Semiosis #01-#06
dc.contributor.author | Barth, Theodor | |
dc.contributor.editor | Barth, Theodor | |
dc.coverage.spatial | Norway, Oslo | en_US |
dc.date.accessioned | 2021-09-02T14:29:15Z | |
dc.date.available | 2021-09-02T14:29:15Z | |
dc.date.issued | 2021-09-02 | |
dc.identifier.uri | https://hdl.handle.net/11250/2772649 | |
dc.description | A set of 6 flyers (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06 crossover. | en_US |
dc.description.abstract | This flyer-series of 6 elements (1HEX) features 6 contrastive panels, conceived as scenographic elements for theory development from, in and for performance. The series departs from reasoned learning outcomes from a conference: Renewing Opera, hosted by PhD fellow Kristin Norderval on behalf of the Academy of Opera at KHiO. It ends up with some considerations on an ongoing/preparatory study of Aby Warburg’s Mnemosyne, with some methodological considerations on a workable approach. The series is itself conceived in performance, as a performance, and with performative outcome: panels as trace and score. And it seeks to propose a foundation for a re-started theory of signs, or semiotics. What a performance can do—which an argument cannot—is to demonstrate a point by relying on how elements work together (the truth of that), and does not rely merely/exclusively on logic. Departing from a workshop on stage the final outcome of the series, aims at exposing the readers to the panels (how they work together) and not only to convince/persuade them. The assumption is that the panels are viewed within an arms-length distance to a screen, or printout, and that signs are the signifying elements of agency. Pay attention to how you produce the signs to receive them as you intercept this set. | en_US |
dc.language.iso | eng | en_US |
dc.publisher | KHiO | en_US |
dc.relation.haspart | Cover_descriptor, 6 flyers (1HEX) | en_US |
dc.rights | Attribution-NoDerivatives 4.0 Internasjonal | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nd/4.0/deed.no | * |
dc.subject | Opera | en_US |
dc.subject | Body | en_US |
dc.subject | Voice | en_US |
dc.subject | Semiosis | en_US |
dc.subject | Semiotics | en_US |
dc.subject | Agential | en_US |
dc.subject | Détournement | en_US |
dc.subject | Asger Jorn | en_US |
dc.subject | Dérive | en_US |
dc.subject | Walter Benjamin | en_US |
dc.subject | Franzisca Baumann | en_US |
dc.subject | Alex Nowitz | en_US |
dc.subject | Kristin Norderval | en_US |
dc.subject | Kari Anne Bjerkestrand | en_US |
dc.subject | Memory | en_US |
dc.subject | QUAD | en_US |
dc.subject | Beckett | en_US |
dc.subject | Umberto Eco | en_US |
dc.subject | Grilles Deleuze | en_US |
dc.subject | Felix Guattari | en_US |
dc.subject | Aby Warburg | en_US |
dc.subject | Renewing Opera | en_US |
dc.subject | Edgar Allan Poe | en_US |
dc.subject | Jacques Derrida | en_US |
dc.subject | QUAD | en_US |
dc.subject | Samuel Beckett | en_US |
dc.subject | Ground zero | en_US |
dc.subject | Brian Massumi | en_US |
dc.subject | Pharmacy | en_US |
dc.subject | Plato | en_US |
dc.subject | Thoth | en_US |
dc.subject | Archetypes | en_US |
dc.subject | Persona | en_US |
dc.subject | Shadow | en_US |
dc.subject | Anima/Animus | en_US |
dc.subject | Self | en_US |
dc.subject | Klein’s group | en_US |
dc.subject | Tail | en_US |
dc.subject | Invention | en_US |
dc.subject | Transposition | en_US |
dc.subject | Transduction | en_US |
dc.subject | Writing | en_US |
dc.subject | Fold | en_US |
dc.title | Semiosis #01-#06 | en_US |
dc.type | Dataset | en_US |
dc.description.version | draft | en_US |
dc.rights.holder | Theodor Barth | en_US |
dc.subject.nsi | Anthroponomy | en_US |
dc.relation.project | Project Spinoza | en_US |
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Barth, Theodor [103]
Kunstneriske resultater og prosjekter