<div dir="ltr"><div><div><div>Sally,<br><br></div>I love, & long for collaboration, & have written at least briefly about the need for it in multimedia work. As it turns out, with the exception of the band I'm in & some work I have done in recent years with my wife (a visual artist), I do end up doing a lot of collaborations with myself, not to mention SOFTWARE (challenging+gratifying). I was lucky to be formally trained as musician, photographer, & poet (in that order) & then get interested in programming just as the Web was about to arrive.<br><br></div>BUT, the code opera <i>Shy nag</i> (2012-2015) was a glorious collaboration with another writer/musician/programmer (Sonny Rae Tempest), a Director (Louis Wells), and numerous actors. Painstaking work, finding ways to use the hex(adecimal) code from one .jpg to spawn libretto, musical score, visual atmosphere/animation. I loved every bit of it. & though the student reviewers hated it, the production was a total success as far as everyone involved was concerned. Read all about it, if you want, via <a href="https://web.njit.edu/%7Efunkhous/2015/Shy-nag/shy-nag-info.html" target="_blank">https://web.njit.edu/~<wbr>funkhous/2015/Shy-nag/shy-nag-<wbr>info.html</a>. I also wrote a piece about its most recent production in the latest issue of <i>hyperrhiz </i>(<a href="http://hyperrhiz.io/hyperrhiz14/featured-works/09-funkhouser-shy-nag.html" target="_blank">http://hyperrhiz.io/<wbr>hyperrhiz14/featured-works/09-<wbr>funkhouser-shy-nag.html</a>)<br><br></div>A few years ago I worked with an Iranian filmmaker, Alireza Khatami, on a couple of projects, & also briefly with a wonderful Paris-based sound artist named Daniela Franco. Collaborative performances still happen from time to time, usually with musicians (most recently last Feb. with David Rothenberg at Berl's) Here's hoping future opportunities arise!<br><div><div><div><div><div class="gmail_extra"><br><div class="gmail_quote">On Tue, Nov 22, 2016 at 10:25 PM, Sally Silvers <span dir="ltr"><<a href="mailto:silversdance@gmail.com" target="_blank">silversdance@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr">Thank you, Murat for your statement(s) and invitation to join this forum this week<div><br></div><div>I really appreciate what you said about my dancing/moving. Few people, including many professional writers about my work in the dance world, have called attention to my movement vocabulary or pointed out "the rehash" of a lot of other experimenters. My goal from the beginning was to shed codified dance vocabulary that was 'learned' on my body and try to find something outside the dance world and outside my own preconditioned habits as a way to move. To give into reality while experimenting maximally. Just like with language, often the first impulse on the part of the viewer/reader is to want to take for granted or to expect standardized vocabulary and 'look beyond or through" the way the body is moving to the so-called 'real' meaning of the piece. I have always felt that dance has to deal with movement first and foremost, as its first meaning. The layering of other meanings then or simultaneously partners with that base.</div><div><br></div><div>Also funnily, I noticed typos in all our names: Funkhauser/Funkhouser, Andrew/Andrews, Silver's/Silvers'. But I'm sure I would have made a mistake in Murat's name as well. (I almost just wrote Marat).</div><div><br></div><div>So I wrote a statement and Bruce and I combined forces so I'm going to paste Bruce's and mine here together and then Bruce will get on board with his own responses.</div><div><br></div><div>I look forward to acquainting myself with Chris's work. The mix of words/poetry/sound/music sounds like collaborating with yourself in a really appealing way. I would be curious if you (Chris) have combined your own work with people working in different genres or other types of media.</div><div><br></div><div><br><p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">I'm interested in [&
would love to converse about}:<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">how writers would want
'new work' presented online, or what modes of work operate<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">best in that environment;<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">& how you would want
older (archived) work [& surrounding materials] presented.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">How can the web function
as a <u>Platform</u> for the new & for the archivable.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">What are the advantages,
opportunities, risks, drawbacks.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">With 'meaning', what
contextual information can be provided — equivalents of scene-<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">setting, background,
footnotes, forewords;<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">or of hypertextual links
on individual works, phrases, words; or of extra stuff: <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">equivalent of a photo
exhibit or slideshow, a Q & A/oral history, an artist's statement, results
of online search, data analysis or data mining, comparison with other texts or
other versions or drafts [as in a 'genetic' version of a text].<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">In a dance equivalent,
this might involve links to rehearsal material, source material, multiple
performances, notes, photos, drawings, audio or visual materials — of the kind
you might see in a museum exhibit]<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">Thinking also of Lev
Manovich's argument in <i>Language of New
Media</i> about the 'data base'<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">as a model — opposed to
the more passive 'following' of a narrative, with search & analysis<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">& active user controls
in the foreground.</span></p></div></div></blockquote><div><br></div><div>SOFT CINEMA is great! <br><br></div><div>In the audio world, check out Jhave Johnston's MUPS (Mash up Penn Sound), for a great example of this type of work: <a href="http://glia.ca/2012/mups/"><br>http://glia.ca/2012/mups/</a><br></div><div> </div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr"><div><p class="MsoNormal"><span style="font-family:cambria"><span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">As artists, what can we do
with tech & what has tech done to us.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">*<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Thanks to Murat for
inviting us. <span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">We're both eager to
participate in this, to hear from subscribers on this site —<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">especially working
textually and/or in performance, confronted with this 21st Century<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">phenom.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">If, for instance, they've
been interested or have wanted to experiment with movement<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">& writing
together: what could they imagine they
wanted to see in a digital presentation.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">A matter of translation:<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">how to present performance
online — how to make the body into data, or into virtual<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">reality;<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">how to present multi-media
collaborations online;<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">how to create an
interactive possibility — even with 'concordances' of parts of texts or<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">of choreographic pieces.<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria"> </span></p>
<p class="MsoNormal"><span style="font-family:cambria">Send your favorite
movement video (YouTube or etc.) . . .<span></span></span></p>
<p class="MsoNormal"><span style="font-family:cambria">Send your favorite
multimedia use of text . . .</span></p></div></div></blockquote><div><br></div><div>waiting for Bruce to chime in before saying anything else!<br></div><div> </div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr"><div><p class="MsoNormal"><span style="font-family:cambria"><span></span></span></p>
</div></div><div class="gmail_extra"><br><div class="gmail_quote">On Tue, Nov 22, 2016 at 7:28 PM, Murat Nemet-Nejat <span dir="ltr"><<a href="mailto:muratnn@gmail.com" target="_blank">muratnn@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr"><div>But, Michael, are ordinary and imperfect the same thing?</div></div></blockquote></div></div></blockquote><div><br></div><div>to me, imperfect(ion) is the norm, so I guess in some ways that's ordinary, but it can be (or lead to) extraordinary. funny example: Last week my wife & I went to a film down in Wappingers Falls, discount theatre. The ticket booth said go to #8, the ticket says theatre 8, so we go there & somehow ended up being at the wrong film. the movie we saw wasn't monumental but it was literary & I was glad to see it. imperfection led to happy accident (love is dead in us if we forget the amulet of quick surprise, to paraphrase Creeley) <br></div></div><br></div></div></div></div></div></div>