[-empyre-] networked_art & performance

Johannes Birringer Johannes.Birringer at brunel.ac.uk
Mon Oct 5 02:53:54 EST 2009


dear all;


Helen's response hints clearly at the transitive nature of computational/networking environments and the performative dimensions of using the environments in real time  (and collaboratively) and in movement (in a larger sense, not dance......but moving bodies, minds, data, data objects, space, relations, languages, IT protocols, and cultural modes of expression).

To what extent are they "open" though (in an "interactional" feedback scenario or circuit, in a communications structure or system sense, in a politcal sense), and what is possible with mixing and re-mixing (re:  collaborative writing, collaborative editing, recompsoing, decompsoing)?, and what exactly is it that changes?


Anna's comments on writing and publishing, yes,  i understand well, and i love it myself when a book comes out quickly (say, a one year turn around)..... but even then, the writing will have taken three or four years?  so there is a time, a duration and a small but critical  form  of sedimentation of thought that needs to happen., some kind of seasoning that allows perspectives and constellations........ and some of us write about work we have experienced, and sometimes (I prefer not so much unless it is necessary, if the work is older than/prior to my life experience) we do research on work we have not experienced to write/speculate on it.  Imagine speculating on early computer art? Imagine speculating on early Wagner or early Leonardo da Vinci for that matter. or on Clara Rockmore's performances with the Theremin...(would you call that an early mode of interactive/networked art?  how flexible is the notion of a flow environments, does it include electromagnetic waves?

Media histories, understandably,  are often written about works that we have seen  or  have seemed to understand and get excited by   (and some of that will be of the peers in the "community" of arts and performance, screen based media, dance, what not.   the sense of community, actually, is important, isn't is, since the practices are also a discursive community.    Cf. Stanley Fish: ..... is there a network in this class?  is there a networked in this class?  whose responsible this? 


now, can we or could we possibily keep up (in real time and the present and the present writing)  reflecting on and incorporating the fragmenting disseminations (the millions of Schnipsels) that accrue continuously online (as well as off line) and become nearly completely unmanageable, as data files, as information, as sound and video and text bytes, as so much debris, and flotsam & jetsam,  the constant accruals of text, blogs, writings, postings and repostings.....(which function much like advertising, to some extent)[ G.H. Hovagimyan	 mentions:  >>>advertising money spent on the Internet just surpassed that spent on Television in the UK. Obviously a networked media....>>> not surprised]


  I received an invitation from a performance company (Troika Ranch) who have a premiere next week in Nebraska, of an interactive dance work called Loop Diver.  By sheer coincidence, when the title of the work was mentioned in my MA module on "Mise en Scène" last week (in my class, to continue the Fish metaphors), one of the students had been an intern in New York when the piece was constructed  and could talk about it first hand, and about the first workshop showings of the piece in 2007.  

Then i went to the website [http://www.troikaranch.org/vid-loopDiver.html] , and there is video,  photographs, texts, previews, reviews, and a blog of the company, comprising many pages.   I saw one page, where the programmer/designer, Mark Coniglio, speaks about their many weeks of pondering what screens for projection to use, how to use them, and where to use them, and so on.  Thinking aloud.  This reminds me that also in my lab we tend to have the tendency to write/publish online all of our loud, and less loud thinkings  [ and facebooks probably add the "fans'"  and "friends"  comments on the loud or less loud thinking, oh,]

how does this sediment into discourse, analysis, theorizing and mediahistorywriting, and then pedagogy/reflection and research/study? 
or how does art circulate amongst such.....?


regards
 
Johannes Birringer
DAP-Lab
School of Arts 
Brunel University
West London 
UB8 3PH   UK
http://www.brunel.ac.uk/dap



>>>>>
  Booby traps abound in making this answer..   But here goes:

For us  network  has the solidity of the noun it is . As in a network  
of computers, it  is a system that implies structure.

While networked (adjective, a modifier) implies something  that is  
open and  changing.  As in a networked environment, it  conjures flow,  
change,  relationality

But we're interested in your post. Write on, please.

-- Helen


On Oct 3, 2009, at 6:38 PM, Anna Munster wrote:

>
> I think you are right in saying:
> <There have been several books published that try to present the  
> field but invariably wind up being a list of the authors friends and  
> acquaintances.>
> but that's also true of most anthologies and that is due to the  
> nature of book publishing which is long, arduous and relies - on the  
> part of the editors of the anthology - a lot of voluntary labour,  
> cajoling and wheedling our of people. Who else to do this to that  
> one's friends!!
>
> But that also raises the question about how to publish in a  
> networked age. It's clearly not the end of the book - statistically  
> people read more books now than they ever did. But I do think we may  
> have come to an impasse with the printed book publishing model for  
> critical and reflective work, that is, outside a niche market. I'm  
> all for niche markets (and for printed books as well) but as an  
> author I find it increasingly frustrating to print when it can take  
> anything up to 5 years to get a chapter to the public (anthologies  
> take the longest time) and about 3 years to get a book out. In part,  
> that's why Networked appealed to me - it had a fast turn around time  
> for a compilation and the idea of adding chapters on the go is also  
> very interesting.
>
> As for your other question
> < There is however a question of what the word networked means?>
>
> I could write a book/post on that! But maybe I'll leave that to some  
> others first. Jo and Helen, esp. in terms of your deep c'tment to  
> 'networked performance', what would you say the main differences are  
> between 'network' and 'networked'? In other words, why choose to  
> call the project 'Networked'? I'll ask Eduardo the same question  
> when I introduce him next time round.
>
> _______________________________________________
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> empyre at lists.cofa.unsw.edu.au
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