Atau, thanks for pointing to the Peter Weibel's article, *Chronocracy*. I
found a pdf of
ithttp://www.peter-weibel.at/images/stories/pdf/2000/0672_CHRONOCRACY.pdffor
anyone who'd like to read it.
Rodney
rodberry.net
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empyre forum
Hi Folks,\
It came to my attention that the join.htm page is not working.
That way the listmnagement will go wrong,
cheers
Joost kircz
-
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empyre forum
empyre@lists.cofa.unsw.edu.au
http://www.subtle.net/empyre
In the last few days, posts contributed by you all have made the initial
contact improvisation originating in a transcultural 'choreolab' (evoked and
described by Michael Weiss in the first week, and expanded by some of the
physical workshop's participants) inevitably more complicated and
to respond to Johannes: 'a work's affective power, its ritual
effficacy and alchemy (Gordana?), its Artaudian rather than its
political (Brechtian) sense?'
Both? In experiencing interactive works participants non-experts (and
often experts as well), seems to report only about their sensual,
I was hoping to catch on butoh and performance from the first week, since I'm
better equipped to talk about gigs than about galleries. But it's interesting
what the installation discussion has triggered off.
Embodiment, synaesthesia, interaction, or crappiness of SGI-ness of it, we're
talking
Atau writes,
...would like to bring the visceral aspect of biofeedback performance to an
installation without the hassle of wiring up every gallery visitor.
Here, sound, and the physicalisation of sound has helped me create enveloping
environments that (might) suspend time for the visitor.
following on to Johannes and Atau's posts...
microwave ovens are interactive.
gratuitous interactivity might pose barriers to other nice words like:
engagement, enthrallment (or is that just 'thrall' ?), or fugue?
perhaps speed is a factor in media art's growing up.
in the golden age of media
