Annie Dorsen Contact

The summer 2012 issue of Theater Magazine published Annie Dorsen’s manifesto on Algorithmic Theater, in which she describes her performance Hello Hi There and discusses what it might mean in the context of theater history. Dorsen’s intriguing performance (of which I saw an online excerpt, but hope to see “live” and in its entirety at PS122 in January) consists largely of two laptops on stage, improvising a dialogue via chatbots. The chatbots’ chatter is generated by a program designed to mimic human speech, a program which is by definition based in algorithms, and therefore, Dorsen claims, when we watch the performance, what we are watching is the play of algorithms. Everything else we see there—narrative, consciousness, meaning—is brought to being by our own desires and habits of seeing.

As part of Joris' performance 4 Prepared Dreams, I will be hypnotized and my unconscious will be laid bare for all to ogle...

Art and politics always have been in strange love/hate relationships. “Truth is concrete” purposely ignores many of the borders, conflicts and resentments. Art is not activism, and activism is not art. But the common ground, the shared space is large and important. It offers a chance for art to be engaged, connected and relevant. And it offers activism a chance not to get stuck in ideology, routine and functionarism, a chance to stay unpredictable and sharp. “Truth is concrete” takes a close look at what happens where the differences between art and activism lose importance.

Over the course of its long history, theater has generally served to reflect, invoke or extend what we understand a human to be. We rig the mirror held up to nature to tilt towards man, displayed within an ever-changing diorama alongside the various institutions of his time: the gods, God, society, the state, the family.

"Digital Dramaturgies" issue includes an interview with me by Alexis Soloski and an excerpt of Hello Hi There

On Tuesday morning, just a few hours into the post-eviction era of Occupy Wall Street, Nicholas Kristof of the New York Times tweeted: ‘Could #Bloomberg be a secret Occupy Wall Streeter? He seems to have just revived the movement.’

On my first visit to Occupy Wall Street, two weeks ago (but it might as well be years, given how rapidly the movement is growing and changing), I sat in on a meeting of the Media Committee. A paper was being passed around, and we were asked to provide email addresses, a list of our skills and the equipment....

Lots of interesting things to read, from Walking Theory (TkH) Belgrade, realized during a 3-year program at Les Laboratoires d'Aubervilliers, Paris.

Om.

Miss Ross.

Mechnical test of Geminoid DK
Still pretty far from the end result, but interesting nonetheless.

Support PAF (Performing Arts Forum) to create a fund for the necessary renovation of the building.
This is a catalogue listing all movable objects present in the building. There are 10.000 objects that you can buy and leave there to make their use possible for all PAF residents.

"I am really not trying to be cynical. Actually I think the dilemma to some degree flows from the very nature of politics. One thing the explosion of the avant garde did accomplish was to destroy the boundaries between art and politics, to make clear in fact that art was always, really, a form of politics ..."

Equipped with only an iPhone 4, AndrewAndrew shoots, edits and posts their "Insta-Review" of Hello Hi There playing at PS122, part of PS122's COIL festival.

Human creativity is something of a mystery, not to say a paradox. One new idea may be creative, while another is merely new. What’s the difference? And how is creativity possible? Creative ideas are unpredictable. Sometimes, they even seem to be impossible — and yet they happen. How can that be explained?