----------empyre- soft-skinned space----------------------
Hello list
As a newbie on this list, I am very pleased to be part of this discussion and
conscious that I do not know the history of the list very well.
Nevertheless, I did attend ISEA, and was involved in several panels including
co-chairing one with Margie Medlin, the director of Critical Path, the dance
development agency in Sydney.
The Panel we ran was titled The Sustainability of Future Bodies (roundtable).
It was planned as a roundtable in that we were interested not so much in having
the stella cast at the table present their work in detail, but to act as
expert/experienced discussant's, provocateurs… in a discussion that would draw
on the expertise of those in attendance (in the audience) as much as the expert
panel.
We did however start with a number of prepared slides containing provocations
for discussion - which in the end we didn't use - the collected body of
practitioners was more than ready for a group discussion and the session passed
by is a flash…
Never the less I will share with you the provocations we prepared:
• In the future, how will the intelligence of the body inspire digital
performance tools ?
• What does it mean to innovate with the body?
• Does the demand to constantly innovate mean we are currently failing ?
• Is it important that the audience understand the nature of
interaction?
• How do we negotiate, convey and activate an artistic proposal without
the need to consider a dumbing down of ideas?
• If our ability to cooperate and to collaborate, to get on with each
other is one of the most pressing issues of this milieu, how might we create
situations of play, immersion and interaction that foster interconnectedness
and enable a receptivity to difference, the other and the not yet foreseen
bodies of the future?
• How have notions of Agency changed in mediated performance?
• How have notions of embodiment changed, expanded or transformed, in
mediated performance?
We were interesting in drawing the maturity of practice in the room to consider
questions of sustainability of that practice in an evolving landscape. Thinking
about interaction in performance, questioning the way in which interactive
performance systems, change, iterate, subjugate, extend the body. Contemplating
where the body begins/ends and the mind, system, otherness fades in…. the
seam…
Cheers, Garth
On Jul 15, 2013, at 10:36 AM, BIGGS Simon <s.bi...@ed.ac.uk> wrote:
> ----------empyre- soft-skinned space----------------------
> Welcome to week three of empyre's July 2013 discussion: Resistance is futile,
> ISEA Sydney, 2013
>
> Thank you to Paul Sermon, Charlotte Gould and Gary Warner, who reflected and
> meditated upon ISEA and related subjects, offering us personal and critical
> views of our month's theme. Thanks to everyone for writing and reading.
>
> Our guests during the second week (July 15-21) of our discussion about ISEA
> are:
>
> Deborah Ely (AU) is Chief Executive Officer at Bundanon Trust and convenor of
> the interdisciplinary, site based, project SITEWORKS. Prior to taking up her
> position at Bundanon Trust, an arts, education and research organisation, she
> was the Visual Arts and Craft Manager at Arts NSW. Previous positions include
> Director of the Australian Centre for Photography in Sydney; founding
> Director of the Centre for Contemporary Photography in Melbourne; Coordinator
> of the first Experimenta festival of new media in Australia and Visual Arts
> Director of Watershed Media Centre in the UK. She was trained in Britain as a
> painter and art historian.
>
> Garth Paine (US/AU) is a composer, musician and academic. He is the Interim
> Director of the School of Arts, Media and Engineering at Arizona State
> University where he is also a Professor of Digital Sound and Interactive
> Media. He previously established and directed the Virtual, Interactive,
> Performance Research environment (VIPRe) in Sydney, Australia. Garth was an
> early explorer of interactive responsive environments where the inhabitant
> generates the sonic landscape through their presence and behaviour. These
> explorations extended to scores for dance, generated through real-time video
> tracking and/or bio-sensing of dancers. His work has been shown throughout
> Australia, Europe, Japan, USA, Hong Kong and New Zealand.
>
> Before proceeding to the third week's discussion we will again outline July's
> discussion, engaging the themes and activities underlying and emerging from
> this year's International Symposium of Electronic Arts, held in and around
> Sydney, Australia during June 2013. The primary theme for ISEA was
> "resistance is futile". How are we to interpret this? Resistance to what? The
> conference programme offered a positive take on this statement - proposing
> that the electronic arts have moved from the margins to occupy a central role
> in contemporary culture. But has this happened - and, if it has, is it
> generally the case or only so in certain contexts?
>
> Other themes were also apparent at ISEA. Important questions were asked about:
> - sustainability - how this can be achieved in relation to the environment
> but also how artists, arts groups, academics and activists might ensure their
> activities are sustainable as the processes of technologisation and
> globalisation unfold?
> - notions of the human - what does it mean to be human now, in the context of
> developments in genetics and ICT?
> - globalisation, diasporas and cultural identity?
> - the boundaries of the real - where virtual and augmented realities have
> become pervasive media?
> - the post-digital and its implications for aesthetics and questions of
> agency?
> - the challenges and opportunities associated with big data?
> - urbanism, activism and the socially disruptive potential of technology?
>
> Looking forward to another week's discussion...
>
>
> moderator:
> Simon Biggs
> si...@littlepig.org.uk<mailto:si...@littlepig.org.uk>
> http://www.littlepig.org.uk<http://www.littlepig.org.uk/> @SimonBiggsUK
> http://amazon.com/author/simonbiggs
>
> s.bi...@ed.ac.uk<mailto:s.bi...@ed.ac.uk> Edinburgh College of Art,
> University of Edinburgh
> http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php
> http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html
>
> http://www.eca.ac.uk/circle/ http://www.elmcip.net/
> http://www.movingtargets.org.uk/ http://designinaction.com/
> MSc by Research in Interdisciplinary Creative Practices
> http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php
>
>
> Simon Biggs
> si...@littlepig.org.uk<mailto:si...@littlepig.org.uk>
> http://www.littlepig.org.uk @SimonBiggsUK http://amazon.com/author/simonbiggs
>
> s.bi...@ed.ac.uk<mailto:s.bi...@ed.ac.uk> Edinburgh College of Art,
> University of Edinburgh
> http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php
> http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html
>
> http://www.eca.ac.uk/circle/ http://www.elmcip.net/
> http://www.movingtargets.org.uk/ http://designinaction.com/
> MSc by Research in Interdisciplinary Creative Practices
> http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php
>
>
> --
> The University of Edinburgh is a charitable body, registered in
> Scotland, with registration number SC005336.
>
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> empyre@lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
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