Re: [-empyre-] networked_performance 2
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?
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