Re: [-empyre-] networked_performance 2

thankyou helen

your original post was great, very informative and i realise it is a first 
step into this field and not the final word.
it is difficult for me each month, as it might be for others on the list, 
to familiarise myself quickly with the specialty field that is being 
your opening post quickly framed the whole discussion and provided a 
quick-start primer for my better understanding of the topic.
i did not see it as prescriptive of the field but offering enough 
description for further research. 

lucio's point about the 'liveness' is an interesting one. your example of 
the lightbeam concert that engages the audience by their control over the 
direction of the music being played is a valuable one. i wonder if you 
have an example where the audience, artists, and participants are all 
on-line without that live content?

i remember reading about stelarc's performance hanging from a warehouse 
roof by hooks, his body full of stimulators, making his muscles twitch, 
and the sensors which recorded his neurological responses that got fed 
into a synthesizer and expressed as music, all being controlled by inputs 
from remote computers on the web, or was i just dreaming.....

when i first started making cyberpoems in 1995 my goal was to remove 
myself from the performance, i had been a professional performance poet 
for ten years prior to this and was very aware of the importance of my 
presence in the live situation. i was criticised by the print based poets 
who claimed, it was my personality that made the poems work. true i was 
the first interpreter of my own work and so sort of set the authoritative 
interpretation.  so,  i was keen to make my cyberpoems perform on their 
own as digital animated sonic experiences whilst trying to capture the 
excitement of live performance using new devices of engagement.  but the 
field you are describing seems completely different to what my concerns 
were. would i be right in saying the works you refer to are using the 
medium as the performance, and the performers are just the early 
interpreters of the work?


komninos zervos
"Our Workplace Rights are NOT for sale."

This archive was generated by a fusion of Pipermail 0.09 (Mailman edition) and MHonArc 2.6.8.