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<div><font face="Arial" color="#000000">dear all</font></div>
<div><font face="Arial" color="#000000"><br></font></div>
<div><font face="Arial" color="#000000">these texts went into Arts
council England funding proposal (last round in
may)</font></div>
<div><font face="Arial" color="#000000">we release here for better
understanding the scope of the production.</font></div>
<div><font face="Arial" color="#000000">in june, we enter the
pre-production phrase.</font></div>
<div><font face="Arial" color="#000000">We ask your participation by
submitting proposals to this list or write to</font></div>
<div><font face="Arial"
color="#000000">now@movingforest.net</font></div>
<div><font face="Arial" color="#000000"><br></font></div>
<div><font face="Arial" color="#000000">very best</font></div>
<div><font face="Arial" color="#000000">sl</font></div>
<div><font face="Arial" color="#000000"><br></font></div>
<div><font face="Arial" color="#000000"><br></font></div>
<div><font face="Arial" color="#000000">MOVING FOREST 2012
LONDON</font></div>
<div><font face="Arial" color="#000000">http://movingforest.net
(website to be revised these coming weeks)</font></div>
<div><font face="Arial" color="#000000"><br></font></div>
<div><font face="Arial" color="#000000">1 Project Initiators<br>
Moving Forest is a TAKE2030 production led by Ilze Black and Shu Lea
Cheang. Moving Forest, presented as a work by the collective AKA the
castle, brings together self-assigned acts and actions realized by
diverse<br>
visual/sonic/electronic/digital/performance artists, writers, singers,
coders, hackers, mobile agents, twitters, networkers and the general
public.<br>
<br>
2 Project History and timescale<br>
Moving Forest held its impromptu premiere during the Conspire edition
of the Transmediale 2008 Festival in Berlin where it was widely
reported and achieved the status of a festival highlight. In
preparation for Moving Forest London edition 2012, R&D workshops
were held in association with SPACE, Furtherfield, and the V&A
museum during Nov 26 - Dec 13, 2011. These workshops were well
attended, total 300 participants.<br>
<br>
The 12 hour 6 act performace takes places from 9am to 9pm on July 4,
2012.<br>
The performance locations include-<br>
(1) Furtherfield gallery, Finsbury Park<br>
(2) Triangle gallery, Chelsea College of Art and Design<br>
(3) Parade Ground, Chelsea College of Art and Design<br>
(4) Various sites with self-designed moving units</font></div>
<div><font face="Arial" color="#000000">(5) Net/radio
streams</font></div>
<div><font face="Arial" color="#000000">(6) Web broadcast</font></div>
<div><font face="Arial" color="#000000"><br></font></div>
<div><font face="Arial" color="#000000">The expanded performance is
supported by a 12 day prelude (June 22 to July 3) which is essential
london city - netwide staging and development towards moving
forest's one day 12 hour body-present performance. A post-performance
workshop-coda (July 5) to be held at Chelsea College of art and design
provides us an opportunity to review our performance within a
theoretical/art practice framework.<br>
<br>
3 Scenario</font></div>
<div><font face="Arial" color="#000000">Moving Forest maps an
imaginary Castle and a camouflaged forest revolt onto the modern day
metropolis. Derived from Shakespeare by way of Japan's most
respected film director Kurosawa, Moving Forest brings the classic
play into the hyper-playground of London city. Moving Forest expands
Throne of Blood's last 12 minutes into a 12 hour 6 act performance
mixing sound art, visual expression, electronic devising, media
transmission, intervention and interaction between numerous performers
and the general public. The event takes place not only at designated
locations, also with dispersed units across the city and virtually on
the internet with audio/video streams.<br>
<br>
In the forest (greater London metropolis), act0 - omen begins with
witches messaging prophecy and prediction.<br>
<br>
Inside the castle, classic and contemporary tales of remorse(act1),
betrayal(act2) and overthrow(act3) unfold. Each act is realized
by collaborating visual, sound and performance artists making use of
all mediums, elaborating operatic manoeuvre into an escalating scheme
of conspiracy and its contemporaneous political manifestations<br>
<br>
Outside the castle, the mobile forest, electronically updated with
antennas, electronic magnetic waves, geolocation, armed with bytes and
pixels, signals and slogans, is assembled for simulated insurgency
measures. Mobilized urbanites, empowered by free network emissions,
carry the camouflage tree antennas, in a<br>
spider-shaped movement, towards the Castle Central. As the sheer
strength of signals forces an entry into the Castle, a final merging
of forest and castle occurs during the act4 - Insurgency; a moment of
downfall, jubilation and loss. Act 5 - eternal return brings us back
to act0 - omen set admist a dusted, ruined castle.<br>
<br>
4 Conceptual Argument<br>
As a performance, Moving Forest mixes together a number of developing
strands of activity under both aesthetic and participatory concerns.
The open use of urban space is reshaped by art methods into the domain
of the epic,</font></div>
<div><font face="Arial" color="#000000">creating unexpected and
unforgettable experiences of sharing and belonging, transcending the
routines of daily life.<br>
<br>
Moving Forest mobilizes a modular framework derived from the stages of
the Macbeth/Throne of Blood narrative to create a structure wherein a
range of 'sub-projects' can be developed by individual artists or
teams. Through deep-level collaborations crossing art forms and
individual practices, this project offers a very rare convergence
between practitioners working in sound/visual art, performance,
software art, programming, game, video and<br>
other media. By integrating these works into a meaningful
'disjointed whole', Moving Forest reinterprets the tales of Macbeth
as a contemporary, symphonic collaboration, amplified by sound and
fury signifying the current political moments .</font><br>
<font face="Arial" color="#000000"></font></div>
<div><font face="Arial" color="#000000"><b>How the public engage with
your work</b><br>
<br>
We have been engaging in open calls for moving forest performance
participation. We have done extensive research of active london
network groups who we invite to join as moving force in the forest. We
have the support</font></div>
<div><font face="Arial" color="#000000">from cultural studies,
interactive media studies, Goldsmiths college, Chelsea college of art
and design, Wimbledon College of Art, royal academy of dramatic art
whose students we are involve both as participants and the audience.
We are using (starting in mid-June) crowd sourcing platform (i.e.
indiegogo.com) to raise awareness of the project, inviting both
engagement and investment from the general public. We are using
digital art magazines, i.e. Metamute.org, to reach out to media art
field. We work with Resonance FM (starting early June) to publicize
our performance. We are connected with London media art organisations,
i.e. SPACE, Furtherfield, and the V&A's digital programmes,
OpenLab, Deptford TV and Mztek. Each of these partners will make their
marketing mechanisms available to us including mailling lists, web and
press promotion. We will also use social media extensively (facebook,
twitter) during the 12 day prelude to disseminate our
up-to-date-minute activities.<br>
<br>
The post-performance one day conference organized by David Garcia ,
dean of Graduate School and Enterprise Development, CCW, Matthew
Fuller, Reader in Cultural Studies, Goldsmiths College, Josephine
Berry Slater, Mute magazine, investigates tactical media and
performative practices that include the aesthetics of the
unitised/securitised/database city; durational performance frameworks;
distributed urban aesthetics; full improvisation; software aesthetics;
a form of tragedy adequate to the present, and more general critical
and</font></div>
<div><font face="Arial" color="#000000">interventionist currents,
Taking Moving Forest as a case study, the conference gathers together
thinkers, artists, programmers, schemers, strategists to provide the
public a context in viewing complex innovative and challenging
performance works. We aim at developing a well-formed relationship
with a wide range of beneficiaries. Alongside a wider roster of
participating artists, beneficiaries include audiences interested in
performance, new media, sound art, art and urban space, mobile
architecture, live arts and new forms of public art. Communities local
to the venues and public spaces of the performance are involved as
participatory force. The local and global networked aspects,<br>
embracing radio, wireless and Internet-based communities, widen the
extent of beneficiaries of greater London public.</font><br>
<font face="Arial" color="#000000"></font></div>
<div><font face="Arial" color="#000000"><b>Making it happen</b><br>
Moving Forest attempts, in highly accessible manner, to address a
closely bound network of relevant issues within shared media
production and performance, for example, open radio, wifi network,
live coding, live audiovisual, live arts, hack labs, and actionist
collectives. Methods such as improvisation and notation,<br>
collaborative performative coding, interface between text and
performance are adapted. By bringing together local and globally
active artists, theorists and collectives within new and critical
media practices, we hope to<br>
invigorate London and UK-based new media and grass roots
practice.</font></div>
<div><font face="Arial" color="#000000">During the 12 day prelude
period, we will use a smartmap/mobilephone technology to track various
groups engaged themselves as moving force. On the day of the
performance (July 4), the 6 acts (act 0 to act 5) are realized
by</font></div>
<div><font face="Arial" color="#000000">various collaborations with
artists self-directing themselves.<br>
<br>
[Act 0 - omen] - Spiderweb mainframe. Empty code in raven wings.<br>
Time frame: 09:00 - 11:00<br>
Location: Furtherfield McKenzie Pavilion and Finsbury Park,<br>
Artists: The Hexists<br>
Conceptual approach: 3 keys - The River Oracle. a game of chance and
divination. Following the lost river of London, Hackney Brook, from
Finsbury Park to the Olympic park, it attempts to invoke the
relationship between<br>
the divinatory functions of our contemporary 'influencing machines'
(cybernetic systems of data-mining, data<br>
profiling and data protection) and traditional magical ones, creating
new machines in the process.<br>
<br>
[Act 1 - remorse] - The Lady Supreme washes the bloody unborn.<br>
Time frame: 11:00 - 13:00<br>
Location: Triangle gallery, Chelsea College of Art and Design,<br>
Artists: Marco Donnarumma, Linda Dement, Laura Oldfield Ford<br>
Conceptual approach: Xth sense body sensor meets blood streams.
poetically engage London as a site of social antagonism..<br>
<br>
[Act 2 - betrayal] - The Lord stands tall, briskly the arrows strike
in silent air.<br>
Time frame: 13:00 - 15:00<br>
Location: Triangle gallery, Chelsea College of Art and Design,<br>
Artists: Valentina Vuksic, Oliver Wolf<br>
Conceptual approach: A 'mysterium cosmographicum' system is set up
with multiple computing devices, audible by transducers for
electromagnetic fluxus. The tension between magic powers and the
deterministic run of events<br>
marks a Macbeth oscillating between being remote controlled and self
empowerment.<br>
<br>
[Act 3 - overthrow] - The Lord soaked in rain of thousand arrows,
fall the body.<br>
Time frame: 15:00 - 17:00<br>
Location: Triangle gallery, Chelsea College of Art and Design,<br>
Artists: Kaffe Matthews, Ewa Justka, xname<br>
Conceptual approach: 3 riot girls lead the act of overthrow. Thousands
of arrows<br>
thunder down on a fallen lord. Using various sensor units, sound
patches and electronic boards to generate a mass discontent.<br>
<br>
[Act 4 - insurgency] - An insurgency swarm of camouflaged antenna
branches, marching into the castle from all<br>
corners of the city.<br>
Time frame: 17:00 - 20:00<br>
Location: Parade Ground, Chelsea College of Art and Design<br>
Artists (to be expanded): Graham Harwood, Bioni Samp, Vasco Alves<br>
Conceptual approach: The forest move into the castle. The public merge
with the performers including Bioni's bee hive sound system,
Vasco's amfm keyboards and harwood's intervention devices. Matthew
Fuller's 500<br>
slogans read by various groups - including RADA texts and
performance students, Paper Tiger theatre troupe and the participating
public.<br>
<br>
[Act 5- eternal return] - Remaining castle monolith.<br>
Time frame: 20:00 - 21:00<br>
Location: Parade Ground, Chelsea College of Art and
Design</font></div>
<div><font face="Arial" color="#000000">Artists: Dead Record
Office<br>
Conceptual approach: testing Invisible/inaudible audio
frequency, DRO take us to eternal return with post-trauma
negotiation and reconciliation.<br>
<br>
Organized by TAKE2030<br>
TAKE2030 is a London based new media agency which gathers
(project-based) programmers, provocators, free networkers, designers,
fabricators and artists . TAKE2030 has received Arts Council England
funding for its network performance projects - RichAir2030 (2003)
and Porta2030 (2006). These works have toured international electronic
arts festivals widely.</font></div>
<div><font face="Arial"
color="#000000">http://take2030.net</font></div>
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