{"id":482,"date":"2021-04-28T14:26:08","date_gmt":"2021-04-28T11:26:08","guid":{"rendered":"http:\/\/www.outicondit.com\/?post_type=jetpack-portfolio&#038;p=482"},"modified":"2026-03-28T16:15:15","modified_gmt":"2026-03-28T14:15:15","slug":"networked-actor-theory","status":"publish","type":"jetpack-portfolio","link":"http:\/\/www.outicondit.com\/?portfolio=networked-actor-theory","title":{"rendered":"NETWORKED ACTOR THEORY"},"content":{"rendered":"\n<p class=\"has-white-color has-text-color\">.<\/p>\n\n\n\n<figure class=\"wp-block-video\"><video controls src=\"http:\/\/www.outicondit.com\/wp-content\/uploads\/2021\/04\/nat_gif-3.mov\"><\/video><\/figure>\n\n\n\n<p class=\"has-white-color has-text-color\">.<\/p>\n\n\n\n<p class=\"has-white-color has-text-color\">.<\/p>\n\n\n\n<p>In 2019, together with my colleague Simo Kellokumpu, we curated an artistic research event with the title Networked Actor Theory. This brought together artist-researchers with shared interests to rethink the agencies and politics of performing bodies and the networks they emerge from. In 2021 those same artist-researchers come together in a digital publication in which each contribution offers an enthusiastic &#8220;yes, and&#8221; proposal to what might be considered &#8220;writing&#8221; in artistic research. <\/p>\n\n\n\n<p class=\"has-white-color has-text-color\">.<\/p>\n\n\n\n<p><a href=\"https:\/\/nivel.teak.fi\/nat\/\">https:\/\/nivel.teak.fi\/nat\/<\/a><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>. . . In 2019, together with my colleague Simo Kellokumpu, we curated an artistic research event with the title Networked Actor Theory. This brought together artist-researchers with shared interests to rethink the agencies and politics of performing bodies and the networks they emerge from. In 2021 those same artist-researchers come together in a digital publication in which each contribution offers an enthusiastic &#8220;yes, and&#8221; proposal to what might be considered &#8220;writing&#8221; in artistic research. . https:\/\/nivel.teak.fi\/nat\/<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true},"jetpack-portfolio-type":[10,9],"jetpack-portfolio-tag":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":148,"url":"http:\/\/www.outicondit.com\/?portfolio=remote-control-human","url_meta":{"origin":482,"position":0},"title":"REMOTE CONTROL HUMAN","date":"\/\/\/","format":false,"excerpt":"Image (c) Vincent Roumagnac A series of performances on the porous borders of self\/other, techno\/flesh, and fabulous reality. Human bodies are screens and stages for the performative relationship between technology and experience. Immersed in thespian fantasies of innocence and total control,\u00a0RCH\u00a0incites and investigates the uncanny experience of being more-than-one, less-than-many\u2026","rel":"","context":"Similar post","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.outicondit.com\/wp-content\/uploads\/2017\/09\/IMG_2651.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":547,"url":"http:\/\/www.outicondit.com\/?portfolio=how-to-be-a-medium","url_meta":{"origin":482,"position":1},"title":"How to be a medium?","date":"\/\/\/","format":false,"excerpt":"Can a doctoral publication also be an artwork, accessible and enjoyable, yet rigorous as research? Let's find out!","rel":"","context":"Similar post","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.outicondit.com\/wp-content\/uploads\/2026\/03\/IMG_1129.gif?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":92,"url":"http:\/\/www.outicondit.com\/?portfolio=the-actress","url_meta":{"origin":482,"position":2},"title":"The Actress","date":"\/\/\/","format":false,"excerpt":"The Actress\u00a0is a theatre piece on theatre, power and acting. She arises from the crisis of the actorly body as an intersection of affective\/material\/corporeal\/discursive tensions at stake in the dispositif of theatre. She presents eight variations on thespian affect, corporeality, gaze, representation, identification, empowerment, and techno(dys)embodiment. She stages her own\u2026","rel":"","context":"Similar post","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.outicondit.com\/wp-content\/uploads\/2017\/05\/BTGM0319.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":500,"url":"http:\/\/www.outicondit.com\/?portfolio=the-diva","url_meta":{"origin":482,"position":3},"title":"THE DIVA","date":"\/\/\/","format":false,"excerpt":". . . . . In 2017, I worked together with theatre director and fellow doctoral research fellow Vincent Roumagnac to make the stage piece The Actress, which became the first clearly defined artefact to be produced by my research process. Its success strengthened my conviction to keep producing objects,\u2026","rel":"","context":"Similar post","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.outicondit.com\/wp-content\/uploads\/2022\/04\/diptych.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":166,"url":"http:\/\/www.outicondit.com\/?portfolio=channelling","url_meta":{"origin":482,"position":4},"title":"Channelling","date":"\/\/\/","format":false,"excerpt":". . Kuinka puhua rivien v\u00e4list\u00e4? Kuinka ajatella ei mit\u00e4\u00e4n? Kuinka kanavoida kaikkea? \"Mietin sit\u00e4 hetke\u00e4 ja tilaa ja kohtaa joka on k\u00e4\u00e4nn\u00f6ksen ja ajatuksen v\u00e4liss\u00e4. Tai hetki, jolloin alan puhua ja hetki jolloin alan ajatella k\u00e4\u00e4nn\u00f6st\u00e4, k\u00e4\u00e4nt\u00e4mist\u00e4. Mit\u00e4 se on, mit\u00e4 siin\u00e4 on. Aion nyt menn\u00e4 siihen siihen tilaan,\u2026","rel":"","context":"Similar post","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.outicondit.com\/wp-content\/uploads\/2017\/09\/Channelling_4-2-300x200.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":132,"url":"http:\/\/www.outicondit.com\/?portfolio=powerful-encounters-and-framed-intimacies","url_meta":{"origin":482,"position":5},"title":"Powerful Encounters and Framed Intimacies","date":"\/\/\/","format":false,"excerpt":"Published in PARtake: The Journal of Performance as Research, vol 1, Issue 2, as part of \"Forum on the Art of Participation: A Curated Collection of Reflections, Explorations, and Instructions\" curated by Astrid Breel, Hannah Newman, and Robbie Wilson http:\/\/scholar.colorado.edu\/partake\/ Powerful Encounters and Framed Intimacies: Reflections following the Forum on\u2026","rel":"","context":"Similar post","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"http:\/\/www.outicondit.com\/index.php?rest_route=\/wp\/v2\/jetpack-portfolio\/482"}],"collection":[{"href":"http:\/\/www.outicondit.com\/index.php?rest_route=\/wp\/v2\/jetpack-portfolio"}],"about":[{"href":"http:\/\/www.outicondit.com\/index.php?rest_route=\/wp\/v2\/types\/jetpack-portfolio"}],"author":[{"embeddable":true,"href":"http:\/\/www.outicondit.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.outicondit.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=482"}],"version-history":[{"count":4,"href":"http:\/\/www.outicondit.com\/index.php?rest_route=\/wp\/v2\/jetpack-portfolio\/482\/revisions"}],"predecessor-version":[{"id":534,"href":"http:\/\/www.outicondit.com\/index.php?rest_route=\/wp\/v2\/jetpack-portfolio\/482\/revisions\/534"}],"wp:attachment":[{"href":"http:\/\/www.outicondit.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=482"}],"wp:term":[{"taxonomy":"jetpack-portfolio-type","embeddable":true,"href":"http:\/\/www.outicondit.com\/index.php?rest_route=%2Fwp%2Fv2%2Fjetpack-portfolio-type&post=482"},{"taxonomy":"jetpack-portfolio-tag","embeddable":true,"href":"http:\/\/www.outicondit.com\/index.php?rest_route=%2Fwp%2Fv2%2Fjetpack-portfolio-tag&post=482"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}