[-empyre-] Re: empyre Digest, Vol 8, Issue 15
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- Date: Tue, 19 Jul 2005 14:45:09 -0700 (PDT)
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And if I might add to that. I am also interested in what are the
effects/affects of entering into and participating in a social ritual of a
networked connection and also the preparation ritual of building objects,
making food, etc. At a profound level, it is almost impossible to
communicate one's personal responses when you are in the middle of what is
happening. Imprints and traces from the experience resurface at
unpredictable moments. Stories are passed on to others, themselves a form
of documentation. I remember reading an interview with Allan Kaprow who
talked the inadequacy of film or photography for capturing what actually
goes on during a performance, and put more value on gossip as documention.
Personal storytelling vs the mechanical eye of the camera.
By staging these events in public locations, we hope to provoke a social
reimagination of what is a networked space, both for those people directly
involved, as well as accidental encounters by strangers.
The resonances of making or witnessing an object perform inappropriately,
participating in a strange ritual, or having an insignificant space like a
patch of grass transformed into a data portal to another location, are
still yet to be known.
This is the itch that needs to be scratched and gets me out of bed in the
> Message: 1
> Date: Mon, 18 Jul 2005 11:45:47 -0400
> From: Helen Thorington <email@example.com>
> Subject: Re: [-empyre-] LF:TK
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> Hello all:
> Reading Michelle Teran¹s post, I began to think about value ? and how in
much of the work we have seen on the networked_performance blog value is
created during interactions between people.
> There's a history here. Remember Kit Galloway and Sherrie Rabinowitz and
³Hole in Space²? One of the classic art-telecommunication projects of
> time, it took place over a period of three evenings in November 1980.
> On the first evening, unsuspecting pedestrians walking past the Lincoln
Center for the Performing Arts in New York City, came face-to-face with
life-sized television images of unsuspecting pedestrians walking past
> Broadway" department store in Century City, Los Angeles. And visa versa.
There were no explanations. 3000 miles apart, they could see one
> they could hear and they could speak with one another.
> The second evening saw growing numbers of people populating the streets
> word-of-mouth and long distance telephone calls spread the word; on the
third as a result of television coverage the previous evening - there
> mass migration of families and trans-continental loved ones to the two
locations, where they ² utilized the link or frame -- provided by
> and Rabinovitz, and gave it its content, and its meaning.² Many of those
present had not seen each other in 20 years.
> This shift from artist as creator of content to artist as creator of a
> in which others (the public, friends and acquaintances) produce content
> meaning, is profound. Something quietly, beautifully revolutionary is going
> on -- more visible now than ever before (I don¹t know that for sure, but
I¹ll say it anyway) and visible certainly in works like those Michelle
> and Jeff Mann are creating.
> -- Helen
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