Friday - December 2, 2005
Panel 1 City Performance Performance in the Wild Site Specificity Audience Interaction
|Matt Adamas (Blast Theory)
OF THE FIGURINES
Stefan Kaegi (Rimini Protokoll)
Michelle Teran (Toronto)
Life: a user's manual
Talk about the work.
Simon Will (Gob Squad)
Gob Squad is a group of English and German artists who have been working collectively with performance, media and new technology since 1994. Their work is characterised by a desire to place Romantic beauty into the mundane by inserting home made magic and spectacle into everyday life. Audiences and public are often invited to participate in these interventions, taking the ritual of play very seriously. Their work can be seen as an exploration of fantasy and desire in relation to contemporary urban existence. As well as producing work for radio, internet, galleries and theatre, the group have used offices, houses, shops, hotels and railway stations as starting points to generate images and concepts. In the last few years the use of video cameras have increasingly mediated their interventions. Simon Will studied contemporary arts at Nottingham Trent University. He was programmer and organiser of Expo from 1996 to 2000 as well as co-ordinator for NOTT dance and Body Space Image. He has been a member of Gob Squad since 1999. "Each of us just one in a million, easy to replace and easy to forget in a city does not really need us. But don't worry, we're going to change all that. We've got a plan. This city will need us and this film will be our witness." Simon will talk about the creation of Super Night Shot which was shown at The Nottingham Playhouse earlier this year. Using Camcorders four performers embark on a mission to save the city from loneliness and alienation. Shot in the hour before the audience arrive the piece is an example of re framing of reality and live-ness.
|Chair: Sophie Lycouris (Nottingham Trent University)|
Margarita Bali (Buenos Aires)
A sample of my latest choreographic and installation work relating to video and interactive technologies created in Buenos Aires. The technologies employed and readapted and the roll played by the Argentine musical and technical collaborating team. ZOOM IN LOOK OUT as an example of work co-produced with USA and how the extended collaboration process influenced its final content. PIZZURNO PIXELADO, a huge cityscape video installation-live performance. Fragments of the real outdoor event will be illustrated. PAREDES DE BUENOS AIRES, an interactive installation piece as work in progress. Art and Technology funding in Argentina. High points and low points.
Sher Doruff (Waag Society, Amsterdam)
Transducing Interplay: the distributed diagram
A transductive, intuitive approach to translocal performance practice redistributes the question of local and global movement to virtual/ actual, temporal/spatial intensive/extensive relations and their affect. It's a polyrhythmic, diagrammatic process.
Sally Jane Norman (Culture Lab Newscastle)
OUTER (0) AND INNER (1) SPACES (0,1,0,1…)
"Mine is no callous shell, I have instant conductors all over me whether I pass or stop, They seize every object and lead it harmlessly through me." Walt Whitman, Song of Myself, 1855
Have we discarded our "callous shell" to become a living interface seamlessly continuous with its surroundings? Perhaps this dream is fulfilled by sensors that link previously discrete inner psycho-physiological and outer environmental spaces, revealing our every impulse for the world to perceive. Yet hyper-connected existence is riddled with questions of individual and collective identity: while planetary webs weave complex cultural fabrics, outer space is breeding a generic race of cosmic humans.
Thecla Schiphorst (Simon Fraser University, Vancouver)
whispering our gestures :: moving from inside our skin, breath and clothing
Thecla Schiphorst explores the design of wearable interfaces from the perspective of performance practice: creative methodologies used in dance, theatre and somatics. The whispers research group (http://whisper.iat.sfu.ca) is exploring the design of wearable body architectures (clothing, interfaces, fashion and movement) using hybrid methodologies from performance, interaction design, and engineering.
We work with the moving body to illicit its tacit, experiential and first-person phenomenological knowledge as keys to interaction, connection, and choices of textiles and ‘tactiles’. Clothing is expressive in what if reveals and well as what it conceals. ‘Erotisism’, Roland Barthes suggests, is located between the sleeve and the glove, but the chosen interval is of little importance. In our on-going exploration and design of garments embedded with wearable technologies, we explore the notion of intimacy that can be accessed and revealed through our own physiological data, for example, the sharing of breath, and through the act of touch or caress as interface to our own skin and the skin of our clothing. Garments are created as sensuous textured skirts, breast-bands and sleeves made of silks, and organza, natural fibers in earthy and vibrant tones. These parts of our clothing speak to each other, so that we can speak to ourselves. “Clothing is like a language’s lining [and] language and clothing are intimate technologies indeed.”
|Chair: Keiko Courdy (Paris/Kyoto)|
Overcoming Distance Remote Connections Network as stage - Telematic Techniques in Performance - Streaming media - New wireless initiatives
|Heath Bunting (Bristol)|
|Adam Hyde (Radioqualia)|
|Rachel Jacobs (Active Ingredient, Nottingham)|
John Mitchell (Arizona State University)
Dance and Telematics
Koala Yip (Hong Kong) & Kelly Gottesman (Detroit)
Dancing across Media Spaces
|Hellen Sky (Company in Space, Melbourne)|
|Chair: Sue Thomas (deMontfort University)|
Capturing Dance - Dance Software-culture - Dance and Science: Visualization Technology, Wearable and Pervasive Computing in Dance and Interactive Design
Simon Biggs/Sue Hawksley (Sheffield Hallam University/Northern School of Contemporary Dance)
Developing out of previous collaborations involving dance performance and interactive visual art Sue Hawksley and Simon Biggs are engaged in a longer term project developing a range of specific authoring systems for use in performance and interactive installation works.
Previous works such as Halo - Biggs (vis.), Rubidge (chor.), Jones (mus.), Hawksley (perf.); Waiting Room - Biggs (vis.), Hawksley (chor./perf.), Jones (mus.); Parallax - Biggs (vis.), Hawksley (chor.) and I am I was (a dying swan) - Biggs (vis.), Hawksley (chor./perf.) have explored the integration of contemporary dance and movement with interactive digital systems.
Hawksley and Biggs are now involved in developing a software
system which functions as a more general authoring environment for the
creation of dance and movement based works incorporating interactive systems
and, for these artists for the first time, existing motion capture systems.
The overall title for this work is
This work engages with the artists' ongoing exploration of identity and memory; how memories are embodied/signified, how they define a sense of self and pattern movement behaviour. Equally, the work addresses the way recording media is used to preserve the sense of self as memories fracture, multiply, collide, divide and mutate.
The working process, and the work that eventuates from it, explores the relationship between memory and the body, approaching this as an archaeological site, a living (non-linear and modifiable) history, using a memory mapping process reminiscent of the ancient Greek technique of Mnemonics; co-locating images and movement as a dynamic code. The visual material used includes imagery of the body (including that generating motion data) and other visual representations of self (e.g. biometric data, digital codings and surveillance systems). The arbitrary nature of how these codes function to signify self are problematised in the work.
Ghislaine Boddington & Armand Terruli (Future Physical, London)
b>d>s bodydataspace is a new design unit that delivers artist-led projects into architectural applications and uses interactive technologies to enable people to learn, develop and extend within intelligent data spaces, ultimately enabling the public to have a direct impact on the content of the space they inhabit.
b>d>s creates immersion environments, responsive spaces, events, action landscapes and media world blends . It develops both temporary and permanent environments, creates the most relevant content, consults on the best materials and display technologies, and ensures the public pathways into the interactive action are fulfilled.
b>d>s focuses particularly on body-centric interactive design within architectural and cultural contexts. The unit works with its clients to co-conceive interactive concepts and to place responsive technologies and artistic content at the core of new buildings.
b>d>s has a compelling and logical view that places the ‘body’ of the public at the centre of interactive and spatial design. This view, combined with a strong background in computers, new media, exhibition, graphic, display, live event, performing arts and architecture areas, means b>d>s brings a broad range of relevant skills and knowledge to clients interactive projects.
Firmly based in cultural aims within commercial practice b>d>s uses the extensive specialist knowledge of each founder, as well as in the networks to which each are connected, to bring innovative interactive technology to a broader public marketplace.
|Thomas Dumke (Festspielhaus Hellerau)
Image controlled sound nanospheres by DS-X.org
in co-operation with Max-Planck Institute of Molecular Cell Biology and
Christopher L. Salter (Hexagram, Montreal)
Media Research/Creation for the Performing Arts outside of the Performing Arts: Two Case Studies
Increasingly, modes of technologically driven "research/creation" potentially leading to new forms in the performing arts are being incubated within a university situated, media arts research context. While this may at first, demonstrate a renewed interest in time-based performance from the chiefly visual arts dominated media arts, performance is still largely an anomaly in this discourse of new media. At the recent REFRESH! 1st International Conference on Media Art History at the Banff Center for the Arts, for example, only two papers out of sixty had any substantial mention of dance, theater, music or opera as integral to the development new media art history. Although the term "research" in its current usage in the context of the performing arts is now superseding the actor-driven theatrical research of 1960s practitioners such as Grotowski, Barba and Brook in favor of institutionally driven, technologically augmented models, this certainly has some historical precedent. While clearly operating under completely different socio-economic contexts than our own, early twentieth century theater makers such as Meyerhold and Piscator managed to devise artistic work that also pushed the technological envelopes of the mode of production. Similarly, in the mid1950s, the Czech scenic designer Josef Svoboda re-arranged the entire scenic design department at the National Theater in Prague to become a Research & Development lab where groups of chemists, metallurgists, mechanical engineers and other disciplines helped invent technologies specifically for performance contexts; technologies which are still being used today. Yet, the kinds of research conducted specifically within the context of a professional performing arts institution as suggested by Svoboda or Piscator has all but vanished.
The shift towards university-based, research institutions attempting to produce innovations that may filter into the larger cultural ecologies may provide us with new models of both artistic and techno-scientific innovation yet, it is not without its questions. Should technological research act to develop "tools" or general purpose systems based on scientifically quantifiable heuristics that might be adopted by artists or should artistic contexts and content determine the scope, scale and delivery mechanisms of technological research? Based on the author's long-term experience navigating between research and professional media/performing arts contexts, this presentation will focus on two specific, yet distinct, case studies. Using the examples of both (1) a small scale, artistically driven, non-profit entity (Sponge) and (2), a new Montreal based media arts research institution housed within a university pedagogical context (Hexagram), the presentation will examine critical issues in the transferability of tools, practices and knowledge between the university teaching/research environment and the rigors of professional cultural production, "research/creation" methodologies and the differing life cycles distinguishing university research and professional production in the attempt to establish best practices for the burgeoning new area of performance research.
Marlon Barrios Solano (Venezuela/New York)
Unstable Landscapes: Dance improvisation within
Igor Stromajer (Ljubljana)
Authors: Igor Stromajer and Brane Zorman (in collaboration with Davide Grassi)
|Chair: Kirk Woolford (Lancaster)|
Panel 5 Lunch Forum
Private View - Arts Council England and BBC Artists' Commission
|Nina Pope & Karen Guthrie|
Charade: Peer-to-peer distribution & performance
of precarious media
Mark Waugh (Arts Council England)
I will discuss the context and background to the partnership and the objectives of the commissions. The changing models of distribution supported through Arts Council England.
|Chair: Sarah Cooke (CRUMB)|
A Description of the World as Though it was a Beautiful Place - The Play With Augmented Reality - Mixed reality - Gaming structures as performance work
|Active Ingredient (Nottingham)|
Transparency, illusion and engagement: the Mimetic
Starfish and Biotica.
Cliff Randell (University of Bristol)
Wearable Computing and Augmented Reality: The State
Nuno Sacramento (University of Dundee)
Situational Scripting: Materializating the encounter
viewer / artwork, Or Programming experiential space
1. No other civilization emptied out its interior spaces and made them pure white, and then singled out an object and put it on this wall or on that pedestal in such isolation as described by Mary Anne Staniszewsky.
|Jen Southern (Digital Research Unit, University of Huddersfield)|
|Chair: Steven Benford (Mixed Reality Lab)|
New research addressing Dance, Performance and Digital Cultures
Ran Hyman (Simon Fraser University)
[:] African Dance set to Tekhno Music
Aylin Kalem (TECHNE Festival, Istanbul)
"Becoming" through Performance
This paper examines the issues of the body in performance with new technologies. The cyber technologies put forth a re-questioning of the condition of the body on Earth, particularly in terms of the notions of embodiment and disembodiment. Due to the new technologies, we are living in a period where we can have direct control on our evolution as mankind towards the post-human. The critical question at this moment is whether man will completely leave his biological body behind, and what bodily transformation will occur with the union of man and machine. Mankind confronts a number of threats concerning its present existence on Earth like ecological problems. It must undergo some mutation in order to continue its species in a certain kind and on some other place. The question is how are we to engender our future specie? How are we going to project ourselves in the future?
With modernity art and technology came to be considered as two separate entities, and most often as two opposite poles. However, techne, the Greek root for technology, comprises equally the meanings of art, skill and craftsmanship. In other words, as Heidegger points out, art and technology are essentially two combined notions. Thus, technology is not a tool; it determines the humanity's projection about itself. Accordingly, it moulds the body, and its perception and expression. The evolution of mankind is determined through the technology he produces. This is an imaginary thus, an artistic phenomenon. Through this phenomenon mankind continues its transformation.
Thus, how the design of the humankind will be determined. Art and technology are in a collaborative process in this mission. Where scientists are searching the means to concretize projects, artists provide them with inspiration. However, there is a big debate of whether we will grow into a future where we will be freed of our limiting bodies or we will take our bodies with us and conceive a new one.
This debate puts forth a parallel question of whether the body is going to be conceived as an object, an object of design, in the neo-Cartesian dualism that proposes the formulation of "I have a body" or as a body-subject suggesting a corporeal presence due to the physical, sensory and perceptive interaction with the world referring here to the Phenomenology of Merleau-Ponty that modifies the formula to "I am a body".
This question of the body is analysed particularly through the projects of a performance artist called Stelarc. His conception of the body seems quite problematic in the sense that although he seems to take the body first as an object of design, his works are so very much rely on the sensory aspect of the body. He seems to propose a third alternative that goes beyond the two opposing alternatives of the body as object or the body as subject. This is examined in reference to Deleuzian concept of "becoming" that implies the formulation of the body as project.
Dance, technology and the material mutations of rhythm
The object of this paper is to discuss the relation between dance and technology in all its different aspects, i.e. video-dance, Motion Capture, the Dance Forms choreographic software, interactive and Internet dance. The aim is to take the analysis of the dance/technology relation beyond the notions of conscious imitation, resemblance and representation presupposed by structuralist and post-structuralist readings of the 'mediatised' dance-text, and beyond the subjective perceptual/performative mechanisms explained by phenomenology.
On one hand, the debate about dance and technology is embedded in structuralist theories reducing the body, society and media to a unique system of symbolic and linguistic constructions and representations; on the other hand, other critical readings are more influenced by the assumptions of phenomenology about the centrality of the perceiving human subject.
The main problematic of both these approaches can be identified with the reduction of the body, its perceptions and movements to hermeneutic or phenomenological structures based on fundamental dualisms between reality/representation, live body/mediatised body, subject/object, which rely on an essentialist tradition of thought. In order to avoid this textual/phenomenological impasse, I will move the analytical focus on the materiality of the body, perception and movement, as a common and undifferentiated field of emergence in which specific corpo-realities and positions emerge.
In other words, the main questions this project will explore are: can we think the 'mediatised' dancing body on screen as being as material as the 'live' performing one? In what ways can we conceptualise this common materiality beyond all dualistic presuppositions?
In order to discuss these questions, drawing on the philosophical work of Gilles Deleuze and Felix Guattari, I will deploy a new methodology for the exploration of the dance/technology link, mapping the processes of rhythmic material transmission which link dancing human bodies and technical machines, challenging the centrality attributed by phenomenology to the human body and considering it as only one of the different components of a material process of rhythmic interchange in which all elements (human bodies of dancers and spectators, computers, screens and other technical machines) share the same rhythmic dimension.
|Ivani Santana (University of Bahia)
Ambiguous Zones: The Intertwining of Dance and World in the Technological Era
This paper analyses the relationship between body and technology in the field of dance by proposing a reflection on the idea of what we call "ambiguous zones". Taking the theories of Semiotics (C.S.Peirce) and some branches of Cognitive Sciences (António Damásio, Lakoff & Johnson) as a point of departure we propose to discuss the role of technology in a mediatized culture as an agent that operates in the configuration of new instances of what can be understood as technological poetics in dance.
In 1996 I started a partnership with the musician Fernando Iazzetta and our main concern was to explore the poetic use of technology in our performances Since them, we have produced many works involving music, dance and image in which the interplay between the concepts of liveness, virtuality and real time played a significant role. Most of our attention has been guided towards the creation of environments that establish what we call "ambiguous zones". By environment we understand all the constitutive elements of a performance: the dancers bodies and their movements, the music, the sound design, the lighting, the video scenery, the audience and so on. By "ambiguous zones" we mean the intermediate regions that are constructed between what is being generated "live" at the time of the performance and what is the diffusion of previously created material. The audience is always exposed to three types of events: the ones produced during the performance by the real dancers and musicians; the ones that are produced with the involved technology; and those that have been previously recorded and processed. The mixing of these types of material during the performance brings up this "ambiguous zones" that takes place between what is being generated "here and now" by the performers and what is just the diffusion previously produced material. To achieve this undefined zone, in which the audience sometimes is unable to differentiate real time events from pre-recorded ones, we have explored different technologies and interfaces.
Based on this conceptual framework we propose a reflection on the use of new technologies in dance and its implications for the establishment of new configurations in which body, dance, music, image and environment are used to challenge the dichotomies between mind/body, natural/artificial and real/virtual. For this purpose I present a brief analysis of some works - Corpo Aberto (Open Body, 2001), Pele (Skin, 2002) and Casa de Nina (House of Nina, 2004) and conclude that what is important is not the aesthetics and powerful of digital effect of the computacional systems, but what the technology contributes for our knowledge of body and dance. The mainstream of this discussion has three principal points: immersion, interactivity and real time. And these points are important even if we didn't use high technology in the performance. It's the case of "e fez o homem a sua diferença" (and make the man as his difference, 2005), that will be also analysed here and with which I conclude this paper. These terms immersion, interactivity and real time have been enhanced in this era of digital technology, however, for us, these are the principle of life. The existence of the first cell was possible because it could be immerse in the system interacting with the environment in real time, so it's not a privilege of the digital era.
Isabel de Cavadas Valverde
Re-Troping the Interface: towards alternative discourses
on performance in the digital domain
Panel Respondents: Philippe Baudelot (Monaco Dance Forum), Sue Broadhurst (Brunel University)
Closing Panel: Digital Cultures & Technology Art
Philippe Baudelot (Monaco Dance Forum)
Autodidact digital artists: disruptive but vital creativity
Within twenty years, our technical and cultural environment was completely upset by the digitalization of the society. We appropriated multiple domestic and professional equipments (television, computers, digital cameras, home studios, cellular phones, internet, video games). A new economy of the cultural practices appeared. Many people consider that this evolution constitutes a historic mutation leading to a new organization (education, work, leisure activities, arts) whose exact contours we cannot again draw. We can still hope that it will not be that of the advertising agents and the reality-TV. The role of the artists will be significant.
In this frame, even if the fact to use digital tools is not enough to create a work of art, we observe the emergence of new artistic creation in self-taught forms. Some artists, having no erudite training, but mastering tools (in the field of their professional life and accessible technically and financially), their sensibility to the world and their intuition, came to fit in the world of the arts.
For all the artists, the questions of the technique, the gesture, the being in the world, are central. But, for the learned digital artists, the mediation with "things" is traditionally made via a "academic" knowledge leaning on the history, the analysis, the theory as much as on the practice and the sensibility. While for the autodidact digital artists, it passes by the life and the tool such as it is lived. That is by a direct face to face with the digital material giving to the body and to the breath their full strength. The knowledge of these artists is a transformation of knowledge mediatized by a preliminary theoretical discourse. They enrich it with aesthetics and cultures which did not participate in the arts for a long time. We take into account the influence of the different electronic and mass media on their inspiration. If they are sometimes "victims" of these, they know how to divert them, break the codes, re-make them their to end in an original expression. Quite as the learned digital artists. In fact, similarities of concerns appear both on an artistic plane and more widely political. The questions join. The exchanges between the learned artists and the self-taught artists become more frequent. If this disrupts the learned artistic community in its foundations, in its certainties and in its institutional weight, it already has had a strong impact on it nevertheless. As the established arts can bring their knowledge to the culture, so do the autodicacts have to teach them a lot. This is probably vital for all.
Beryl Graham (CRUMB)
Critical Interaction: New media art interaction and the art world
Currently, the only permanently displayed interactive artwork in London is in The Science Museum. Do art galleries have a problem with interaction in particular? This question is explored with reference to debate on the CRUMB discussion list, examples of interactive artwork, and a critical look at kinds and levels of interaction
Mine Kaylan (LELEG Institute)
Report on LELEG Institute
Aylin Kalem Iscen (Istanbul, Techne Festival)
Report on Techne Restival
Armando Menicacci (Mediadanse, Paris)
Specificity of the dancing body corporality: a symbolic/physiological approach
Referring to words signifying abstract category nobody is shocked by the lack of a term for dance. In music we have "musicality" in theater we have "theatrical" and in dance we have... "dance". This means that there is constant confusion between A dance and the specificity of the dancing movement. Starting from the body movement analysis theory and practice developed in Paris 8 University we'll detail thoughts about relationships between dance and digital technology in some contemporay artworks and foundamental researches we worked on.
|Chair: Johannes Birringer|
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