Re: [-empyre-] networked_performance 2

[Lucio Agra <agra21@click21.com.br>]

Helen and friends
I think you reached the point with perfection. My intention mentioning
"liveness" was to provoke this kind of discussion. You see, I give classes to
students that come from theatre and dance tradition and the obstacles they
oppose to telematic performance are always related to this problem of "live
presence". You example is fantastic. I remember an experiment much more modest
was made in Bauhaus in Dessau, Germany, 1997, between a female dancer and a
male dancer in Brussels. They divided the screen in the middle of their bodies
and they constructed a hybrid with the two halfes of their bodies. It was far
in 1997. and the connections were not so good. Unfortunately I have no
references of this work, but it was very interesting. I mentioned this
experiment to my friend, the specialist in performance and it seems made him
interested in this kind of connection. So that in 2002 he made a teleconference
of performances with the german researcher Johannes Birringer. It was located
simultanously in Sao Paulo, United States (do not remember the city) and
Brasilia.
Many thanks for your brilliant answer.
best
Lucio BR





Citando Helen Thorington <newradio@turbulence.org>:

> Hi Komninos and everyone else:
>
> The question about liveness is something that should be addressed. You may
> remember that in our original post we defined networked performance as "any
> live event that is network enabled."
>
> There can be no question about the "liveness" of the work I described last
> evening. "Glimmer" took place in a traditional concert hall. It was an
> interaction between participators (the audience) and the performers, all
> live and present.
>
> I'm going to take a deep breath and say that I think the same can be said
> about pretty much all the work we are looking at on the blog. Under the
> telematic category we listed work by Mann and Teran. My hope is that they
> will soon enter the list and talk to you directly about their work. But let
> me say this much:
>
> In the past they worked with the Waag Society to produce a work (I think it
> was actually done at least three times) called The Telematic Dinner Party.
> There were 30 people involved, fifteen (very much alive and present) having
> dinner in Amsterdam, fifteen (ditto) in Toronto.  The point of this work was
> not performance as I think most of us understand it. There was no Internet
> audience. The point was to eat, have fun, tell stories, and to enhance the
> social interaction between the distant diners by making use of a number of
> tele-kinetic objects that transmitted physical presence and social gestures
> across space and time.
>
> For instance: throughout the meal, the guests made toasts and speeches using
> telematic wine glasses. In each of the two cities, Toronto and Amsterdam,
> there were four sensor glasses and four mechanical clinker glasses on the
> dinner table. Guests in either space could pick up a spoon and strike one of
> the sensor glasses in the manner of calling guests attention to a short
> speech or toast. This signal was picked up and relayed across the ocean via
> the Internet, where it was then sent to one of the mechanical clinkers.
> These responded by striking a glass with a motorized spoon. In this way, the
> Glass Clinkers - like a number of other telematic devices - provided a
> strong sense of both kinetic and sonic telepresence between the two spaces.
> What clinked on one side of the Atlantic, clinked on the other. Streaming
> video and audio were used to bring the two parties closer together.
>
> Mann and Teran are now doing distributed picnics using wireless, which I
> hope they'll talk about. But for me the points are:  1) here are a bunch of
> very much alive and present people eating and having a great time; and
> communicating with each other across distance in as many ways as are
> available to them   2) there is no traditional audience  3) there is no
> reliance on the screen and keyboard. 4. the point is communication and
> social interaction and how to do it so that you feel closer...
>
> Under our second category -- anyone of the works -- take umbrella.net. Open
> the umbrella and you have (assuming there are others around with the same
> kind of umbrella) an ad hoc (wireless) network. Once again: communication
> between people in a given area, and social interaction.
>
>
> Very much alive and present, I think.
>
>
> Re the suggestion that we try and define what we mean by performance, I'm
> all for it...
>
> But, enough for now,
>
> - Helen
>
>
>
> on 7/3/05 8:12 PM, Komninos Zervos at k.zervos@griffith.edu.au wrote:
>
> > thankyou helen
> >
> > 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
> > highlighted.
> > 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?
> >
> >
> > cheers
> > 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
> >
>
> _______________________________________________
> empyre forum
> empyre@lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
>



___________________________________________________________________________________
Quer 50% de desconto nas ligações DDD à noite e nos finais de semana ??
Plano Opção DDD 21 da Embratel. Inscreva-se grátis.
Mais informações acesse www.embratel.com.br.