networked_performance

December 31, 2004

Big

Hyperchoreography

The final edit of a dance film is only one ending in a range of infinite possibilities. The sequence of the material is essentially down to artistic decisions made at a particular point of time in the edit, usually by the editor and director of the work. Hyperchoreography offers an alternative approach. Using digital hypermedia, Hyperchoreography is a non-linear dance performance 'space', existing in an interactive, networked medium. The elements are put in place by the creators, but the shape of the work is decided by the user at the moment of interaction.

Big represents one particular train of thought within the greater concept of Hyperchoreography. It offers the chance to explore a body of edited material whilst creating a multi-screen video-dance work.

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December 27, 2004

netzwissenschaft

Emerging Infrastructures of All (Inter)net Research

Dr. Reinhold Grether's network research | netzwissenschaft site maps the "emerging infrastructures of all (inter)net research endeavours. net.science as an anthropology of connectivity is trying to overcome the constraints of specialist method transfers on net matters. the protuberance of technical networks necessitates a professionalization of human net knowledge. neither the isolation of concepts as in basic research nor the encapsulation of processes as in applied sciences will ever be able to adequately describe the complex autopoiesis of networks. net.science is undoubtedly developing into a scienza nuova of its own right."

Check out his Mobile Art and Virtual Performance research areas.

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November 15, 2004

Capacitor

Capacity for Charged Performances

Capacitor* is a group of interdisciplinary movement artists that accumulate energy from our technologically impacted culture and release it through innovative, multi-sensory performances. One of their pieces, Avatars (2002), takes the characters and themes of computer games and incorporates them into their performances. (Video clips are available of this performance).

From the movement of the human diaphragm to the story of evolution; from the behavior of electricity to genetic manipulation; from the birth of the moon to the cycles of digestion - science and technology form the basis for Capacitor's study of performance. Obsessed with the mechanics of the human body as well as machines that propel the body through space, Capacitor artists have become masters of rigging systems and large-scale props designed to stretch the limits of physical poetry. [via]

*ca·pac·i·tor (kƒ pas‚i tƒr) n. a device for accumulating and holding a charge of electricity.

To cultivate new and relevant performance concepts, Capacitor developed the Capacitor Lab, a think-tank of artists engineers, scientists and philosophers who exchange ideas, share knowledge, and ignite each other's imaginations towards the creation of innovative performance pieces.

The lively dialogues and debates that take place in the Capacitor Lab bring a broader outlook to the creative process and provide a vehicle for critical feedback as new work is developed. By engendering dialogue around contemporary technological and scientific issues, Capacitor aims to find common ground amongst individuals from varied fields of inquiry and, together, shape a new performance aesthetic built on today's innovations.

Capacitor has created works that tackle the creation of the universe (Within Outer Spaces, 2001), the past and future of mankind (futurespecies, 2000), the modern phenomenon of video gaming (Avatars, 2002) and, most recently, a journey through the visible and invisible layers of the Earth (Digging in the Dark, 2004). Capacitor's uncanny and contemplative use of technology won the company an invitation to speak at the Monaco Dance Forum in 2002 and has been covered by Computer Graphics World, Wired.com, SHIFT Magazine, NBC 11's Tech NOW!, CNET Radio, TECH TV, Dance Magazine and The New York Times.

Founded in 1997, Capacitor is grateful for support from San Francisco's Grants for the Arts, California Arts Council, the Zellerbach Family Foundation, Altria Group, Inc., the LEF Foundation, Theatre Bay Area, and the American Composers Forum.

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November 04, 2004

Net Guerrilla Ballet

wireless illegal remote-controlled net-ballet invasion

Ballettikka Internettikka is an ongoing study of the internet guerrilla performance.

Slovenian ballet dancer Igor Stromajer and composer Brane Zorman will be replaced by toy-robots which will invade the kitchen of the famous [theatre x] and dance an illegal wireless roboballet there. The robots and cameras will be remotely controlled from a mini-van parked in front of the [theatre x].

Live internet broadcasting of the guerrilla ballet performance will start on November 13th 2004 at 20:00 GMT+1 and will last 10 to 15 minutes; the location will be made public on November 13th at 18:00 GMT+1. [Via]

They will enter the kitchen of the famous [theatre x], where bio-food for artists is prepared. The kitchen of the [theatre x] is an excellent example of a modern cooking laboratory for healthy food. It is automatized and meets the highest hygienic standards. The artists will use two remote-controlled toy-robots with two wireless web cameras. Robots and cameras (algorithm of the ballet choreography and MP3 orchestra) will be remotely controlled from a mini-van parked at the north-east side of the [square x] in front of the [theatre x].

This time, Stromajer and Zorman (as ballet dancer and musician) will be replaced by robots, lonely and sad icons, automatized units, which will have no major problem to invade the kitchen of the famous [theatre x] and dance the net-ballet there. Toys transform into guerrilla-ballet dancers.

Stromajer and Zorman will approach the [theatre x] full of respect towards the [theatre x] and its rich history.

Artists will use hi-tech mobile and wireless equipment for the invasion and live broadcasting (portable computers, mini digital camera, MP3 audio systems, mobile WAP telephones etc). A laptop and MiniDV cam, together with Webcam32 (version 6.0) software will be used for broadcasting the video signal (running over Intima Virtual Base FTP server). Another laptop and MP3 player with online interface SHOUTcast (version 1.8.3/win32), will be used for live sound broadcasting (running over Beitthron FTP server). A local GSM mobile phone operator will be used for GPRS mobile internet connection.

# Timetable of the action in [theatre x] - 13. 11. 2004:

11:00 - test and calibratethe equipment, micro-locate at ground zero
19:30 - park mini-van at the north-east side of the [square x] in front of the [theatre x] and secure the location
19:45 - robots enter the kitchen of the [theatre x]
20:00 - start of the live internet broadcasting
20:15 - end of the internet broadcasting
20:20 - robots exit the kitchen of the [theatre x]
20:35 - leave [square x] in front of the [theatre x] and secure the material

Dancing an illegal wireless roboballet in the kitchen of the [theatre x] represents a big conceptual and strategic challenge to the Intima Virtual Base, therefore the preparations have been taken serious, safety measures have been calculated, and the previous experience from the Bolsh.oi Theatre in Moscow has been very welcome.

Note: [theatre x] does not voluntarily co-operate in the project, but was selected based on the conceptual strategy of the project. The management of the [theatre x] is not a co-producer of this project and does not co-operate in the process of its realization.

Project supported by The Ministry of Culture of the Republic of Slovenia

About the authors:

Igor Stromajer is an mobile intimate communicator. He researches tactical emotional states and traumatic low-tech strategies. He has shown his work at more than a hundred exhibitions in forty-two countries and received a number of awards. His works are included in the permanent collections of the Centre Georges Pompidou, Paris; the Museo Nacional Centro de Arte Reina Sofía, Madrid; Moderna galerija Ljubljana, Slovenia; Computerfinearts Gallery, New York.

Brane Zorman is a composer and sound manipulator. Between 1982 and 1986 he was frontman for the Slovene punk group O!KULT. He is a pioneer of Slovene techno scene. Since 1987 he has been composing music for both Slovene and international theatre, dance and multimedia performances and projects. and has made guest appearances throughout Europe. Recently he works with Irena Pivka on a
series of audio-visual installations ZONE.

Ballettikka Internettikka PRESS (2001 - 2003):

...The eleven minutes of live webcasting were watched by more then 400 people. An amazing amount, which even the artist did not expect. Not only did they see Igor Stromajer dancing, but they also saw the conductor of the 'mp3 orchestra' - as Stromajer calls MC Brane - who ironically conducted the mp3's on his laptop like a true Herbert von Karajan. The video of the whole event catches the excitement of the event well. Shot in black and white it leaves one a bit with the feeling of watching an avant-garde performance straight from the early twentieth century, if it weren't for the laptops and mobile phones of course. Both dancer and conductor wear a kind of miners light on their heads. The movements of the light, the speed and accuracy of the operation, the bare abandoned basement and the concentrated moves by Stromajer and MC Brane create a sense of conspiracy that replaces the so called interactivity of on line art without it being missed. In a way it is still there, in the intimacy of the small circle of people who watch this event live, while the management of the Bolsh.oi theatre watches a classical ballet.--# "Claiming the Stage: Ballettikka Internettikka pt 2" by Josephine Bosma, Cream, Amsterdam, Nizozemska (25.04.2002)

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September 18, 2004

Re:action

questions of authorship

Re:action is a website and audio visual installation which uses contemporary dance to infuse new media art with the qualities of performance. What first appears to be a dance film in a continuous loop, over time shifts and changes. Unlike a conventional film, the scenes that make up Re:action are not always shown in the same order or from the same viewpoints. Re:action is being re-edited as the viewer watches. However, this re-editing process is controlled not by the artists but by the active participation of the website audience. Simultaneously, the spatial soundscape overlaps in constantly different ways as the viewer moves through the exhibition.

Each journey through the website is recorded and then fed through to the installation, resulting in an outcome which exists only in the moment. The work is constantly remade as each new website user interacts with it in a different way. The control the artists have over the outcome is diminished, emphasising the questions of authorship that arise through collaboration, by extending the collaboration to include the audience.

Re:action is a collaboration between Ed Holroyd, interdisciplinary arts company Eshoda Arts, and filmmakers from Suited and Booted Studios.

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September 09, 2004

tanz performance köln

European Complements

tanz performance köln founded in 1989, develops concepts and realizes dance-related series, festivals and dance film programs, that are representative of new developments in contemporary dance both nationally and internationally including projects with a strong focus on new media technologies. Their projects include DAMPF_lab, an interdisciplinary collaborative project fostering new and distinctive art works of high quality that integrate interactive media technologies with the performing arts while seeking insight into questions such as: how do emerging software practices impact performance; what is the experience of the performer on an interactive stage; how are the relations between maker, performer and audience still shifting; and what are the aesthetic/social consequences?

tanz performance köln partners include:

Animax Multimedia Theater (est. 1999) of the Bonn Development Workshop for Computer Media (est. 1985) focuses on the roduction/presentation of media arts and provides an outstanding operational basis for the exploration of new interactive technologies in the area of performance arts and immersive arts.

Ars Electronica Center/Futurelab offers one of the best-equipped and most efficient research and development workshops for Interactive Spaces, Virtual Environment and Digital Surfaces in the context of Ars Electronica which has been an internationally unique showcase for digital art and media culture and encounters between the arts and sciences since 1979.

V2_Lab is the aRt&D department of V2_, Institute for the Unstable media (est. 1987) that concerns itself with research and development in the field of art and media technology and brings to the project a variety of knowledge/ expertise derived from an interdisciplinary approach to the field of unstable media including specific critical perspectives.

Partners work on the following complementary strands:

research labs aiming to generate shareable outcomes by drawing questions from and in turn supporting the creative work of the co-productions; stimulating other new artistic work; innovating technology solutions together; and devising unique dramaturgical and user testing approaches to the artistic process. In addition, the labs will gather documentation to contribute to theoretical and educational approaches to this area of work.

co-productions aiming to nurture and help realise two specific art works: composer/director Klaus Obermaier working with the Ars Electronica Futurelab to develop interactive media technologies for use in a new performance for the stage; and choreographer Angelika Oei working with the V2_Lab on the creation of a large scale performance/ interactive media installation work.

Associate researchers:
Matt Adams (Brighton/ London)
Daniel Aschwanden (Vienna)
Johannes Birringer (Nottingham)
Carol Brown (London), Nuria Font (Barcelona)
Nik Haffner (Frankfurt/ Barcelona)
Prue Lang (Frankfurt), Cindy Lee (London)
Martin Kusch (Vienna/ Montreal)
Christopher Salter (Berlin)
Stephanie Thiersch (Cologne)
Ariella Vidach (Milan)

Posted by jo at 01:09 PM | Comments (1)

September 02, 2004

M@ggie's Love Bytes

theater that dares

M@ggie's Love Bytes is a dance theatre performance ocurring in real and virtual (net) space. Participants - M@ggie and her lovers - interact through sound, text, and realtime video conferencing via the Internet. Love Bytes are given to M@ggie in the form of digital signals. The hardcore performance group consists of a choreographer, two musicians and three dancers.

This is a post-modem project, using the Internet as a platform for interaction. The restrictions of the chosen technology are used as an expression of Now! This project focuses on connection and disconnection, appearance, disappeareance and reappearance. Fluctuations in transmission and reception rates between the geographically separated participants are embedded in the expression of the performance, and define the dramatical development of the piece.

M@ggie is represented physically by three dancers, each dressed in bra and pants and equipped with a plunger. M@ggie relates strongly to the soundscape. M@ggie's lovers enter the performance from such diverse locations as Cologne, Yokohama, London, San Francisco and Copenhagen.

While some remote participants are regularly active as collaborators (musicians and dancers who are involved in rehearsals), others enter the project for the first time during performance. You'll find a downloadable RealVideo (494k) introduction to M@ggie HERE which'll give you more of an idea about who she is :)

Each participant is free to choose their own form of interaction. Each remote participant experiences their own unique performance on their computer desktops and in their local spaces - some choose informal party settings, others create their own scenic settings inviting their own audiences. In addition to the live interactioin described above, audio and visual gifts from visitors deposited in M@ggie's Giftbox, are integrated into the performance. By using several interwoven physical and virtual platforms for interaction, a multitude of simultaneous telephonic spaces occurs between the diverse physical locations.

Here is a review from the show @ Electra, march '96.

Posted by jo at 06:49 PM | Comments (0)

August 08, 2004

Eurodans

Collaborative Choreography

Eurodans was a choreography project on the Internet. It linked dance students from selected higher education institutes across Europe. This project was a partnership between University of Leeds and ULTRALAB, working with European League of Institutes of the Arts Dance Section. The dance students worked in their own institutions across Europe, collaborating via the Internet. They used the Snugfit software to build Web pages within a password-protected site. These pages were records of the dancers' rehearsals using movies, images and text. Two choreo-coordinators ensured that a single dance was created between all the groups. Read a paper about this process.

Posted by jo at 05:36 PM | Comments (0)

August 05, 2004

wannaboogie.com

Staccato Movements

wannaboogie.com is the outcome of endeavours to create innovative dance that, unlike conventional dance, is viewed on the internet rather than on the stage, cinema or television screen. It is both a performance piece, which can be streamed over the web, and an interactive choreography piece enabling the viewer to interact with the choreography and create their own dance piece to accompanying music. (more)

Posted by jo at 06:53 PM | Comments (0)

July 31, 2004

Historically Locating Distributed Performance

2004.04.05 Helen Thorington, writing about an early conference proposal:

The following are examples of distributed performances:

Finding Time (Jesse Gilbert, 2000). Finding Time linked performers on six continents in a series of live musical events, each an hour’s duration.

World Wide Simultaneous Dance (1998, Laura Knott). The project took place simultaneously in twelve countries.

In both examples the performers played to audiences in their performance spaces and to a worldwide Internet audience by means of especially created websites.

I then move on to a brief history, beginning with Kaprow's "Hello Hello" in the mid-60s--about which I can find very little information other than that it linked five sites in a television event. And on to Kit Galloway and Sherri Rabinowitz.

But the history is the not the question for me. Internet works resonate with historical issues. But what I'm beginning to think as I research for the conference is that we may already have witnessed the passing of the (pre)structured presentation of large-scale performance works--I keep thinking, for instance, that while Adrift (1997-2001) was very different from other works produced at its time, it was also very traditional. It was a work by three artists (the senders), in which its audiences had no agency at all--Like radio, like television, they were cast in the role of "receivers."

From the Adrift performance

Now...when did it happen?...the Internet environment is in a far more participatory stage and people-interest runs to works/platforms/
environments in which the former viewer can play an active role. Which may begin to explain why there are really not very many interesting large performance works being produced at this time. Not only is the technology still difficult but the environment is no longer congenial.

Or am I wrong? And if not, what does this do for/to our conference?

I'm going to think about this for awhile. Right now my only thought is that if this is so, the conference itself should reflect it and include the many twists and turns performance has taken in the last years.

Posted by michelle at 01:22 PM | Comments (0)