parasight grows out of a faded faith in the future. If previous generations worked for a better future, today that seems uncertain, perhaps even impossible, to imagine. How can we create a present that remembers the apocalypses that humanity has already caused? What does that do to our future imagining? And how does an image of the future—or the absence of an image—direct our present?
parasight is inspired by mythologies and lore about the beginning and the end. From ancient origin stories and end-time myths, to how contemporary cultural narratives assume a mythological and religious function, to the main-stream mass-consumption of apocalypses for entertainment; how has the narrative of the end of the world developed historically in reality and in works of fiction? How does the end begin? How do we perceive what is missing? How do we begin to notice the end(s)? parasight is a multi-sensory and immersive experience in and with the dark, where what is sensed is as choreographed as what is seen, where the imagined becomes more present than the real, where endings blur into beginnings.
parasight combines dance with interactive sculptures that respond to touch by lighting up. Each object has a Raspberry Pi, LEDs and a sensor (barometric sensor, 6-axis acceleration and gyroscope, vibration sensor). Further, the sculptures are programmed into a network. When an object’s sensor is triggered, the sculpture lights up, and sends a signal along the network lighting up the other objects in red. This means that each individual touch generates a response from the object in question, as well as from the other objects—a chain reaction where each human interaction affects the entire system of objects. Over the course of the performance, the human interferences accumulate, causing the transmission of signals to accumulate and overlap. The work embodies a human-technological reciprocity that leads to mutual destruction. Yet the ends don’t end. parasight explores the theatre’s illusion and the theatricality of imagination.
Concept, objects, programming and lights by Gry Tingskog
Made collaboratively together with Rodrigo Andreolli, Emil Ertl, Anna Lublina and Amina Szecsödy
Performed by Rodrigo Andreolli, Emil Ertl and Gry Tingskog
Sound by Amina Szecsödy
Dramaturg Anna Lublina
Supported by Västra Götalandsregionen, Göteborgs Stad PRONTO, Längmanska Kulturfonden, Kulturamt Gießen and NEUSTART KULTUR, DIS-TANZ-SOLO Hilfsprogramm DIS-TANZEN des Dachverband Tanz Deutschland
Residencies Riksteatern Hallunda Produktionsresidens dans, MDT, Balettakademien Stockholm
Photos by Hedda Tingskog
For bookings contact grytingskog@hotmail.com
