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# 45 | human factor #2
5. - 9. January 2016, Tallinn, Estonia
in cooperation with Jaan Toomik and the Estonian Academy of Arts
with BBB Johannes Deimling
Human Factor - The ‘I’ is a fiction of which we can merely be co-creators. (Imre Kertész, 1929)
The practice of designing products, systems or processes to take proper account of the interaction between them and the people who use them is described by the term ‘Human factor’. In its essence, it is the study of designing equipment and devices that fit the human body and its cognitive abilities. In music this term is used to humanize electronic music and its unnatural precision of a machine like for example a synthesizer.
Applying this term to Performance Art offers a direct view on performative art practices which focusses on the person executing a performance in front of a present audience. The Human Factor in Performance Art is more than the artists’ appearance and his or hers actions. It can describe the attitude and the manners of how actions are done in performance and how this divers from person to person and from culture to culture. The uniqueness of a performance is much influenced by the person who is doing this action and the witnessing audience which completes this creative act. To use our human factor is essential in Performance Art.
Performance Art seen as an art form celebrating diversity as a quality needs the ‘Human factor’, the individual to intersect with others. This process is highly social and desires the exchange with other ‘human factors’ in order to complete the performance in its holistic idea. In this way it is a trigger to open a dialogue with the present audience and needs to be detached from the self-centric artistic position in order to be able to create a shared space in which communication can take place and art can be shared.
In PAS #45 we want to research the intersections between the individual and the ‘sum of us’ in a vivid work processes in order to create a common piece in which the different human factors are interacting, inspiring each other processes and outcomes. The idea is to create a performance work in which individual concept are melting together with other concepts. This collaborative working process will establish a work where intersections appear which an individual process cannot generate on its own. How can the personal involvement inspire other processes and how it is possible to make the appearing intersections nourishing the results are the major questions we will follow.
Irma Isabella Raabe