Well, yesterday our team presented our idea for an I2 collaboration in (un)usual spaces. It was very interesting, in that everything we presented ended up being completely different from our original plan!
Our plan had been to put one team member with a camera in a bathroom and another in an elevator, where we would interact with people in those spaces and with the class via the technology, and the images sent back to the classroom would be mixed with some other images online. Unfortunately, we weren't able to get decent connections in the elevators, but we were not dissuaded. We talked about the lobby, stairwells, other public "ordinary" places. But the bigger problem ended up being the connection via iChat/Skype, which over and over again, failed. We tried several computers, different logins, different configurations of cameras and computers, both Skype and iChat, and we didn't give up. Suddenly, for no reason that we could figure out, we were able to get one connection to work. So, Nick grabbed the computer, a camera, and ran out to the plaza in front of Stern, a public, "ordinary" space.
From there, he tried out several places in the library that we had considered in our group meeting-the lobby, stairwells, elevators, and bathrooms. He interacted with people in these locations and got some terrific shots of the library lobby from the 8th floor. Additionally, since we were only able to get one connection to work, Shih-Yu was able to stay in the room and record the presentation. This is something we had not originally planned on but ended up working for the best. In the original plan, she would have been in another location with the camera, but since the connection failed, she was in the room with the camera and we were able to record the entire event.
Another thing our project draws upon is the transformation of a classroom space into something extraordinary...one could say that our project is something of an extension of what we have experimented with all semester in our I2 connections with UCI, BCC, and other parts of NYU. For all of us, the classroom space is an "ordinary" space. We experimented with this in particular in our BCC connection in the Avery. Our presentation seeks to transform other, more public, "ordinary" spaces into something special by connecting these spaces with technology. The technology creates a virtual space between the spaces through which the information passes, and our experience of this virtual space is through the moments of latency.
To paraphrase from a UCI blog, we have created a virtual space through which we move...
This virtual space is created between two "ordinay" spaces, and its existence transforms the ordinary to the extraordinary, or the mundane to the divine. The transformation is the key, for as Marianne Moore reminds us: "Nothing mundane is divine. Nothing divine is mundane." The technology facilitates this transformation by creating a new, third space which allows the personal connection; in a way, adding the space in between actually shrinks the distance between the two places. Part of our classroom becomes the plaza, the library, the elevator, etc.
Yesterday, despite the technological headaches, which we are all learning are a big part of this process(!), we successfully transformed two spaces and were able to explore the idea behind our project. We were able to do this in real time, and to involve other people in the spaces. And, we were able to record the event, which is really great.
For a moment, these spaces served a greater function than normal use suggests. I think Team Orange really enjoyed the challenge of this project, the strategizing of the technical difficulties, and the commeraderie of the group dynamic, within the team, in the class, and in the interaction with the "innocent bystanders" whose participation became such an entertaining part of our presentation.
Wednesday, May 2, 2007
Tuesday, May 1, 2007
Unusual Spaces-Team Orange
In class, we have talked a lot about transforming spaces using technology, and creating and utilizing virtual spaces with I2. Our team project seeks to experiment with the use of I2 in unusual spaces, where the space is not transformed, but rather explored for its own worth. Our spaces are explored and celebrated for their normal, seemingly mundane uses. We are interested in exploring the mundane and the ways people might interact with unusual technology in a space so "normal" that we cease to acknowledge its presence as anything other than completely utilitarian. To see pictures of examples of spaces, see my webpage.
We seek to find the unusual in the usual, by flipping our perception of what is normal. To find the extraordinary in the ordinary, by first acknowledging the potential of the ordinary to be, in fact, extraordinary.
To quote Marianne Moore:
"Nothing mundane is divine.
Nothing divine is mundane."
We seek to find the unusual in the usual, by flipping our perception of what is normal. To find the extraordinary in the ordinary, by first acknowledging the potential of the ordinary to be, in fact, extraordinary.
To quote Marianne Moore:
"Nothing mundane is divine.
Nothing divine is mundane."
Saturday, April 21, 2007
Connection with BCC-The I2 Blues
I really enjoyed the connection with Bergen Community College the other night, and for many reasons. It was exciting to see them and to hear about their new facility, which I would love to visit! It was also exciting to meet another PhD student and get a feel for the exciting teaching he is doing.
But my favorite part of the evening was the improvisation. I was feeling vocally exhausted and was more than happy to leave the singing to someone else. Also, I was worried that I may have had broken thumb, and so frankly, I wasn't looking forward to the connection. But once we got them up on the screen, it was a lot of fun!
I enjoyed working the camera in the first part of the connection, but once I had a chance to try out the mini-keyboard, that was a lot of fun. It was the perfect size keyboard as I was only able to play with my left hand, and as I'm not really much of a pianist anyway, I felt quite honored to get to play with those present.
I felt that the improvs with BCC were by far the most successful of the semester. I think the main reason for this was the structure offered to us by Ron Mazurek. The nature of the structural directives did two things: 1. it clarified tonal area and style, within which the players were free to play, and 2. it made listening and interacting necessary acts in the improvisation, not only by both sides of the connection, but even within the separate ensembles. This aspect in particular has been missing from past improvs, most noticable of course in the connection a few weeks back where part of the class was in Nonken's studio. This exercise was not only fun and rewarding, but also necessary in order to fully experience the positive and negative implications of the technology.
On the positive end, the idea that we were able to create such a clever and fun "blues" piece from across the Hudson was truly remarkable. It was a lot of fun to participate and to watch the interaction, especially between the singers. They listened carefully to each other's texts and even improvised together, instead of just taking turns. Although I didn't actively participate in the singing, I was venture to say that their experience would be similar to the experience Michael from UCI and I had doing our spoken word improvisation, in which, during the process, the mind completely forgot about the distance and technology as the mind was so focussed on the acts of listening and creating.
Also, the set-up of the room was really great. As Dr. Gilbert said, we really were able to transform the space, and I do think that is only the beginning of the potential to transform the space in that classroom into something interesting and unusual. Once the chairs are out of the way, the room becomes a wide open space, a blank palette, and the more we few it this way, rather than focussing on its limitations, the more successful we will be in its successful (hence, creative) transformation.
The limitations, or course, lay in the problems with the sound, but thankfully technical gurus on each end were able to deal with the problems as they arose. With each set-up, I think we can expect to find new challenges, since each set-up is, in a sense, an experiment. I think the experiment with Bergen was quite successful in many respects, including this one.
It was also exciting to see UCI on the second screen, although unfortunately we didn't have much of a chance to interact with them. In considering this connection, I would say that is the only reason to sing the blues.
But my favorite part of the evening was the improvisation. I was feeling vocally exhausted and was more than happy to leave the singing to someone else. Also, I was worried that I may have had broken thumb, and so frankly, I wasn't looking forward to the connection. But once we got them up on the screen, it was a lot of fun!
I enjoyed working the camera in the first part of the connection, but once I had a chance to try out the mini-keyboard, that was a lot of fun. It was the perfect size keyboard as I was only able to play with my left hand, and as I'm not really much of a pianist anyway, I felt quite honored to get to play with those present.
I felt that the improvs with BCC were by far the most successful of the semester. I think the main reason for this was the structure offered to us by Ron Mazurek. The nature of the structural directives did two things: 1. it clarified tonal area and style, within which the players were free to play, and 2. it made listening and interacting necessary acts in the improvisation, not only by both sides of the connection, but even within the separate ensembles. This aspect in particular has been missing from past improvs, most noticable of course in the connection a few weeks back where part of the class was in Nonken's studio. This exercise was not only fun and rewarding, but also necessary in order to fully experience the positive and negative implications of the technology.
On the positive end, the idea that we were able to create such a clever and fun "blues" piece from across the Hudson was truly remarkable. It was a lot of fun to participate and to watch the interaction, especially between the singers. They listened carefully to each other's texts and even improvised together, instead of just taking turns. Although I didn't actively participate in the singing, I was venture to say that their experience would be similar to the experience Michael from UCI and I had doing our spoken word improvisation, in which, during the process, the mind completely forgot about the distance and technology as the mind was so focussed on the acts of listening and creating.
Also, the set-up of the room was really great. As Dr. Gilbert said, we really were able to transform the space, and I do think that is only the beginning of the potential to transform the space in that classroom into something interesting and unusual. Once the chairs are out of the way, the room becomes a wide open space, a blank palette, and the more we few it this way, rather than focussing on its limitations, the more successful we will be in its successful (hence, creative) transformation.
The limitations, or course, lay in the problems with the sound, but thankfully technical gurus on each end were able to deal with the problems as they arose. With each set-up, I think we can expect to find new challenges, since each set-up is, in a sense, an experiment. I think the experiment with Bergen was quite successful in many respects, including this one.
It was also exciting to see UCI on the second screen, although unfortunately we didn't have much of a chance to interact with them. In considering this connection, I would say that is the only reason to sing the blues.
Sunday, April 8, 2007
Time and the Internet: an uncharacteristically personal post
Well, call me the comeback-kid, I've finally returned to this blog.
If I was raised in a Christian home, one might call the fact that I'm about to post this on Easter Sunday somewhat ironic. Perhaps it is anyway?...
I just did something I haven't done in ages: I googled my father. My father died when I was in college, but we were very close and most of what I have done since then in some way reflects the many lessons I learned from him before and during the experience of his passing.
But here's the funny thing about the internet! It's like he's still alive. There are lots of hits of his work (he was very active in local government, was a professor and writer, and also one of the first labor union negotiators). There are even more hits now than there were the last time I googled him, which was perhaps a year ago.
I'm reminded of a short story by English author Will Self, which can be found in his book "The Quanitity Theory of Insanity," though the exact name of the story escapes me at this moment. The protagonist is walking down the street and sees his dead mother. He follows her and is astounded to discover that she is living a totally new existence in a different neighborhood.
At any rate, among other things, a letter to the editor he wrote to TIME magazine appeared in my search. I could literally hear his voice as I read it. I never even knew he wrote it! Several of his articles, many written in conjunction with his colleagues, are now available via JSTOR. Some of his books are available on amazon.com. Is this for real??
The growth of the internet has somehow managed to merge the past and the present in a very strange way. As more articles become available, as more cites are developed, as more information joins the free and constant circulation of this virtual world, time as a linear continuum becomes obsolete.
We've talked about this a bit in class, but I must admit that until this moment the subject has seemed quite abstract and detached from my existence.
Now I wonder if in our I2 presentations, it might be possible to manipulate the experience of time in the same way we are experimenting with space. The subject of latency comes to mind-here of course we experience time in the delay, which is in itself a different way of considering time.
I also think about the upcoming concert-we've talked a lot about the experience for the audience-entering into a new world as they enter the theatre, using disorientation of the audience in order to re-orient them to the experience of our production. I wonder how the experience of time and the passage of time factors into this equation. We've all had the experience of attending a concert or movie and emerging, feeling strange as we re-adjust to reality, wondering what the time is as we blink uncomfortably in the sunshine, right? Is there a way to simulate this experience of adjustment before the production? Is that too jarring? Do we risk alienating the audience with such an exercise?
One thing is certain, it's *time* I started posting here again, so I'll welcome my*self* back. There's Dad again-we punsters always stuck together.
If I was raised in a Christian home, one might call the fact that I'm about to post this on Easter Sunday somewhat ironic. Perhaps it is anyway?...
I just did something I haven't done in ages: I googled my father. My father died when I was in college, but we were very close and most of what I have done since then in some way reflects the many lessons I learned from him before and during the experience of his passing.
But here's the funny thing about the internet! It's like he's still alive. There are lots of hits of his work (he was very active in local government, was a professor and writer, and also one of the first labor union negotiators). There are even more hits now than there were the last time I googled him, which was perhaps a year ago.
I'm reminded of a short story by English author Will Self, which can be found in his book "The Quanitity Theory of Insanity," though the exact name of the story escapes me at this moment. The protagonist is walking down the street and sees his dead mother. He follows her and is astounded to discover that she is living a totally new existence in a different neighborhood.
At any rate, among other things, a letter to the editor he wrote to TIME magazine appeared in my search. I could literally hear his voice as I read it. I never even knew he wrote it! Several of his articles, many written in conjunction with his colleagues, are now available via JSTOR. Some of his books are available on amazon.com. Is this for real??
The growth of the internet has somehow managed to merge the past and the present in a very strange way. As more articles become available, as more cites are developed, as more information joins the free and constant circulation of this virtual world, time as a linear continuum becomes obsolete.
We've talked about this a bit in class, but I must admit that until this moment the subject has seemed quite abstract and detached from my existence.
Now I wonder if in our I2 presentations, it might be possible to manipulate the experience of time in the same way we are experimenting with space. The subject of latency comes to mind-here of course we experience time in the delay, which is in itself a different way of considering time.
I also think about the upcoming concert-we've talked a lot about the experience for the audience-entering into a new world as they enter the theatre, using disorientation of the audience in order to re-orient them to the experience of our production. I wonder how the experience of time and the passage of time factors into this equation. We've all had the experience of attending a concert or movie and emerging, feeling strange as we re-adjust to reality, wondering what the time is as we blink uncomfortably in the sunshine, right? Is there a way to simulate this experience of adjustment before the production? Is that too jarring? Do we risk alienating the audience with such an exercise?
One thing is certain, it's *time* I started posting here again, so I'll welcome my*self* back. There's Dad again-we punsters always stuck together.
Tuesday, March 6, 2007
W.H. Auden (and Internet, too?)
Last night, I attended an event at the 92nd St. Y. The event honored poet W.H. Auden through photography, readings, anedotes, and music. It was a lovely event; it had just the right combination of humor, thoughtfulness, and nostaligia.
I couldn't help but look at it through the lens of our work, and I was pleased to see the extent to which multi-media, though only in a small way, was incorporated. As presenters took the stage to make brief remarks or to read poems, a large screen behind them almost impreceptibly changed photographs of Auden from different periods of his life.
The music was settings of his poetry by Ned Rorem, performed live by Ned Rorem and tenor Scott Murphree, a friend of mine who teaches here at NYU. Again, behind the performance were the pictures of Auden.
Most interestingly, at the end of the performance, they played a recording of W.H. Auden reading at the Poetry Center in 1966. It was both beautiful and somewhat arresting-the feeling of being transported to another time as both his voice and his poetry filled the room.
Would the performance have been better served with more advanced media or the involvement of other sites? It's hard to say. Because the evening was organized in such a sensitive and interesting manner, I did not feel that anything was missing from the experience. I wonder if it would have felt somehow anachronistic to honor someone from an earlier generation with advanced media techniques, but then I wonder if it depends on the work that is being honored. An evening honoring John Cage, for example, or Milton Babbitt, or even Andy Warhol, might seem unsatisfying without the use of new, cutting-age technology.
However, in this setting, the easy transition from readings to reminiscings, to song and finally, to Auden himself, was quietly exciting, in the same way that reading his poetry is.
I think this experience proves what we have been saying all along, that I2 is a new media, a new tool with which to communicate or experiment, and while it opens so many doors for us as researchers and artists, it is nice sometimes to attend "old-fashioned" performances, and retain something of the feeling of artistic development before the advent of such technologies.
It was not so long ago, really, and remembering it can only give depth to our work now.
I couldn't help but look at it through the lens of our work, and I was pleased to see the extent to which multi-media, though only in a small way, was incorporated. As presenters took the stage to make brief remarks or to read poems, a large screen behind them almost impreceptibly changed photographs of Auden from different periods of his life.
The music was settings of his poetry by Ned Rorem, performed live by Ned Rorem and tenor Scott Murphree, a friend of mine who teaches here at NYU. Again, behind the performance were the pictures of Auden.
Most interestingly, at the end of the performance, they played a recording of W.H. Auden reading at the Poetry Center in 1966. It was both beautiful and somewhat arresting-the feeling of being transported to another time as both his voice and his poetry filled the room.
Would the performance have been better served with more advanced media or the involvement of other sites? It's hard to say. Because the evening was organized in such a sensitive and interesting manner, I did not feel that anything was missing from the experience. I wonder if it would have felt somehow anachronistic to honor someone from an earlier generation with advanced media techniques, but then I wonder if it depends on the work that is being honored. An evening honoring John Cage, for example, or Milton Babbitt, or even Andy Warhol, might seem unsatisfying without the use of new, cutting-age technology.
However, in this setting, the easy transition from readings to reminiscings, to song and finally, to Auden himself, was quietly exciting, in the same way that reading his poetry is.
I think this experience proves what we have been saying all along, that I2 is a new media, a new tool with which to communicate or experiment, and while it opens so many doors for us as researchers and artists, it is nice sometimes to attend "old-fashioned" performances, and retain something of the feeling of artistic development before the advent of such technologies.
It was not so long ago, really, and remembering it can only give depth to our work now.
Wednesday, February 28, 2007
Playing with words-Thoughts on 2/27 UCI/NYU meeting
I really enjoyed last night's connection with UCI. I was struck by the beauty of the phrases the dancers created on the text. In particular, I enjoyed that the phrases took the words and added a level of abstraction to the presentation of the text. I think experimenting with abstraction in the text itself might be a fun way to explore ulternative methods of its presentation-such that lines of the text do not always have to be read "in time," "in meter or rhythm," "in order," or with any kind of regular intonation or stress. I think that if we are going to present text, it might be interesting to, at least as an experiment, consider that the text is, like a dance phrase or a musical phrase, a structure upon which we can be free to improvise.
Also, I offer that if we are lost, we must also explore the concept of "found," otherwise, what is lost? (pun intended)
And if improvisation is itself a form of play, I offer here, although not improvised, my own brief "play" with some of the words and text from last night:
Alone
a one L
La one
Le ona
nae, Lo
Lo, an e
No ale
O, lane
On ale
On Lea
Between the past and the future, we are lost.
Lost the past between we and the future are.
Past and we are lost between the future.
The past and the future are lost between we.
Bet the past and the future are lost, we are ween(ed).
Alone, between the past and the future, we are lost.
On ale, the past and the future are lost and we are ween[ed].
Lo, an e between the past and the future, lost are w[e].
O, between the past and the lane, we are future.
Nae, we are past; lo, we are between the future.
One la, lost between the past and the future, we are. Let us sing.
Also, I offer that if we are lost, we must also explore the concept of "found," otherwise, what is lost? (pun intended)
And if improvisation is itself a form of play, I offer here, although not improvised, my own brief "play" with some of the words and text from last night:
Alone
a one L
La one
Le ona
nae, Lo
Lo, an e
No ale
O, lane
On ale
On Lea
Between the past and the future, we are lost.
Lost the past between we and the future are.
Past and we are lost between the future.
The past and the future are lost between we.
Bet the past and the future are lost, we are ween(ed).
Alone, between the past and the future, we are lost.
On ale, the past and the future are lost and we are ween[ed].
Lo, an e between the past and the future, lost are w[e].
O, between the past and the lane, we are future.
Nae, we are past; lo, we are between the future.
One la, lost between the past and the future, we are. Let us sing.
Tuesday, February 27, 2007
Truckers and Trackers
I recently viewed a performance on the Body, Space, Techonology website entitled "Truckers and Trackers. Alien Unmade" produced by On Air Productions. It can be found at:
http://people.brunel.ac.uk/bst/vol07/home.html
This was a really cool performance. I'm not totally sure how they did it, and was unable to find an article about it before posting this. At any rate, one actor read the voices of three characters and the use of the screen behind the actor was thought-provoking and entertaining.
It was interesting to see an actor portray different characters nearly simultaneously using technology. I'm not sure how the slightly different costume changes and things worked, as the actor was in full view on the stage at all times, although it was clear that he was the voice and face on each screen.
The tongue-in-cheek comedy of the computer voice was really well-timed-in fact, the entire performance was very clever and cleverly executed. It might be interesting to experiment with the idea of different charaters and voices interacting on screens and in person...I guess in a way that is how our performance will take place anyway, but with more than just one performer. It was fun to see the slight mocking of technology in a piece that uses technology as such an integral part of it's execution.
http://people.brunel.ac.uk/bst/vol07/home.html
This was a really cool performance. I'm not totally sure how they did it, and was unable to find an article about it before posting this. At any rate, one actor read the voices of three characters and the use of the screen behind the actor was thought-provoking and entertaining.
It was interesting to see an actor portray different characters nearly simultaneously using technology. I'm not sure how the slightly different costume changes and things worked, as the actor was in full view on the stage at all times, although it was clear that he was the voice and face on each screen.
The tongue-in-cheek comedy of the computer voice was really well-timed-in fact, the entire performance was very clever and cleverly executed. It might be interesting to experiment with the idea of different charaters and voices interacting on screens and in person...I guess in a way that is how our performance will take place anyway, but with more than just one performer. It was fun to see the slight mocking of technology in a piece that uses technology as such an integral part of it's execution.
Monday, February 26, 2007
I2 and the Big Screen
Since my last post had to do with a movie, I decided to look around and see if there was any kind of Internet2-Entertainment Industry collaboration going on. I found a few articles, one of which can be found here:
http://news.com.com/Hollywood+seeks+Internet2+tests,+P2P+oversight/2100-1026_3-5458537.html
The most interesting aspect of this article was easily the statistics. Although we have talked about, read, and viewed many performances and articles discussing the potential and implications of I2, nothing really says it more impressively than this quote:
"...of a network powerful enough to allow a full DVD to be transferred even faster than an ordinary MP3 might be today.
Recently, researchers successfully sent data from Switzerland to Tokyo at speeds of 7.21 gigabits per second. That was enough speed to transfer a full-length DVD anywhere in the world in less than five seconds, researchers said."
The Motion Picture Association of America has been talking to I2 for about a year now, and although this article is brief, it does point out that a main focus of the talks has been piracy.
And this is quite a hot topic these days. Quoting from the above article, the following link presents an interesting discussion of the implications of such a collaboration:
http://rhizome.org/thread.rhiz?thread=16486&page=1#31435
This same article can also be found at:
http://www.turbulence.org/blog/archives/000674.html
And from the post:
"No Hollywood exec is going to sanction a business model that lets Joe User download a movie onto a hard drive faster than the time it takes to launch his Web browser. Forget streaming video on demand. Hell, that isn't even enough time to watch a BMW ad.
The technology behind Internet2 *breaks* anything remotely resembling a broadcast business model, which is why the MPAA will do its best to disarm the technology by installing Digital Rights Management directly in its routers to stop interesting
content from ever getting into the pipeline."
And to anyone who doesn't think this issue is already making real national headlines, who perhaps has already forgotten the lawsuits about illegal music downloading:
http://p2pnet.net/index.php?page=reply&story=4527
or
http://www.internetnews.com/ec-news/article.php/3550836
Most of the people I tell about our project have never heard of I2 and therefore are completely ignorant of its incredible potential to unify and/or divide. Looks like that won't be the case much longer.
http://news.com.com/Hollywood+seeks+Internet2+tests,+P2P+oversight/2100-1026_3-5458537.html
The most interesting aspect of this article was easily the statistics. Although we have talked about, read, and viewed many performances and articles discussing the potential and implications of I2, nothing really says it more impressively than this quote:
"...of a network powerful enough to allow a full DVD to be transferred even faster than an ordinary MP3 might be today.
Recently, researchers successfully sent data from Switzerland to Tokyo at speeds of 7.21 gigabits per second. That was enough speed to transfer a full-length DVD anywhere in the world in less than five seconds, researchers said."
The Motion Picture Association of America has been talking to I2 for about a year now, and although this article is brief, it does point out that a main focus of the talks has been piracy.
And this is quite a hot topic these days. Quoting from the above article, the following link presents an interesting discussion of the implications of such a collaboration:
http://rhizome.org/thread.rhiz?thread=16486&page=1#31435
This same article can also be found at:
http://www.turbulence.org/blog/archives/000674.html
And from the post:
"No Hollywood exec is going to sanction a business model that lets Joe User download a movie onto a hard drive faster than the time it takes to launch his Web browser. Forget streaming video on demand. Hell, that isn't even enough time to watch a BMW ad.
The technology behind Internet2 *breaks* anything remotely resembling a broadcast business model, which is why the MPAA will do its best to disarm the technology by installing Digital Rights Management directly in its routers to stop interesting
content from ever getting into the pipeline."
And to anyone who doesn't think this issue is already making real national headlines, who perhaps has already forgotten the lawsuits about illegal music downloading:
http://p2pnet.net/index.php?page=reply&story=4527
or
http://www.internetnews.com/ec-news/article.php/3550836
Most of the people I tell about our project have never heard of I2 and therefore are completely ignorant of its incredible potential to unify and/or divide. Looks like that won't be the case much longer.
Friday, February 23, 2007
Silence, I2!
The other night, I watched the film "In the Bedroom." I found it to be surprisingly suspenseful, and I think this was in large part due to the use of silence, or perhaps the lack of background music. This got me to thinking about silence in performance, and silence in life. What do we hear when we allow for silence? Why are so many people afraid of silence? We've all met them...people who will say anything to avoid the natural lulls in conversation, or the less natural "uncomfortable silences" that we have all experienced.
And what about silence in performance? Why are so many singers (and other musicians?) afraid to allow silence to enter into a performance? Afraid to observe the fermata over the rest? What are we afraid of communicating in silence?
For sure, silence must be very powerful. If so many of us are afraid of it, it must be a big, scary, empty space wherein we are completely vulnerable. Or, is it perhaps not empty at all, but rather full of all kinds of things we are afraid of? Or, is it simply that it is full of SOMEthing, and we are afraid of what that might be?
But what, then, about the audience? Are they afraid of it? I think, in contrast, that audiences crave it. Not because they don't want to hear music, or text, or whatever, but rather that the audience craves the anticipation that silence creates. Think of the silence in the theatre in that beautiful moment where the lights are dimmed but the curtain hasn't yet risen...the silence of watchful anticipation. What is so scary about silence if it is viewed through the eyes of the audience? It ceases to be scary and uncomfortable, and becomes exciting and compelling. It pulls the audience in; it makes them want more.
I have been thinking of this in light of our performance, and so did a search for I2 projects on the web involving silence. I had very little luck.
However, the I2Voyager and I had an interesting conversation the other day about silence, and he pointed out that John Cage was very interested in silence-seeking it out, trying to experience it and discovering that, in fact, it was a physical impossibility. Even in a so-called "sound prood chamber, he was able to hear his own heart.
So I thought a bit more about Cage, and went hunting for I2 projects that might involve him. In a sense, the combination of Cage's ideas and the experimentation of this project and projects like this seems natural.
Here is a bit of what I found:
http://greatdance.com/danceblog/archives/podcasts/
This is an interesting idea using "chance" and technology and performance. The audience members, through the use of iPods, heard different different music while viewing the same dance. The score for the dance was randomly shuffled on each iPod, so that the experience was random and different for each audience member. From the article, a review:
Apollinaire Scherr wrote in Newsday before opening of eyeSpace:
Up until "eyeSpace," audience members at least were listening to the same music, whatever they each made of it. Now, they may be watching the same dance, "but they're having a private experience with the sound," Rouse explains. "What happens when you ask people to have both a shared and a private experience at the same time? I don't think that's exactly happened before. The question is, what is a theatrical experience?"
Another I2 project that involves John Cage can be read about here:
http://72.14.209.104/search?q=cache:1jWvfvDBwpAJ:www.quintet-net.org/info/Quintet-net.icmc2003.pdf+Internet2+john+cage&hl=en&ct=clnk&cd=11&gl=us&client=safari
This project is probably best described from the abstract:
Quintet.net is an interactive Internet performance environment enabling up to five performers to play music in real-time over the Internet under the control of a “conductor.” The environment consists of four components: a server, a client, a conductor and a listener. The players interact over the Internet by sending musical (control) streams to the server. In addition, the conductor can log in and control the musical outcome by changing settings remotely, either manually (improvisation) or by executing a score (composition). Quintet.net has additional video and graphical properties, which allow for better interaction and control on a symbolical level: The performers see the music they produce on screen in “space” notation. The conductor, acting as video DJ, can mix films or live video streams to create a truly medial Gesamtkunstwerk. Several compositions have been specifically written for Quintet.net or used it as an integral component...
Only certain kinds of music lend themselves to this kind of performance, according to the article, including some of John Cage's music, which has been arranged for Quintet.net.
Several other musical I2 collaborations have occurred using John Cage's music and ideas; I have only provided two examples here.
I think the idea of silence, however, and what it means in performance and interpretation of performance is important and very relavent to our project. Just like embarking upon a project like ours requires a certain fearlessness, and entrusting chance in the creative process requires a certain trust, so the embracing of silence in our art and in our lives certainly requires both.
Shh...
And what about silence in performance? Why are so many singers (and other musicians?) afraid to allow silence to enter into a performance? Afraid to observe the fermata over the rest? What are we afraid of communicating in silence?
For sure, silence must be very powerful. If so many of us are afraid of it, it must be a big, scary, empty space wherein we are completely vulnerable. Or, is it perhaps not empty at all, but rather full of all kinds of things we are afraid of? Or, is it simply that it is full of SOMEthing, and we are afraid of what that might be?
But what, then, about the audience? Are they afraid of it? I think, in contrast, that audiences crave it. Not because they don't want to hear music, or text, or whatever, but rather that the audience craves the anticipation that silence creates. Think of the silence in the theatre in that beautiful moment where the lights are dimmed but the curtain hasn't yet risen...the silence of watchful anticipation. What is so scary about silence if it is viewed through the eyes of the audience? It ceases to be scary and uncomfortable, and becomes exciting and compelling. It pulls the audience in; it makes them want more.
I have been thinking of this in light of our performance, and so did a search for I2 projects on the web involving silence. I had very little luck.
However, the I2Voyager and I had an interesting conversation the other day about silence, and he pointed out that John Cage was very interested in silence-seeking it out, trying to experience it and discovering that, in fact, it was a physical impossibility. Even in a so-called "sound prood chamber, he was able to hear his own heart.
So I thought a bit more about Cage, and went hunting for I2 projects that might involve him. In a sense, the combination of Cage's ideas and the experimentation of this project and projects like this seems natural.
Here is a bit of what I found:
http://greatdance.com/danceblog/archives/podcasts/
This is an interesting idea using "chance" and technology and performance. The audience members, through the use of iPods, heard different different music while viewing the same dance. The score for the dance was randomly shuffled on each iPod, so that the experience was random and different for each audience member. From the article, a review:
Apollinaire Scherr wrote in Newsday before opening of eyeSpace:
Up until "eyeSpace," audience members at least were listening to the same music, whatever they each made of it. Now, they may be watching the same dance, "but they're having a private experience with the sound," Rouse explains. "What happens when you ask people to have both a shared and a private experience at the same time? I don't think that's exactly happened before. The question is, what is a theatrical experience?"
Another I2 project that involves John Cage can be read about here:
http://72.14.209.104/search?q=cache:1jWvfvDBwpAJ:www.quintet-net.org/info/Quintet-net.icmc2003.pdf+Internet2+john+cage&hl=en&ct=clnk&cd=11&gl=us&client=safari
This project is probably best described from the abstract:
Quintet.net is an interactive Internet performance environment enabling up to five performers to play music in real-time over the Internet under the control of a “conductor.” The environment consists of four components: a server, a client, a conductor and a listener. The players interact over the Internet by sending musical (control) streams to the server. In addition, the conductor can log in and control the musical outcome by changing settings remotely, either manually (improvisation) or by executing a score (composition). Quintet.net has additional video and graphical properties, which allow for better interaction and control on a symbolical level: The performers see the music they produce on screen in “space” notation. The conductor, acting as video DJ, can mix films or live video streams to create a truly medial Gesamtkunstwerk. Several compositions have been specifically written for Quintet.net or used it as an integral component...
Only certain kinds of music lend themselves to this kind of performance, according to the article, including some of John Cage's music, which has been arranged for Quintet.net.
Several other musical I2 collaborations have occurred using John Cage's music and ideas; I have only provided two examples here.
I think the idea of silence, however, and what it means in performance and interpretation of performance is important and very relavent to our project. Just like embarking upon a project like ours requires a certain fearlessness, and entrusting chance in the creative process requires a certain trust, so the embracing of silence in our art and in our lives certainly requires both.
Shh...
Tuesday, February 20, 2007
Playing with space
My most recent foray into the Body, Space, Technology journal found me reading the article found by following this link:
http://people.brunel.ac.uk/bst/vol04/index.html
to the article “Space Rules: Techno-Nomad Theatre” by Petra Kuppers (Performance Studies, Bryant College).
The article discusses an experimental performance the author attended in which the use of machinery, and the interaction of humans and machines, served to engage the audience is participants in a theatrical event. The use of machines and the unconventional use of the theatre space disoriented the audience at first, then ultimately created an overwhelming sense of curiosity in the crowd to explore their unusual surroundings.
This created a space in which the audience members experienced a “play,” or ludus, world. Here I am reminded of a class I took several years ago with Nan Smithner entitlted Creative Play and the Arts. What Kuppers called “nomadic”-“the playful mode of being in thought” we referred to as simply “play.” The performance experience detailed here plays upon audience expectations, and leads them to explore a totally new ritual of theatre (if we can agree that theatre in itself is a ritual act, just as the act of play, in whichever of its incarnations it is experienced, is also a ritual experience). Thus, this playing on audience expectations of a theatre world is in part successful because there are expectations of a theatre performance, and these are in part due to society’s acceptance of the ritual of theatre productions.
All that said, the performance here successfully used machinery to create an alternate world, a “play” world, in which the audience becomes lost in the “flow” of the experience. They, through their play, become active creators of the experience as they interact with the machinery, and through this, the human and mechanic parts of the experience extend toward each other. The performance experience becomes then, as Kuppers calls it “a non-divisionary relation between human, metal, and space.”
In response to Barbara Rose Haum’s comments, think the implications of this for our I2 project are very cool. The interaction of body and space (in our case, vast space) through technology has the potential to orient and disorient both performers and audience in new and unusual ways. The complications of this are only made difficult through the limits of our imaginations. The potential for us to create a space that is simultaneously both virtual and literal within which to play, and to invite the audience to suspend their disbelief long enough to join us is very exciting.
http://people.brunel.ac.uk/bst/vol04/index.html
to the article “Space Rules: Techno-Nomad Theatre” by Petra Kuppers (Performance Studies, Bryant College).
The article discusses an experimental performance the author attended in which the use of machinery, and the interaction of humans and machines, served to engage the audience is participants in a theatrical event. The use of machines and the unconventional use of the theatre space disoriented the audience at first, then ultimately created an overwhelming sense of curiosity in the crowd to explore their unusual surroundings.
This created a space in which the audience members experienced a “play,” or ludus, world. Here I am reminded of a class I took several years ago with Nan Smithner entitlted Creative Play and the Arts. What Kuppers called “nomadic”-“the playful mode of being in thought” we referred to as simply “play.” The performance experience detailed here plays upon audience expectations, and leads them to explore a totally new ritual of theatre (if we can agree that theatre in itself is a ritual act, just as the act of play, in whichever of its incarnations it is experienced, is also a ritual experience). Thus, this playing on audience expectations of a theatre world is in part successful because there are expectations of a theatre performance, and these are in part due to society’s acceptance of the ritual of theatre productions.
All that said, the performance here successfully used machinery to create an alternate world, a “play” world, in which the audience becomes lost in the “flow” of the experience. They, through their play, become active creators of the experience as they interact with the machinery, and through this, the human and mechanic parts of the experience extend toward each other. The performance experience becomes then, as Kuppers calls it “a non-divisionary relation between human, metal, and space.”
In response to Barbara Rose Haum’s comments, think the implications of this for our I2 project are very cool. The interaction of body and space (in our case, vast space) through technology has the potential to orient and disorient both performers and audience in new and unusual ways. The complications of this are only made difficult through the limits of our imaginations. The potential for us to create a space that is simultaneously both virtual and literal within which to play, and to invite the audience to suspend their disbelief long enough to join us is very exciting.
Monday, February 19, 2007
I2 and Medicine, through Cambodia
Last night, I was tooling around the internet looking for I2 performances to watch. I found a website called the "Research Channel" (www.researchchannel.org) that has several I2-produced films. I had trouble getting them to load, and then, without realizing that it wasn't an I2 production, clicked on a USC-produced film about Operation Smile in Cambodia:
http://www.researchchannel.org/prog/displayevent.aspx?rID=6872&fID=719
I'm very interested in the Third World and would like to do more traveling there, and so I became immediately engrossed in this film, which details visits of western doctors to Cambodia for the purpose of repairing cleft lips and palettes of children. One of the issues faced by the western and Cambodian doctors is the training of Cambodian doctors in new surgical methods and equiptment. It is expensive for the western doctors to come over, and a desired byproduct of this collaboration is the training of Cambodia doctors, over time, in the procedure. As one of the western doctors points out, the best situation would be if the western doctors could come every two months or so, and stay for two weeks, to help teach and monitor the Cambodian medical staff. In this way, the education of the Cambodian doctors happens on a sort of regular schedule, progress can be easily monitored, and the Cambodian doctors and public can be better served by the continuing education of their medical professionals.
Unfortunately, this sort of effort requires a great deal of time and money. Western doctors have practices, jobs, and families in their home countries. And while at least two of the Cambodian medical professionals have been able to come to the statest to advance their training, countless other Cambodian doctors have not, nor have they been able to benefit, at least indirectly, from the advances of their colleagues.
Of course, the whole time I was watching this, I kept waiting for them to talk about I2, since I thought I had clicked on an I2 production. After about 30 minutes, I sort of figured out that I hadn't, and by that time I had also thought about how I2 would be an amazing tool in this situation. Using I2 bandwidth, western doctors could oversee Cambodian doctors while they worked. I2 conferences and workshops could introduce Cambodian doctors to new techniques, materials, and equiptment.
So, I went looking for I2 and medicine. Here are some things I found:
http://www.oit.umd.edu/ITforUM/2002/Spring/internet2/
From the article:
"Internet2 also potentially revolutionizes the field of medicine. In the future, getting a second opinion could be an instantaneous event. Internet2’s videoconferencing and high bandwidth capabilities make the live broadcast of a doctor-patient consultation session to another remote specialist possible, thereby enabling multiple medical opinions and dialogues for a medical case in real-time.
And yet another application, as broadband connections become more commonplace and affordable, remote monitoring of patients may become the order of the day in telemedicine. Furthermore, special and rare medical procedures could potentially be broadcast in real-time to students in the medical profession, thereby making their education richer and paving the way for "virtually experienced" young medical professionals. Virtual surgery is another medical application also under test on Internet2."
And:
http://www.jsonline.com/story/index.aspx?id=100685
From this article:
"Through Internet2, researchers also can share three-dimensional images of the human body.
Medical students can work on digital corpses much in the same way they now dissect actual bodies. It may be possible to make an incision into a digital corpse that would react in the same way as a real body."
and also, from the same article:
"Patients are sometimes forced to carry their oversize mammograms from specialist to specialist. In many cases, efforts to move large datasets from medical clinical trials over the Internet have failed miserably.
But with Internet2, the possibility of getting images and data to the right physicians at the right time finally exists, Senger said. "Even a hand-held computer could provide a window to archived data of the human anatomy."
The implications of I2 to the world medical community are enormous. And, I highly recommend the Cambodia video. It's about 50 minutes long, fascinating, and beautifully shot.
http://www.researchchannel.org/prog/displayevent.aspx?rID=6872&fID=719
I'm very interested in the Third World and would like to do more traveling there, and so I became immediately engrossed in this film, which details visits of western doctors to Cambodia for the purpose of repairing cleft lips and palettes of children. One of the issues faced by the western and Cambodian doctors is the training of Cambodian doctors in new surgical methods and equiptment. It is expensive for the western doctors to come over, and a desired byproduct of this collaboration is the training of Cambodia doctors, over time, in the procedure. As one of the western doctors points out, the best situation would be if the western doctors could come every two months or so, and stay for two weeks, to help teach and monitor the Cambodian medical staff. In this way, the education of the Cambodian doctors happens on a sort of regular schedule, progress can be easily monitored, and the Cambodian doctors and public can be better served by the continuing education of their medical professionals.
Unfortunately, this sort of effort requires a great deal of time and money. Western doctors have practices, jobs, and families in their home countries. And while at least two of the Cambodian medical professionals have been able to come to the statest to advance their training, countless other Cambodian doctors have not, nor have they been able to benefit, at least indirectly, from the advances of their colleagues.
Of course, the whole time I was watching this, I kept waiting for them to talk about I2, since I thought I had clicked on an I2 production. After about 30 minutes, I sort of figured out that I hadn't, and by that time I had also thought about how I2 would be an amazing tool in this situation. Using I2 bandwidth, western doctors could oversee Cambodian doctors while they worked. I2 conferences and workshops could introduce Cambodian doctors to new techniques, materials, and equiptment.
So, I went looking for I2 and medicine. Here are some things I found:
http://www.oit.umd.edu/ITforUM/2002/Spring/internet2/
From the article:
"Internet2 also potentially revolutionizes the field of medicine. In the future, getting a second opinion could be an instantaneous event. Internet2’s videoconferencing and high bandwidth capabilities make the live broadcast of a doctor-patient consultation session to another remote specialist possible, thereby enabling multiple medical opinions and dialogues for a medical case in real-time.
And yet another application, as broadband connections become more commonplace and affordable, remote monitoring of patients may become the order of the day in telemedicine. Furthermore, special and rare medical procedures could potentially be broadcast in real-time to students in the medical profession, thereby making their education richer and paving the way for "virtually experienced" young medical professionals. Virtual surgery is another medical application also under test on Internet2."
And:
http://www.jsonline.com/story/index.aspx?id=100685
From this article:
"Through Internet2, researchers also can share three-dimensional images of the human body.
Medical students can work on digital corpses much in the same way they now dissect actual bodies. It may be possible to make an incision into a digital corpse that would react in the same way as a real body."
and also, from the same article:
"Patients are sometimes forced to carry their oversize mammograms from specialist to specialist. In many cases, efforts to move large datasets from medical clinical trials over the Internet have failed miserably.
But with Internet2, the possibility of getting images and data to the right physicians at the right time finally exists, Senger said. "Even a hand-held computer could provide a window to archived data of the human anatomy."
The implications of I2 to the world medical community are enormous. And, I highly recommend the Cambodia video. It's about 50 minutes long, fascinating, and beautifully shot.
Saturday, February 17, 2007
Brooklyn Phil, Storytelling, Secrets, and I, 2
It is a funny thing that happens when one starts to consider new art mediums for communication...suddenly we see other artistic experiences through new eyes.
This afternoon, I attended a wonderful family concert in the Brooklyn Public Library (main branch). It was an outreach concert of the Brooklyn Philharmonic, part of their series in libraries called "Music off the Shelves." The concert, which also commemorated Black History Month, consisted of the reading of the children's book "Mirandy and Brother Wind," accompanied by a small string band (banjo, guitar, violin) playing Scott Joplin rags. It was a huge success in that it was enjoyed thoroughly by the entire audience.
During the concert, I was thinking about storytelling and the opportunities Internet 2 allows us for collaboration in this endeavor, as well as the possibilities for reaching remote audiences through the storytelling. It seems to me, in a sense, that this is exactly what the purpose of the upcoming Cassandra project is. There are always several different layers in even simpler stories, and the amazing thing about collaboration of this type is the potential to explore metaphors in a story through space (meaning distance) and the ways that I2 simultaneous brings us together through a celebration of our geographical distance. I hope that made sense...
Along the same lines, I was thinking about the use of projecting on plexiglass as a way to create the illusion of nearness through interaction with the projected image from both in front and behind the glass. What does this mean for our themes of secrecy and unlocking? Can we hide anything behind the glass? Do we lock ourselves into things when the path is clear? Like the tiger in that children's story who never realized that the gate was unlocked the entire time because it was closed?
At any rate, although the storytelling was accompanied by a present string band, I went looking around for I2 clips that would include anything related to storytelling in a more general sense. What I found in my brief search was interesting:
The first clip I found was the use of I2 to teach hand-drumming, which is a traditional African accompaniment to story-telling. Here is the link to the class:
http://www.bradley.edu/internet2/i2/movies/Hand_Drumming_MPEG.mpg
The implications for I2 in music teaching here are very clear, and although that's not really what this post set out to be about, I think it's worth mentioning. The teacher is able to individually help the students even from his remote location, in real time. Pretty amazing. Also, in the parts where the teacher plays with the student, I hardly noticed any problems with latency.
Also from Bradley, an article detailing their collaboration with the University of Central Florida, in a project similar to ours:
http://www.educause.edu/apps/eq/eqm05/eqm0524.asp
This article was interesting to me in that, as it points out, much of the I2 collaborations are music-oriented. It is interesting to see the implications for I2 in the Theatre arts being explored. Also, to quote from the article: "In the multiform environment of our project, different audiences would experience a shared event from different and exclusive frames of reference. Audiences experience different parts of the ongoing "reality" of the story depending on their location and when they see the presentation. The experience would be shared but inherently different depending on when and where it was seen. " I think this has direct implications to the themes of secrecy and storytelling...do both sites get the same story, or the same information about the story at the same time? When the music and the movement, or the spoken word are separated by distance, what is the difference that can be made between making the distance an illusion and making the distance truly a part of the performance?
It is getting late and while there is a lot more to be said on this subject, I need my beauty sleep.
PS...I just published this and it said "posted at 8:02 pm....huh? Lest you all think I'm nuts re: my last sentence, it's actually almost midnight...
This afternoon, I attended a wonderful family concert in the Brooklyn Public Library (main branch). It was an outreach concert of the Brooklyn Philharmonic, part of their series in libraries called "Music off the Shelves." The concert, which also commemorated Black History Month, consisted of the reading of the children's book "Mirandy and Brother Wind," accompanied by a small string band (banjo, guitar, violin) playing Scott Joplin rags. It was a huge success in that it was enjoyed thoroughly by the entire audience.
During the concert, I was thinking about storytelling and the opportunities Internet 2 allows us for collaboration in this endeavor, as well as the possibilities for reaching remote audiences through the storytelling. It seems to me, in a sense, that this is exactly what the purpose of the upcoming Cassandra project is. There are always several different layers in even simpler stories, and the amazing thing about collaboration of this type is the potential to explore metaphors in a story through space (meaning distance) and the ways that I2 simultaneous brings us together through a celebration of our geographical distance. I hope that made sense...
Along the same lines, I was thinking about the use of projecting on plexiglass as a way to create the illusion of nearness through interaction with the projected image from both in front and behind the glass. What does this mean for our themes of secrecy and unlocking? Can we hide anything behind the glass? Do we lock ourselves into things when the path is clear? Like the tiger in that children's story who never realized that the gate was unlocked the entire time because it was closed?
At any rate, although the storytelling was accompanied by a present string band, I went looking around for I2 clips that would include anything related to storytelling in a more general sense. What I found in my brief search was interesting:
The first clip I found was the use of I2 to teach hand-drumming, which is a traditional African accompaniment to story-telling. Here is the link to the class:
http://www.bradley.edu/internet2/i2/movies/Hand_Drumming_MPEG.mpg
The implications for I2 in music teaching here are very clear, and although that's not really what this post set out to be about, I think it's worth mentioning. The teacher is able to individually help the students even from his remote location, in real time. Pretty amazing. Also, in the parts where the teacher plays with the student, I hardly noticed any problems with latency.
Also from Bradley, an article detailing their collaboration with the University of Central Florida, in a project similar to ours:
http://www.educause.edu/apps/eq/eqm05/eqm0524.asp
This article was interesting to me in that, as it points out, much of the I2 collaborations are music-oriented. It is interesting to see the implications for I2 in the Theatre arts being explored. Also, to quote from the article: "In the multiform environment of our project, different audiences would experience a shared event from different and exclusive frames of reference. Audiences experience different parts of the ongoing "reality" of the story depending on their location and when they see the presentation. The experience would be shared but inherently different depending on when and where it was seen. " I think this has direct implications to the themes of secrecy and storytelling...do both sites get the same story, or the same information about the story at the same time? When the music and the movement, or the spoken word are separated by distance, what is the difference that can be made between making the distance an illusion and making the distance truly a part of the performance?
It is getting late and while there is a lot more to be said on this subject, I need my beauty sleep.
PS...I just published this and it said "posted at 8:02 pm....huh? Lest you all think I'm nuts re: my last sentence, it's actually almost midnight...
Friday, February 16, 2007
UAF Internet2 Projects...
I read an article on an Internet2 concert that happened almost a year ago:
http://www.uaf.edu/i2day/concert.html.
Unfortunately, I have not been lucky enough to find a posting of part of the concert, but it seems really cool. I was excited to see that UAF (University of Alaska-Fairbanks) was very invovled in I2 work because I was just there performing in the Summer Arts Festival last summer! Alaska is beautiful and everyone should go.
But on to the article:
For this concert, the music was played in Miami, the acrobat/dancer performed in LA, and the audience and composer of the piece was in Fairbanks. Additionally, the performance concluded with the premiere of a piece for two percussionists, one in Fairbanks and one in San Diego, in a piece written specifically for an I2 collaboration. Amazing! Up until this point, I had never considered this aspect of I2...the extension of music and technology to accommodate this kind of collaboration is overwhelming, and I sure wish there was a video of it posted somewhere. It is incredible to me to think of it-they must have established some kind of regular I2 connection for rehearsals, also. And as a percussion piece, I cannot help but think that there was probably already a significant amount of equiptment involved in the piece, even without the introduction of I2 and its equiptment demands. Finally, I wonder about the issue of latency in this performance and how much of a problem it was, or if latency was written into the composition. Was there any unison playing? Did the score look any different?
If anyone finds any more info about this concert, I would sure love to see it!
http://www.uaf.edu/i2day/concert.html.
Unfortunately, I have not been lucky enough to find a posting of part of the concert, but it seems really cool. I was excited to see that UAF (University of Alaska-Fairbanks) was very invovled in I2 work because I was just there performing in the Summer Arts Festival last summer! Alaska is beautiful and everyone should go.
But on to the article:
For this concert, the music was played in Miami, the acrobat/dancer performed in LA, and the audience and composer of the piece was in Fairbanks. Additionally, the performance concluded with the premiere of a piece for two percussionists, one in Fairbanks and one in San Diego, in a piece written specifically for an I2 collaboration. Amazing! Up until this point, I had never considered this aspect of I2...the extension of music and technology to accommodate this kind of collaboration is overwhelming, and I sure wish there was a video of it posted somewhere. It is incredible to me to think of it-they must have established some kind of regular I2 connection for rehearsals, also. And as a percussion piece, I cannot help but think that there was probably already a significant amount of equiptment involved in the piece, even without the introduction of I2 and its equiptment demands. Finally, I wonder about the issue of latency in this performance and how much of a problem it was, or if latency was written into the composition. Was there any unison playing? Did the score look any different?
If anyone finds any more info about this concert, I would sure love to see it!
Thursday, February 15, 2007
(M)other Project #2 and the camera
As promised, I'm commenting on the second part of the (M)other series, found at http://people.brunel.ac.uk/bst/vol06/home.html.
This video feels somehow smaller in scope than the previous video. I think that is in large part due to the use of only one camera and its angle. The piece, like the previous piece, is surprisingly limited in its use of physical theatre, although the addition of the text, which was much clearer than in the first video, seemed in some way to make up for that. One aspect of the camera use I found particularly effective was when the performers looked to their left, seemingly addressing the audience on the other side of the camera. After watching them for awhile only in profile, this "head-on" almost confrontational turn had much more impact than it would have had the camera been placed directly in front of the performers.
Still, I felt limited by the camera...instead of offering a perspective that might have been invisible in the context of a live performance, the use of the camera and the resulting video left me feeling frustrated. In the small part of the performance which incorporating movement, I was unable to view the performer's feet. In the first part, despite the effectiveness of the side view "confrontation," it was frustrating not to see the performer's faces. So, although the performance was interesting in many aspects, the limited use of the camera also left me feeling frustrated.
This video feels somehow smaller in scope than the previous video. I think that is in large part due to the use of only one camera and its angle. The piece, like the previous piece, is surprisingly limited in its use of physical theatre, although the addition of the text, which was much clearer than in the first video, seemed in some way to make up for that. One aspect of the camera use I found particularly effective was when the performers looked to their left, seemingly addressing the audience on the other side of the camera. After watching them for awhile only in profile, this "head-on" almost confrontational turn had much more impact than it would have had the camera been placed directly in front of the performers.
Still, I felt limited by the camera...instead of offering a perspective that might have been invisible in the context of a live performance, the use of the camera and the resulting video left me feeling frustrated. In the small part of the performance which incorporating movement, I was unable to view the performer's feet. In the first part, despite the effectiveness of the side view "confrontation," it was frustrating not to see the performer's faces. So, although the performance was interesting in many aspects, the limited use of the camera also left me feeling frustrated.
Saturday, February 3, 2007
Performance and article #1: Mother
This is my response to a performance and an article I viewed and read through the Body, Space, and Technology Journal. The performance was very interesting to me, perhaps because of my own experiences as a participant in a perhaps less than ideal mother-daughter relationship. The article was particularly interesting in that it was mainly about the ways content was generated for performance, an idea that we have talked a lot about in class. I will view the rest of the Mother performance series and post my response to it in the near future.
Performance:
Mother 1 http://people.brunel.ac.uk/bst/vol06/home.html
Some of the difficulties I imagine in producing the performance of Mother 1 would be: the coordination of the screen imagine and the live actress’s spoken word and the coordination of the live lighting effects and the screen changes. These problems probably fall under the category of “time-lag,” which we discussed in the first week of class. In terms of the content, what was most interesting to me was the use of color in both the live and the screen aspects of the performance, and the manner in which these were enhanced by the lighting. The use of greens and blues throughout, and the presence of the green ribbon across the stage seemed to indicate a jungle or forest, until later the actress referred to it as the garden. This use of color made the climax, where the child character was being smothered with the white fabric, all the more striking.
Article:
http://www.lustyjuventus.co.uk/M_Other_project.html on the M(Other) Project
This article is largely concerned with the content-generating process of the Mother multi-media performance in the above paragraph. The piece was an equal collaboration among a writer, a performer particularly interested in physicalization of character, a director, and the artist responsible for the video. The most interesting part of the article for me was the discussion by the actor of somatic practice and the ability to communicate through the body. She discusses developing a kinesthetic awareness of the body that can lead to authenticity of movement, the purpose of which is to better and more honestly communicate with an audience. While I am very interested in movement as part of a performance, I found the limited use of movement in the video to be surprising, given this artist’s clear devotion to movement in performance. However, it must also be noted that the most movement in the performance occurs at the climax, and it is certainly effective. Perhaps the limited movement in the early parts of the piece was designed on purpose-indeed I had not noticed how limited it was until I read this artist’s contribution to the article.
Performance:
Mother 1 http://people.brunel.ac.uk/bst/vol06/home.html
Some of the difficulties I imagine in producing the performance of Mother 1 would be: the coordination of the screen imagine and the live actress’s spoken word and the coordination of the live lighting effects and the screen changes. These problems probably fall under the category of “time-lag,” which we discussed in the first week of class. In terms of the content, what was most interesting to me was the use of color in both the live and the screen aspects of the performance, and the manner in which these were enhanced by the lighting. The use of greens and blues throughout, and the presence of the green ribbon across the stage seemed to indicate a jungle or forest, until later the actress referred to it as the garden. This use of color made the climax, where the child character was being smothered with the white fabric, all the more striking.
Article:
http://www.lustyjuventus.co.uk/M_Other_project.html on the M(Other) Project
This article is largely concerned with the content-generating process of the Mother multi-media performance in the above paragraph. The piece was an equal collaboration among a writer, a performer particularly interested in physicalization of character, a director, and the artist responsible for the video. The most interesting part of the article for me was the discussion by the actor of somatic practice and the ability to communicate through the body. She discusses developing a kinesthetic awareness of the body that can lead to authenticity of movement, the purpose of which is to better and more honestly communicate with an audience. While I am very interested in movement as part of a performance, I found the limited use of movement in the video to be surprising, given this artist’s clear devotion to movement in performance. However, it must also be noted that the most movement in the performance occurs at the climax, and it is certainly effective. Perhaps the limited movement in the early parts of the piece was designed on purpose-indeed I had not noticed how limited it was until I read this artist’s contribution to the article.
Tuesday, January 30, 2007
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