. The text will be published on the webpage.

Submit a bio of 300-500 characters.

If you want to build you own webpage buy a domain on e.g. http://www.eurodns.com


Summery

The Adventure is you and me and we together. It might seem big. I tell you it’s bigger. I might seem vague; totally, it’s like fluff on a mission. I might seem superficial. Man, it’s its epitome. Oh my, this is deep. Check it out there is zilch beneath us. The Adventure is beyond, and anybody with a bit of reason left between the ears would know to stay away. We Stretch out, walk the line, open arms and we do the disco.
The Adventure is a situation where we together decide what is too much, too little and too whatever. We decide together what are objectives are. We can close the door, open the windows, blow out the roof and bring down applause. Only one thing matters: The Adventure.


The Adventure Crew

Mårten Spångberg (Brussels) is a performance related artists, writer and curator. He has created his own work since1994 with emphasize on choreographic structures, and has been commissioned as a choreographer for e.g. the Frankfurt Ballet. His work has been shown in most European countries and he has worked with choreographers such as Xavier Le Roy and Les Ballets C de la B. From 1996-04 he organized and curated the international performance/dance festival Panacea and was commissioned curator of performing arts at the Gulbenkian Foundation, Lisbon, 2001-04.
Mårten Spångberg has thorough routine as a teacher. He was visiting professor at the univ. of Giessen 2000-03, head of the dept. of dramaturgy at P.A.R.T.S. 2001-04 and was teaching long-term classes both at the arts academy in Maastricht, as well as at Royal School of Theatre in Stockholm.

Tor Lindstrand (Stockholm) is an architect active in his own office Larsson, Lindstrand and Palme. He is senior lecturer at the Royal School of Architecture in Stockholm specialized in digitial interfaces for architectural production. He is a pioneer in respect of creative platforms issued for emerging 3D environments. He is the initiator of LOL architects the first large scale online 3D architectural office.
Tor Lindstrand has worked as an artist often together with Mårten Spångberg creating works for both visual and performance art contexts. He is also a editor of Merge Magazine, a magazine on visual culture published in English since 1996.

International Festival is a long-term initiative whose work issue questions around distribution, accountability and ownership in specific social and economical contexts and environments. Initiated by an architect and a performance related artist the work occupy a terrain where opportunities to activate and change spatio-temporal coordination in a pro-active manner is central. International Festival’s work is embedded in the specificity and singularity of the relations it produce in collaboration with the spectator. International Festival’s work is media-specific as expression and trans-disciplinary in practice.
International Festival has made history since 2004 and has thereafter created a number of context specific projects both internationally and in Sweden. A large-scale performance project issued 25.000 plastic bags distributed to 36 countries, another the production of the perfume “IF”, distributed, also for free, at a dance manifestation in Brussels. A series of work “The Free Spirit” focused on the political implications of free drinks and the specific performatives of the bar. International Festival is currently working on a large scale workshop project for ImpulsTanz, Vienna, and a public square in Stockholm (to be inaugurated in August 2006), the manufacturing of garbage bags for an entire city in Switzerland (to be thrown away in August 2006), and for 2007 the development and building of International Festival “The Theatre”, as a commission by Steirischer Herbst in Graz, Austria.

ORTLOS – Andrea Redi and Ivan Redi must be a kind of matrix, an infinite, constantly changeable field of the creative entries of those who shape it. From a certain size on, the constructs show the first signs of selforganization. And so it has been with ORTLOS right from the beginning. It is a kind of virus that is spreading, and although in the background, it makes you gradually sink into a world whose laws correspond to a different logic. ORTLOS is an instrument for the nomadic working methods. ORTLOS architects was founded by Ivan Redi and Andrea Schröttner as a network of interdisciplinary partners, with a commitment to the on-line working methods as well as their strong interest in expanding classical architectural tasks by simulating virtual environments to be applied to future realities, with the use of cutting-edge computer technologies. Their work has been published and exhibited world wide, among others at La Biennale in Venice 2000. They are currently teaching at TUGraz. ORTLOS architects have recently brought out their new book “ORTLOS: Architecture of the NetWORKS”, 2005 – Hatje Cantz Verlag, showing works from 2000 to 2003 and some recent projects as well. www.ortlos.com

Céline Condorelli is an architect. She is teaching at London Metropolitan University and her practice is concerned with architecture as interface, through art and architecture collaborations. Recent work include developing ‘Support Structure’, an RSA Art for Architecture and Arts Council England project with Artist-Curator Gavin Wade, through several exhibitions including at the Chisenhale Gallery, London, 2003, and The Economist, London, 2004, as well as taxi_onomy with artist Beatrice Gibson,
supported by Arts Council England, the British Council and V2 Rotterdam.

Tomislav Medak is a member of Multimedia Institute (Zagreb, Croatia, http://www.mi2.hr/). When not attending to pressing tasks of organizational functioning, he's in charge of the theory and publishing programme there. At the focus of his theoretical interest are constellations of contemporary political philosophy, media theory and aesthetics. He's also free software and culture advocate, working to copyleft the world of creativity. A.O. he coedited a reader on socio-cultural significance of free software "GNUSpectre" (http://www.gnupauk.org/) and coauthored the free culture, technology and science festival "Freedom to Creativity!"
(http://www.slobodastvaralastvu.org/). He's member of Croatian Creative Commons team and board member of iCommons (http://www.icommons.org/). In his spare time he's member of Zagreb-based theatre group BADco. (http://www.badco.hr/).

Mette Ingvartsen is a choreographer and dancer living and working in Brussels since 2000. She studied in Amsterdam and Brussels where she in summer 2004 graduated from P.A.R.T.S. Since summer 2002 she been making and touring several performances among other things “Manual Focus” (2003) “Out Of Order”(2004) “50/50”(2004) and “to come” (2005). Her practice includes choreography, writing and performing. She is at present time engaged in a longterm research project relating to modes of production in perfroming arts.
She performed in “Pipelines, a construction” (2004) a theatre performance by Jan Ritsema and Bojana Cvejic and collaborated with them on “Knowh2ow”(2005).


Peter Lenaerts is a musician and sound designer. He has released three albums of music (Requiem For John Fahey, In The Meantime, Analogue Root) under the name [‘aisikl] on the German label SueMi. He has worked together with Mette since Solo Negatives doing anything he’s artistically or technically capable of. He’s also part of the Rebecca September collective who have just made and premiered their first performance Knockout. In recent years he’s been working with various artists (Inneke Van Waeyenberghe, Frances Goodman, Liv Bugge, Vincent Meessen, Koen Wastijn, a.o) as sound designer, editor, assistant, etc.

Further guests include: Konrad Becker, Helmut Ploebst, Jonathan Burrows, Mateo Fargion, Xavier Le Roy, Jonathan Allen, Sofia Lagerqvist, Chrysa Parkinson and others.