HEXIS (premiere) 2019
at IMPROTECH Festival
Onassis Cultural Centre, Athens
28 September 2019
Info: link
Hexis is a Greek word that is important in the philosophy of Aristotle. It stems from a verb related to ‘possession’ and is typically translated in modern texts as referring to a ‘state’ of being. Sachs refines the meaning as ‘active condition’ and argues that hexis refers to an active disposition that becomes a deeply embodied ‘state’ as opposed to a passive or surface action/interaction. For us hexis describes a way of being in performance. It is a deeply embodied active condition that operates at the core of an interactive phenomenology and fluid materiality that is central to our particular brand of BODYCODER improvisational kinaesonics. Our piece Hexis (2019) is thematically inspired by and draws upon Heraclitus’ river-analogy ‘one cannot step twice into the same river’ and for ‘as they step into the same rivers, different and (still) different waters flow upon them’. These pre-Socratic fragments (attributed to Heraclitus via Didymus & Plutarch) configure man’s state of being in relation to and as a part of a substance of nature. The river is an example of that which preserves structural identity while undergoing constant change of content, and it is this conflagration of unity/divergence, formation and dissolution, of the catching, touching and trickling away of substance that has informed our piece. Hexis (2019) is the third work that seeks to explore the synergies between ancient motifs and our own distinct form of sonic mediation the first and second being V’Oct(Ritual) (2014) and PythiaDelphine21 (2016) created with the kind support of Prof. Anastasia Georgaki and the National and Kapodistrian University of Athens and premiered at the Animart Festival in Delphi.
PythiaDelphine21 at Moss Arts Centre, Blacksberg Virginia, June 2018
BODYCODER: the inter/section - inter/action - of body/technology - inter/play between - analogue/digital - image and sonority - together in collaboration - self/Otherness...LIVE in performance... The technologies, publications, performances, concerts and events are the product of an on-going long term collaboration between Julie Wilson-Bokowiec and Mark Bokowiec which began in 1988.
A short history of our work:
Julie Wilson-Bokowiec and MARK BOKOWIEC began working together in a recording studio setting in 1988. A year later they started to explore and experiment with a range of hardware solutions for live interaction in performance. They teamed up with Dawsons Music, Roland and Rank Strand (lighting) to help create and beta test a range of new technologies including Strand's new midi lighting desks. In 1994 they premiered The Navigator: a large-scale full length theatrical work that featured a range of interactive sound and image technologies that together created a 'sensitized' performance space. The Navigator also included a number of interactive instruments. A year later they embarked on a significant program of work that would transplant stage technologies (developed for The Navigator) onto the body of the performer. This resulted in the first generation of the BODYCODER SYSTEM. At the beginning of the VJ revolution, Mark and Julie were invited to Beta test Steinberg's (Archaos) new VJ software <Xpose> in conjunction with the Bodycoder System. In 1995 they presented the first performance with the new system in an evening of new works: THE ANATOMY CLASS. (see early works below)
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Since 1995 Mark and Julie have created a large and significant body of interactive digital performance works with the Bodycoder System, including Zeitgeist & Lifting Bodies, Cyborg Dreaming, Spiral Fiction, The Vox Circuit Trilogy (2007) and most recently V’Oct(Ritual) (2011). These and other works have been performed in London, Montreal, Quebec, PEI Nova Scotia, Banff Centre for the Arts Alberta, Budapest, Oslo, and venues in Italy and Greece. They have received commissions from the Science Museum London, the Traffo Theatre Budapest and the Hungarian Computer Music Association and Wakefield City Art Galleries among others. They were Artists-in-Residence at the Banff Centre for the Arts and STEIM Amsterdam, and their work has been supported by the Arts Council of England and The British Council.
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"I just watched the Vimeo of V'Oct and it really is quite beautiful! I love the way it unfolds... dreamlike...like clouds slowly passing by...then out to space...it's got that shaman's trance feel to it, shades of Ligeti and Arvo Part, with a delicate ethereal quality. Julie Wison-Bokowiec looks superb, sounds amazing, I love the subtle gestures and evocative vocalization, you really feel it! It's amazing how she sounds ancient and modern at the same time, evoking the primitive whilst signalling the cosmos. I like the vari-speed/pitch shift type thing you use towards the end and the low deep-core voicing" (Julius Vasylenko - Saxophonist) |
The Bodycoder is a SYSTEM not an instrument. The system comprises of hardware, software (on and off the body) interfaces, image and sound diffusion, but also the presence of flesh and blood: the tangible and sensual relationship and long term collaboration between two artists - always in relationship to time and the spaces in which they work. In performance, the work is responsive and sensitive to the presence of an audience for whom the work is enacted and who being part of the performance environment are therefore enmeshed within the relationship/dialogue/interaction. Our work with the Bodycoder System is both a response to, a relationship with, and a becoming within a techno-physical environment. We consider our work to be CYBERNETIC in the broadest sense of the term. Our work reflects and manifests the operation of being within our particular techno-ecological environment.
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Mark Bokowiec – composer
Mark Bokowiec is the manager of the electro-acoustic music studios and the Spatialization and Interactive Research Lab (SPIRAL) at the University of Huddersfield. Mark lectures in interactive performance, interface and system design and composition. Composition credits include: Tricorder a work for two quarter tone recorders and MAX/Msp, commissioned by Ensemble QTR. Zero In The Bone, for meta-trombone, Dialogue for Cello and The SPINE interactive prosthesis. Commissions for interactive instruments include: the LiteHarp for London Science Museum and A Passage To India an interactive sound sculpture commissioned by Wakefield City Art Gallery. CD releases include: Route (2001) MPS, Ghosts (2000) Sonic Art also on the MPS label, Counterdance - the early works (2014) on VOD and Amera selected finalist for the Arts Electroniques des Concours Internationaux de Bourges prize on ‘In Search of the Miraculous’ CeReNeM (2011). VISITATIONS (2018) was recently released on the MPS label. 
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Julie Wilson-Bokowiec – performer
Julie is a performance artist and writer. She has created new works in opera, contemporary dance, performance art and theatre including: The Red Room (Canal Café Theatre) nominated for the Whitbread London Fringe Theatre Award and The Last Cuckoo (for Olivier award winning actor Paul Copley) nominated for the 20th Mayer-Whitworth Award (Royal National Theatre) and recently Lost Boy Racer for the Tour de France/Yorkshire Festival Grand Depart 2014. As a performer she has collaborated with such luminaries as Hermann Nitsch and Genesis P-Orridge, Lindsay Kemp and company, Malcolm Poynter (Rational Theatre), Trestle Theatre Company, Techno Twins, The Enid along with a variety of leftfield musicians and bands. Julie is the sole performer of an extensive repertoire of works for the Bodycoder System that range from full length/full evening theatrical works such as Spiral Fiction commissioned by Digital Summer, part of the cultural programme of the Commonwealth Games, Manchester to an extensive repertoire of shorter concert pieces. Commissioned works include Cyborg Dreaming for the Science Museum, London, Lifting Bodies for the Trafo, Budapest (part of the Hungarian Computer Music Festival supported by the British Council) and Zeitgeist for KlangArt, Osnabruek. Works for voice and Bodycoder System including the Vox Circuit Trilogy (The Suicided Voice, Etch and Hand-to-Mouth). V’Oct(Ritual) created in residency at Dartington College of Arts (currently in rep) and PythiaDelphine21 created in Athens and premiered at the International Animart Festival, Delphi, Greece July 2016 (also currently in rep). |
The Suicided Voice (Full)
PythiaDelphine21 (premiere) Delphi, Greece, July 2016
Three Performances of V'Oct(Ritual)
Recorded at the Onassis Arts Centre, Athens (2014), BEAM Festival, London (2012) and The Betang Oslo (2011). By sharing multiple recordings we hope you will spot the complexities and skills...
Early Works 1997 - 2007
Publications:
Wilson-Bokowiec, J. 2012. Future voices of digital opera: re-imagining the diva. International Journal of Performance Arts and Digital Media. Special Issue: Digital Opera. Vol 8 (1): 79-92. Intellect Books. UK
Wilson-Bokowiec, J. 2010. Physicality: the technik of the physical in interactive digital performance. International Journal of Performance Arts and Digital Media. Vol 4 (1): 61-75. Intellect Books. UK
Wilson-Bokowiec, J., & Bokowiec, M. 2009. Sense & Sensation: the act of mediation and its effects. Intermedialities (Histore et theorie des arts, des letters et des techniques) Vol 12: 124 – 144. Montreal: CRI University of Montreal.
Wilson-Bokowiec, J., & Bokowiec, M,. 2006. Kineasonics: The Intertwining Relationship of Body and Sound. Contemporary Music Review. Special Issue: Bodily Instruments and Instrumental Bodies. 25 (1+2): 47-58. Routledge Taylor & Francis Group
Wilson-Bokowiec, J., & Bokowiec, M,. 2003. Spiral Fiction. Organised Sound. Special Issue: Interactive Performance. 8(3): 279-287. In association with the International Computer Music Association. Cambridge University Press.
Wilson-Bokowiec, J,. & Bromwich, M., 2000. Lifting Bodies: interactive dance – finding new methodologies in the motifs prompted by new technology – a critique and progress report with particular reference to the Bodycoder System. Organised Sound 5(1): Cambridge University Press.
Wilson-Bokowiec, J. 2012. Future voices of digital opera: re-imagining the diva. International Journal of Performance Arts and Digital Media. Special Issue: Digital Opera. Vol 8 (1): 79-92. Intellect Books. UK
Wilson-Bokowiec, J. 2010. Physicality: the technik of the physical in interactive digital performance. International Journal of Performance Arts and Digital Media. Vol 4 (1): 61-75. Intellect Books. UK
Wilson-Bokowiec, J., & Bokowiec, M. 2009. Sense & Sensation: the act of mediation and its effects. Intermedialities (Histore et theorie des arts, des letters et des techniques) Vol 12: 124 – 144. Montreal: CRI University of Montreal.
Wilson-Bokowiec, J., & Bokowiec, M,. 2006. Kineasonics: The Intertwining Relationship of Body and Sound. Contemporary Music Review. Special Issue: Bodily Instruments and Instrumental Bodies. 25 (1+2): 47-58. Routledge Taylor & Francis Group
Wilson-Bokowiec, J., & Bokowiec, M,. 2003. Spiral Fiction. Organised Sound. Special Issue: Interactive Performance. 8(3): 279-287. In association with the International Computer Music Association. Cambridge University Press.
Wilson-Bokowiec, J,. & Bromwich, M., 2000. Lifting Bodies: interactive dance – finding new methodologies in the motifs prompted by new technology – a critique and progress report with particular reference to the Bodycoder System. Organised Sound 5(1): Cambridge University Press.
