Performance and Screen

Art 2 Be Shop - Review by Christina Georgiou

2010-11-20T07:08:00.000-08:00

http://art2beshop.com/index.php?option=com_k2&view=item&id=163:play-/-pause-/-reflect-/-submit-by-ria-jade-hartley&Itemid=215

Replay Remix Research

2010-08-22T05:32:00.000-07:00

PLAY/PAUSE/REFLECT/SUBMIT was a participatory performative installation, presented at Dartington College of Arts on 21st & 22nd July 2010.
click here: REPLAYREMIXRESEARCH
The space in which the work was situated resembled an office environment, complete with desk, chair, computer, webcam, wall clock, filling cabinets and post-it notes.

The project rationale was created by the audience through a shared reflexive process over a durational period. By using the screen as site, each participant was invited to view a pre recorded video submitted by a previous participant. Each participant entered the space alone and watched a previous participants submission through a video recording on the computer screen. The screen then instructed the current participant to engage with this recording by continuing the dialogue through a 2 minute recording of themselves to be observed and responded to by the next participant and so on. Each short dialogue was influenced by the previous, thus creating a chain of interactions spontaneous to the situation and in response to each individual.

The participants recordings have now been uploaded onto this channel. Each short clip on this channel is numbered, dated and time stamped according to participants video submissions. You are invited to view this system chronologically or randomly.

This project is now accessible for a new audience (YOU) to respond to, through viewing, commenting and submitting videos to the site, your responses will automatically become logged by time/date and will continue the duration of this work.

Please feel free to respond to this project in any format available on this channel.

This artwork continues to develop through the multifaceted network participation of others in response to your content.

Cyberculture: Society, Culture, and the Internet - How We Live, The E-generation Gap, The Internet And Work Culture, Cyberpersonalities In Virtual Communities

2010-08-16T06:12:00.000-07:00

http://ecommerce.hostip.info/pages/285/Cyberculture-Society-Culture-Internet.html

Nicholas Christakis: The hidden influence of social networks

2010-08-16T05:49:00.001-07:00

http://www.ted.com/talks/nicholas_christakis_the_hidden_influence_of_social_networks.html

Kinship Narratives

2010-08-05T07:15:00.001-07:00

http://lyndijenkins.wordpress.com/2010/07/16/interesting-artists-ria-jade-hartley/

The Conference Report

2010-07-09T11:59:00.003-07:00

http://www.youtube.com/user/conferencereport#p/a

Emergence Systems

2010-07-09T11:59:00.001-07:00

Self-organization and emergence in social systems. Modeling the coevolution of social environments and cooperative behaviour: http://www.santafe.edu/media/workingpapers/09-07-026.pdf

The Web as Techno-Social System: The Emergence of Web 3.0
http://www.bertalanffy.org/media/pdf/pdf39.pdf

COMPLEXITY SIMPLIFIED
http://raimalarter.blogspot.com/2009/04/emergent-system.html

Emergence – Self-Organisation, Systems Theory, Power
http://marxsite.com/emergence.htm

"Emergence Systems: Ideas and Examples"
http://serendip.brynmawr.edu/local/scisoc/emergence/blankkumar.html

New Design

2010-07-09T11:58:00.001-07:00

Broken City Lab

2010-06-26T16:27:00.001-07:00

http://www.brokencitylab.org/?s=engages

Connectivity: of part to part, person to person, mind to mind

2010-06-24T17:06:00.000-07:00

~~ROY ASCOTT (Chris Langton)~~

life-as-we-know-it - life-as-it-could-be

'an art of connectivity and interactivity, mind-to-mind collaboration through computer-mediated telecommunications' (Ascott, 2003, p.311)

~~STEPHEN WILLATS~~ - Parallel Worlds

(Person to Person, People to People)

The world as we know it - The world as it could be

'The intention of the work is an attempt to find a meta-world that can bridge the two contexts. In order to find this meta-world, one of two kinds of transformations has to occur, either in the way we think about our world i.e. our perception of it, or in the world itself' (Willats, 2007, p.3)

Ascott, R & Shanken. E. A (2003) Telematic Embrace: Visionary Theories of Art, Technology, and consciousness. Berkeley and Los Angeles, California and London England. University of California Press

Willats, S. (2007) Person to Person, People to People. Milton Keynes Gallery

Roy Ascott - Is there Love in the Telematic Embrace?

2010-06-23T18:05:00.000-07:00

Technology and Intuition: A Love Story? Roy Ascott's Telematic Embrace

Edward A. Shanken

Department of Art & Art History
Duke University

http://www.leonardo.info/isast/articles/shanken.html

http://www.frieze.com/comment/article/roy_ascott/

INTERACTIVE ART:
DOORWAY TO THE POST-BIOLOGICAL CULTURE

http://biomediale.ncca-kaliningrad.ru/?blang=eng&author=ascott

Peekattack

2010-06-14T06:34:00.001-07:00

www.peekattack.com

standard chat!

2010-06-14T06:04:00.000-07:00

Eva & Franco Mattes - No Fun (May 2010)

2010-06-14T05:53:00.000-07:00

CLICK HERE TO WATCH THE VIDEO: http://vimeo.com/11467722

"Reality is overrated" – this slogan by Eva and Franco Mattes contains central aspects of the Italian artist couple's work: Their interest in reality in the age of digital forgery, the blending of fact and fiction – and their appetite for provocative statements.

The artists provide evidence of the latter yet again in their most recent work No Fun: Franco Mattes simulated his suicide in the popular webcam-based chat room Chatroulette. Thousands of random people watched while he was hanging from the ceiling, swinging slowly for hours. The video documentation of the performance presents an unbelievable, at times very disturbing, sequence of reactions: some laugh, some are completely unmoved, some insult the supposed corpse, some take pictures with their mobiles. Notably, only one out of several thousand people called the police. Moving beyond the aspects of shock and provocation, this touches on a basic question: What does "reality" mean in the digital age?

Eva and Franco Mattes are the artist-provocateurs behind the infamous website0100101110101101.ORG. Belonging among the pioneers of the net.art movement, they have manipulated video games, Internet technologies, feature films and street advertising.

http://www.0100101110101101.org/home/nofun/index.html

INSIDE OUT | TUO

2010-06-13T07:45:00.000-07:00

Through the screen we look into another world. From the point of my body, through my eyes, my ears which are the dominant senses I use to experience the screen and the world inside the screen, I am sat outside of the world I 'believe' I am in. My hand holds the mouse, it may break to type and return. I am sat at my desk, behind me is a window with another world outside. This other world stimulates my senses, it allows me to move, and taste and feel. It is a world I can get wet in, without destroying my interface, if it should rain...it is a world that does not need to be plugged in......

But I am only one. Just one of many of the network inside of the WWW. And at home all over the world at all different times, every day...there are many who sit at their desks too, peering into a screen and into a world which is as real as the real.

More recently I have been looking into the screen, and appearing in other peoples screens, this has been reciprocated. I am there in their homes, and they are in mine. I am at their work, and they have been in my library, my kitchen, my garden, wherever Wi Fi lets me wander. Some are friends and some are strangers. At this time I am all over the world. I am in a bedroom in France, a front room in New York, its 9pm, no its 3pm. And now im in Poland, then Greece, im in England....im actually in Devon and London and its the same time....and now I can prove that its real because the radio is playing the same song as mine.

And here we stand (sit) looking into the screen, looking at you and beyond you and you at me, and beyond me, behind me is the window with another world outside.....

Body, Space & Technology Journal

2010-05-11T09:13:00.000-07:00

http://people.brunel.ac.uk/bst/home3.html

Experiential experimentation (video edit)

2010-04-26T09:23:00.000-07:00

Process of learning through experiment and experience. The artist explores the space in-between two cameras in order to interact with herself and comprehend what is happening through the recreating and recording and layering.

.....the body moves between two cameras facing opposite each other with a 2 metre distance between them Both cameras are recording the event..one camera is relaying the recording through a television screen faced towards the other camera. When the body moves between the cameras it is captured, recorded and viewed at the very same time as the action is happening. The body is present, recorded and made a document all in the same moment. A system is set in motion where the recordings begin a layering process. The television plays back what has just passed while the camera opposite continues to film the body between the space. The body tries to interact with itself – its ‘other’. There is confusion and loss of scale, time, and the ‘true’ recording opposed to the mediated representation of the ‘true’ recording. All are my body yet none are my body, there are many of me all in the space of the screen at in the same moment, yet I have disappeared I am at loss, I am gone completely.....

Elodie Pong - Secrets for Sale

2010-04-20T10:26:00.001-07:00

http://www.elodiepong.net/secrets4sale1.html

Marshall McLuhan - The Medium is the Massage

2010-04-19T17:29:00.000-07:00

http://www.youtube.com/watch?v=U8YYM_7KUpw&feature=related

David Rokeby - Interface as Content

2010-04-19T17:18:00.000-07:00

http://homepage.mac.com/davidrokeby/experience.html

Dan Graham - Time Delay Room

2010-04-19T17:17:00.000-07:00

http://www.medienkunstnetz.de/works/time-delay-room/

Alex Davies - Dislocation

2010-04-19T17:16:00.001-07:00

http://schizophonia.com/installation/index.htm

(experiment 1)

2010-04-19T16:38:00.000-07:00

'Experience is an experiment' (David George, 1996)

Michel Foucault. Of Other Spaces (1967), Heterotopias.

http://foucault.info/documents/heteroTopia/foucault.heteroTopia.en.html

'In the mirror, I see myself there where I am not, in an unreal, virtual space that opens up behind the surface; I am over there, there where I am not, a sort of shadow that gives my own visibility to myself, that enables me to see myself there where I am absent: such is the utopia of the mirror. But it is also a heterotopia in so far as the mirror does exist in reality, where it exerts a sort of counteraction on the position that I occupy. From the standpoint of the mirror I discover my absence from the place where I am since I see myself over there. Starting from this gaze that is, as it were, directed toward me, from the ground of this virtual space that is on the other side of the glass, I come back toward myself; I begin again to direct my eyes toward myself and to reconstitute myself there where I am. The mirror functions as a heterotopia in this respect: it makes this place that I occupy at the moment when I look at myself in the glass at once absolutely real, connected with all the space that surrounds it, and absolutely unreal, since in order to be perceived it has to pass through this virtual point which is over there'.

Max/MSP and Jitter

2010-04-16T05:41:00.000-07:00

For this project idea the best software I found to use is Max. Max is avisual programminglanguage for music and multimedia developed and maintained bySan Francisco-based software company Cycling '74. During its 15-year history, it has been widely used by composers, performers, software designers, researchers, and artists for creating innovative recordings, performances, and installations.

http://cycling74.com/products/

Above is an image of the start patch I have been experimenting with.

Although the software is not so easily intuitive, it is not overly technical or impossible for users who are unfamiliar with programming, like me!

I have also found some useful tutorial programs on youtube:

BAZ TUTORIAL

http://www.youtube.com/results?search_query=baz+tutorial&aq=0

MAX/MSP LIVE CODING

http://www.youtube.com/watch?v=tAtYht4QVnA

So the next stages in the production side of developing my self-generative interactive system is to create a patch which corresponds to the stages of the installation set up.

In beginning to understand Max as a program and it capabilities, I had an hours introduction to help navigate through the software and become more familiar with its interface. In doing so I found the first patch which corresponds to the first part in the systems process (below). At this time I feel this installation is a technical puzzle for me to solve.

This is a simple bang patch. This can be used for the trigger the television to start playing in the opening sequence for the installation.

Initial concept/idea....the beginning of process

2010-04-13T17:15:00.000-07:00

A person walks into the space and sits on a chair at a table opposite is a television screen. When the person sits down 'something' (sonar sensor, pressure sensor, infra-red beam) is triggered which begins a recording playing on the screen.
When the recording is finished (the software will need to know this as the times will be variable) there is a countdown screen (maybe it has a message that says to speak and leave when they have finished) and then the camera begins to record the person sitting in the chair.
The recording is being saved into the computer and when the person is finished, he or she gets up and the camera stops recording and the television screen switches off.
The next person to enter the room sits down and the 'sensor' is triggered and the recording of the previous person begins to play on the screen........this process continues over a duration.

Self - Reflexive - Self - Generative

2010-04-13T16:55:00.000-07:00

My practice stems from a performance background. During which time I have been investigating the relationships between audience/performer, space and situation. I focus on exchange, interaction and communication, by constructing temporal, spatial and material encounters with a public in order to blur the relationship between performer and audience, in hope that a new space can be accessible for a different kind of exchange. I am interested in the more recent shifts in arts practices made available by new media technologies. I have been researching the levels of interaction achievable through such mediums and have created performances, video works, live art and interactive installations which incorporate technology to bridge the separation between audience & performer, audience & artwork.

ENABLER OF SELF-REFLEXIVITY [2010]

The above image was the initial idea for a form of interaction. I am interested in opening a new space, and by this I mean not just a visual/physical space, but an emotional/psychological one too where there is a shift in the way you might usually interact with another human being.

What is difficult in allowing for this 'new space' in performance or art/installation practices is that I believe there needs to often be some form of distance to feel safe to open up. In the above image I place a window between audience/performer in order to create safe distance and also signify reflection, contemplation, home (familiarity)

SELF-GENERATIVE INTERACTIVE SYSTEM

I aim to create a self generative system where the audience become the rationale in both the making and reception of the artwork, becoming audience, performer and artwork.

I'm interested in the audience bringing both the context and content to the work as well as being both performer and audience.

The project rationale is created by the audience through a shared reflexive process over a durational period. By using the screen as site to allow a safe distance and full engagement, each participant is invited to view a pre recorded projection of a person, submitted by a previous visitor. Each participant enters a space alone to listens to the previous participants view through the recording which ends with a question. The current participant will then try to answer this question or engage with it and end with a new question which will be observed and answered by the next participant. Each short dialogue will be influenced by the previous, thus creating a shared narrative.

I wish to explore the idea of self obsolescence as the 'author' of the work and the potential of audience as author and co-creators of content and context, by means of new media technology.

My existing work is consistently focused on interactivity, exchange and communication using various media and disciplines. I place most emphasis on the separation which exists between artist and audience, artwork and audience, art and everyday life. I have been working towards an interactive model whereby the boundaries are blurred between the artist/audience/artwork. During which time I have found that this can be achieved through the use of new media technology. In my project 'Let Us Make History', 2007, shared narratives based on everyday experiences were created with participants through the screen. The distance through the screen, enabled openness and dialogue. This proposed project is a further development of this initial idea. The context was very much determined by myself as performer, although the dialogues were spontaneous in the moment and based on imagination. I am keen to investigate what contexts will unfold through dialogue in my obsolescence.

I anticipate that the outcomes of my research and project will show the potential of a model of practice whereby using new technologies enables a different kind of exchange and relationship between artists and audiences, particularly current differences between peoples perception and reception of art, what it is,what it can be and how it may be used.

Over the duration of my practice, I have been looking to bridge the separation between the artist & audience, audience & artwork. I believe that interactivity is fundamental to achieve this.

David A Kolb - Experiential Learning Theory (ELT)

2010-04-13T16:04:00.000-07:00

David A. Kolb, Professor of Organisational Behaviour, created a model of experiential learning which he outlined a learning cycle of four parts. These are concrete experience (CE), reflective observation (RO), and abstract conceptualisation (AC), active experimentation (AE) which can be seen on the diagram below:

Chapman, A. (2010)

Kolb argues that the learning cycle can begin at any of the four points but must be approached as a continuous cycle (Kolb, 1975). Thus to begin with concrete experiences (CE) which then lead to observation and reflection (RO) are translated into abstract concepts (AC) which can be actively tested (AE) and turned into new experiences (CE). It is a way of learning through reflection upon everyday experiences’ the process whereby knowledge is created through the transformation of experience (Kolb 1984, p38) The four stages of the cycle also reflect four variable modes which are feeling, watching, thinking, and doing and also refers to four types of learning styles which fit between each part of the cycle, they are Divergers (CE/RO), Assimilators (AC/RO), Convergers (AC/AE) and Accomodators (CE/AE).

Kolb suggests that within this process of learning there is transformation of experience which creates knowledge, irrespective of an individual’s preferred learning style. There is a balance and dependency within these two parts.

Kolb identifies that:

‘The simple perception of experience is not sufficient for learning; something must be done with it. Similarly, transformation alone can not represent learning, for there must be something to be transformed, some state or experience that is being acted upon’ (Kolb 1984, p42)

This implies that learning can be achieved through reflection upon everyday perceptual experience so long as there is ‘something’ done, the action of doing, whereby transformation can take place. Equally transformation does not exemplify learning without action on experience, demonstrating the dependency on both ‘actions’.

Whats interesting about Kolbs learning cycle is that the process is continuous and does not have a certain point in which to end. Perhaps new knowledge will always lead to new questions and we will strive to try to answer them in some way, perhaps they are not questions but more burning desires to seek, to know something or to respond, to continue...like the curiosity of Alice down the rabbits hole.

But also this process intrigues me and allows me to imagine a system which can be continuous as such, and poses questions with no definite end, having no resolve yet does complete in some form insight, knowledge, reciprocation, reflexivity, dissemination.

Stephen Willats - Art and Social Function

2010-04-07T04:35:00.000-07:00

In Stephen Willat's 1976 classic conceptual-art text, Art and Social Function, Willat's starts from the position that 'art practice operates within an environment of institutions and groups of people which effectively maintain it as an identifiable activity within society' from this point Willat's argues that the artist should embrace the concept of pluralism and with relativism of the audiences perception and the context-dependency of the artwork.

Stephen Willats Conventional Relationship

of an Artwork between Artist and Audience (1970)

(Kester, G. 2007, p.93)

'Diagram (above) shows the position an artwork traditionally occupies between the artist and his/her audience. Two fundamental discrete cognate loops are shown, which are isolated from each other by the artwork. There is no form of interaction between the two which could generate mutual understanding as would be the case in a successful conversation. In the absence of such procedure both the audience and the artist become locked in their own perceptual biases' (Kester. G. 2007, p.93)

Stephen Willats A Socially Interactive Model of Art Practice (1970)

(Kester.G. 2007, p.92)

'A pre-requisite for an art work that manifests a counter-consciousness is that separation which existed between the artist and the audience is closed, that they become mutually engaged, to the point where the audience become the rationale in both the making and reception of the work'.

(Willats. S)

Willats. S. Society through Art; sited in Kester. G. (2007) Conversation Pieces: Community + Communication in Modern Art. Berkeley, Los Angeles, London. University of California Press

In response to Willats models and my continuous engagement in creating works that are Interactive and participatory I aim to create a self-generative system where the audience become the rationale in both the making and reception of the artwork, being audience, performer and artwork.

Im interested in the idea that the audience bring both the content and context to the work as well as being both audience and performer. Here I will begin an research investigation into screen based multimedia artists as examples of works which rely on interaction from participants. This research will also be informed by practice and the development of a self-generative multimedia installation.