LEARNED FRIENDS: PIASECKI VS. WADE
Nina Davies shares her work ‘Learned Friends; Piasecki vs Wade’ for episode 14 of the show. It is a fictional podcast voiced by characters Riley and Devon, who discuss legal cases that present the rising issues of using predictive technology within the justice system. Set in a world where technology documents the future just as well as in documents the past, people have begun to move in pre-programmed ways as a matter of safety, to be better detected by self-driving cars or correctly prescribed medications. In this episode we explore Nina’s research alongside guest co-presenter Jorge Poveda Yanez. Together we connect the moving body to forms of digital choreography and truth making to predictive movement technologies.
Nina Davies is a Canadian/British artist who considers the present moment through observing dance in popular culture; how it's disseminated, circulated, made, and consumed. She recently graduated from Goldsmiths MFA Fine Art where she was awarded the Almacantar Studio Award and the Goldsmiths Junior Fellowship position. Her work has recently been exhibited and shown at Transmediale, AdK, Berlin; Seventeen, London; Matt’s Gallery, Mattflix program; Circa x Dazed Class of 2022, Piccadilly Lights in London, Limes in Berlin, K-Pop Square in Seoul, Fed Square, Melbourne; Overmorrow House, Battle; and Alchemy Film and Moving Image Festival, Hawick. In 2021 She co-founded Future Artefacts FM with artist Niamh Schmidtke and was awarded an Arts Council Project Grant to produce their 2022 programme.
Jorge Poveda Yanez (he, him, they) is a dancer, theater-maker, researcher, and scholar working with new technologies, law, and the arts. To instigate, simulate and facilitate interconnections between these three thematic clusters, Jorge’s artistic practice uses performance, moving image and dance; finding the organicity in the digital and the digital in the flesh. Latest works include “Handful of gravel” with US. Laureate Poet Juan Felipe Herrera (2023) and “A queer reggaeton dance for the beginning of our times” presented in La Comédie of Clermont Ferrand (2022).
His research is complemented by hybrid, academic inquiry, consolidated in works like “It is not a dance, it is data” and its accompanying collection of digital collectibles developed along artist Nina Davies; or “Data in, Data Out: Moving into techno-feudalism through vaporous dance-data” (upcoming). Currently, Jorge is the editor of the number on “Dance & New Tech.” for Ghent University's DOCUMENTA journal, which focuses on the new technological frontiers designed for the production and circulation of human movement. His training as a dancer/anthropologist (UCA - France), Performer (UCE - Ecuador), and Social Scientist/ Lawyer (UDLA - Ecuador) led him to enroll in UCR's (USA) Ph.D. program in Critical Dance Studies, where he is now a Teaching Assistant under a Fulbright Fellowship.