class reflection on 'Projections'

By tapping into familiar structures Krzysztof Wodiczko's 'Projections' work into the element of the unfamiliar thus rejuvenating what could long of been forgotten by many. These performances allow more exposure for the artist, heightening the concept of the work. By projecting upon a monument, it questions the initial concept of the monument itself such as cultural status and historicity of that particular city. By marrying technology with these structures it breathes new life into what was once an artwork itself, although now it has gone through the process of defamiliarisation through remediation.

I-Cinema Reflection

Through my icinema experience I was able to engage with Auslander’s theory of liveness on a much more critical level, this was because the performances such as Eavesdrop and the Wooster group’s "There is still…time brother” demonstrated the intricate systems and levels involved in mediatized viewing experiences. Although these performances weren’t exactly live I felt that they were still relevant to Auslander’s theory that:

“Live performance has become the means by which mediatized representations are naturalized, according to a simple logic that appeals to our nostalgia for what we assumed was the im-mediate: if the mediatized image can be recreated in a live setting, it must have been “real” to begin with. The schema resolves (or rather, fails to resolve) into an impossible oscillation between the two poles of what once seemed a clear opposition: whereas media performance derives its authority from its reference to the live or the real, the live now derives its authority from its reference to the mediatized, which derives it’s authority from the reference to the live etc.” (Auslnder, 38-39, 1999)

The Wooster group’s “There is still…time Brother” was interesting because I felt it gave me insight to Auslanders theory of liveness as the performers purposefully showed the numerous technologies employed within their performance, they went on to talk about them and how they were used. This made me contemplate the way I view performances and the way my eye is drawn to the mediatized due to my media privileged lifestyle. I felt this worked not only as a performance but also as a type of demonstration.

For me the icinema experience was intensely immersive, I found myself completely engrossed with the virtual environment presented within the 360-degree viewing environment. Place-Hampi, Place-Urbanity and Double District were perhaps the most successful in the immersive experience. Place-Hampi’s use of real world landscapes allowed me to experience a part of the world I have never been before, I imagine that with time this could become travel of the future as people could experience these remote locations without the expanse and time required to physically travel. The only I issues I found were the layering of the landscapes used to create the 3D affect made me feel nauseous and the insertion of the mythical beings took way from the realness the experience. Place-Urbanity had a very similar affect over me, again I felt transported to a real place, though this time the use of movement heightened the thrill.

Double District again was very immersive, though in a different way. I felt almost hypnotized by the larger than life dancers body as they danced around me. It was far more engaging than any live dance performance I have previously attended, as it created an intimacy through size and proximity unattainable by stage and theatre performances.

Eavesdrop made me contemplate Auslander’s theory of liveness, the way live now derives its authority from its reference to the mediatized, which derives it’s authority from the reference to the live etc. I felt this performance was somehow situated in the middle of the two oppositions. The interactive element of this piece brought a new level of immersion to the experience, as the ability to choose the conversation to listen to created intimacy and heightened the reality. This was perhaps my favorite icinema performance because I found it extremely compelling, I wish I had been able to view it many more times and hear all the characters full stories and how they are connected to one another.

T_Visionarium was very different to everything else shown. It appeared very unique as an artwork. The most interesting part for me was the way the performative element was shifted from actor or dancer to the audience member/participant through interactivity. T_Visionarium was another piece I would have liked to have viewed for longer as I was completely engulfed by the immersive experience and compellable by my contemplation of the endless possibilities it possessed through it’s interactive ability.

ATTN: MICHAELS PRESENTATION GROUP...

Just wondering what performance you will be focusing on of Troika Ranch's for the presentation. We don't want any duplicates! Thanks :)

I Cinema

Krystina Burdekin z3222240 I Cinema

Part one: 2 I Cinema Projects

Eavesdrop David Pledger, Jeffery Shaw.

Deep Sleep Dennis Dei Favero.

Both of these productions are very different to each other in terms of performance, though both are viewed by an audience standing within the performance space its self.  It is an interaction between the audience and the performance material that makes Eavesdrop a unique performance. Eavesdrop is a performance in which the audience becomes part of the performance presented in a 360 degree cinema environment built for the purpose of this performance, one audience participate becomes the “ Free radical user, director and revealers.” The performance could not therefore exist without the participation of the audience making this performance a truly unique cinematic experience. The performance itself is a 9min loop of 10 peoples lives that will forever be in this loop whilst there is an audience member operating the circle. The content chosen for the loop is a collection of people symbolising modern modernity and middle class Australian life. Characters include a minor celebrity, elderly couple, ventriloquist, a cosmetic surgery patient and a man experiencing unrequited love to name a few. This performance is defined as a interactive installation and it is designed to connect and present the performance on three levels the interaction between the characters lives in the loop, the interior landscape of the characters and the relationship between the audience and the characters, through the audiences hands on experience with the performance. Deep sleep is a three-screen video installation performance. It is meant to impersonate a dream like state in its performance it explores the correlation between the world of psychology and psychologists. The audience stands between the three screens to view the performance in the space. The performance shifts between the past in a well known Sydney psychiatric institute and the Chemsford royal commission of the 1990’s. Ominous music and quick shifting between the scenes creates a cold and detached environment to be viewed by the audience. The performance has an audio story while the images are shown, the performance has a sub plot making it a double layered story with the inclusion of two love story’s one between Dr Baily and a patient and Dr Baily’s secretary and a Royal commissioner investigator. There are images of medical rooms, equipment mixed with scenes of love and passion creating a great contradiction between the materials presented to the audience. It is a very dramatic piece that draws the audiences attention from all the screens around them, it gives the audience the feeling that they have travelled back in time to the hospital and the quick scene changing and disorienting images gives the audience a feeling of insanity also.  It is a very effective visual piece that makes the audience feel part of the action and evoke empathy because of this.

Part Two: 2 related projects.

Configuring The Cave Jeffery Shaw, Agnes Headedues, Bernd Linterman.

Web of Life  Michael Gleich, Jeffery Shaw, Bernd Linterman, Lawrence Wallen. Toresten Belischner, Manfred Wolft- Plottegg.

Configuring The Cave is very different to the other two examples viewed it is completely reliant on the audience activity to make the performance its self. This performance uses Cave technology, which is a stereographic virtual reality environment with contigious projections on 3 walls and the floor. The user / Audience manipulates the position of a wooden mannequin in the centre of the cube to create environmental changes around them. The doll when moved in different positions triggers a different visual and audio response with in the space its self. The audience is literally controlling the action of the space that they are in. The basic meaning behind this work is to express cultural ideas that the body is the main locus of control and centre focus of and measure of most things in life. It also creates a feeling of aloneness or solidarity of an individual’s body in a world of computer generated forms or a computer abyss. The Web of Life was conceived as what is known as a multidisciplinary project that was aimed to unite art and science into one piece in order to produce form and expression. This performance is in three separate pieces a web page designed for viewing world wide, A book “ The New web of life: The Art of Network living” and the physical space itself. Designers, architects, scientists, technicians and artists collaborated this project on. The performance is greatly distributed because of the website and even more by the book. The Web of life creates its on intricate Web of communication of its ideas through the three separate means of distribution. The physical space is comprised of an interactive metal plate in which the activator places their hand on to change the space they are in, different sounds and projections are prompted depending on the hand placed on the plate in front of the screen, the space may change in front to of bellow or around the activator.

 

Debate 3rd speaker Negative

There is no inherent opposition between live and mediatised performance.

 

Negative 3^rd Speaker Krystina Burdekin

 

Points reading is trying to make that there is a direct correlation between live and mediatised performance, however the point that the negative team believes is that the two genre’s of live and of mediatised performance are different and not one the same. That a concert that is filmed and recorded onto a DVD is not considered a live performance once it has been viewed on the video.

Live performance creates a connection with the audience that is different to the connection the audience would make with the same characters if they were viewed in the same scene but filmed and projected onto a TV. The social setting of the ambiance of the theater would change the audiences viewing of the scene and perception of the characters, filming, camera angles and close up shots of the same scene and characters could create a completely different meaning to an audience viewing it on a TV screen in their home, the audience in this example is closer to the conversation or action than a audience spectator viewing a show from a seat in a box.

The reason that television cannot transmit a stage play to a home audience is that the fact that the two genres were not created to be viewed in the others mode. Stage shows were written to be viewed live and TV programs ie soap operas were written to be viewed from alternating camera angles to a home TV screen. Drama is created in each of these performances to specifically in-cooperate the conventions used in that style of performance.

Speech also included summary of speaker one and two’s main points

 

Rebuttals:

Have we been to a completely live non-mediatised performance, No but historically there has been because performance has been around longer than laptops and microphones, humans were born with voice boxes

Busking – live performance

If an audience needs ques to interact with a performance then perhaps writers need to evaluate the subject matter of what they wrote to begin with.

Live performance was not created to be viewed from home. Globe Theater.

Not mutually dependant we know this because performance has been around longer than different types of media, Cave men.

Live better than mediatised always – Relationships online Real cannot be competed with.