Re: [-empyre-] networked_performance 2

Dear Helen

I'm trying to place my own drawn out practice into your categories but without success. When (at the end of your last post) you say

which in this case, as the reviewer acknowledged, delighted the participants.

I began to wonder if we should talk a little about what a 'performance' is. Over the last 10 years, my primitive, ragged and messy 'Flight of Ducks' has been a source of delight not only for me but for all sorts of people who appear more than willing to engage or participate with me and its manifold content in ways that suggest a long slow performance. I remember years ago that Kominos used the term 'flesh meeting' to describe that entropy or progression that inevitably led towards face to face contact. It's a phenomenon of networked activity that seems to be often overlooked. When it happens the flesh meeting, as a component of the performance, happens offstage (off-line). The network establishes the conditions for it to happen in some cases - for years.

http://www.duckdigital.net/FOD/FOD0357.html

Maybe there is room for another category that can encompass this kind of networked experience? I just can't think of a term right now. But it is very human, propositional and incomplete. For all I know, some of us may be engaging it it here.

Best wishes

Simon


Simon Pockley
Flight of Ducks: http://www.duckdigital.net/FOD/
[email] simonpockley@hotmail.com
[voice] 0418 575 525



From: Helen Thorington <newradio@turbulence.org>
Reply-To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
Subject: Re: [-empyre-] networked_performance 2
Date: Sat, 02 Jul 2005 19:31:16 -0400
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Hello Komninos:

>From what Michelle and I have seen on the blog, the answer is yes.
Increasingly the "audience" is becoming a participant(s) in the work. Take
the musical work "Glimmer" by Jason Freeman, for instance. Freeman
engages the concert audience as musical collaborators in the shaping of the
performance. Each audience member is given a light stick, which he can turn
on and off during the performance as a way of instructing the musicians. The
information is picked up by computer software (which analyses a video of the
audience's use of the light sticks) and the instructions conveyed to the
musicians.

The New York Times review of this piece includes the following description
of the result: "As people flicked their lights in swirling, jabbing and
jittery patterns, the musicians played riffs, chords, sustained tones,
honks, squiggles and whatnot?The problem was, the light show was infinitely
more interesting than the music. Still, the audience seemed elated by the
experience."

And this, I believe is the point -- not a predetermined composition
perfectly played for a listening audience, but an experience for those
participating, which in this case, as the reviewer acknowledged, delighted
the participants.

-- Helen




on 7/3/05 1:48 AM, Komninos Zervos at k.zervos@griffith.edu.au wrote:

>
> what about audience?
> is the auditor(audient) now more of a participant in the performance than
> before?
>
> komninos
>
> komninos zervos
>
> http://www.gu.edu.au/ppages/k_zervos
> http://users.bigpond.net.au/mangolegs
> http://spokenword.blog-city.com
> "Our Workplace Rights are NOT for sale."
>
> _______________________________________________
> empyre forum
> empyre@lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>

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