----------empyre- soft-skinned space----------------------
HI Simon
Yes indeed, technological development may have extended our agency in our
private space - for instance dance performance, but has at the same time opened
access to a remote agency - The exploration of the differences is interesting -
through the addition of bio-sensors to a dancers vocabulary, they may, through
biological changes on their body, use transformations of that bodies state
which are unseen by others, enact a work of performance. That work of
performance may immerse, engulf, an audience if performed in the round with
projected images in 3D and multichannel surround sound.
This is of course a public space, and yet the dancers inner working (brain
waves, muscle actions, heart rate, skin conductance etc) are a private state -
both being therefore enacted simultaneously.
I have been working on a framework to consider these ideas and will share here
the second section on Agency and Control
II. Agency and Control contains four subdimensions:
1) locus of agency or control; 2) scale or level of influence; 3) immediacy;
and 4) planning.
locus of agency or control;
- Locus of agency or control. Both agency and control can be individual, shared
or joint, or more broadly distributed. Conception, design, and performance can
(rarely) be the sole function of a single artist (though even in this case
uptake and reception will be spread). More commonly, in collaborative creation
the various roles can be divided across distinct specialists, or alternatively
various functions can be collaboratively fulfilled in more improvisatory and
overlapping manner by many artists working closely and interactively together.
scale or level of influence;
- Scale refers to the scale or level at which the agents (human or
technological, individual or collective) influence the performance processes
and outcomes. The forms of control exercised by agents can, at different times
and in different contexts, be precise determinations or realizations of each
moment of the work, or higher-level settings of the orientation, shape, and
mood which leave details to be filled in and completed in action.
immediacy;
- Immediacy relates to the coarseness of control, and can be evaluated for
momentary nuance of control and influence over the production of real-time
content during performance. Like the sense of presence or immersion with regard
to embodied experience, immediacy of control can vary substantially across the
distinctive timescales of a single work.
planning;
- Planning. A work may be planned, to greater or lesser degrees of precision in
various respects, more or less in advance. The temporal structure of the work,
the aesthetic content, the form and dramaturgy of the work can be more or less
predetermined, and correspondingly more or less constructed on the fly.
thoughts?
Cheers, Garth
On Jul 19, 2013, at 10:54 AM, BIGGS Simon <s.bi...@ed.ac.uk> wrote:
> ----------empyre- soft-skinned space----------------------
> Hi Garth, Mez, Deborah, et al
>
> The issue of motion tracking is connected to that of developments in
> surveillance technologies, such as face recognition and behaviour tracking.
> Some of us (as artists, hackers, researchers) are using these technologies to
> open up questions around identity and our inter-connectedness. But we should
> remember that various government, research and corporate agencies are
> exploring these systems with more negative intent. So, if I may, I'd like to
> re-phrase your questions, as follows:
>
> How have notions of agency changed in mediated public and private spaces?
>
> How have notions of embodiment changed, expanded or transformed, in mediated
> public and private spaces?
>
> I'd also like to ask, subsequently, what are the affects upon self and
> collective in this context?
>
> best
>
> Simon
>
>
> On 16 Jul 2013, at 23:18, Garth Paine
> <ga...@activatedspace.com<mailto:ga...@activatedspace.com>> wrote:
>
> ----------empyre- soft-skinned space----------------------
> HI Mez
>
> Yes indeed, a long time already with a good deal of very engaging history, a
> canon of work and several paradigm shifts - i guess Paradigms take a long
> time to develop as Terry was ruminating on last week. But is there actually
> an end point? I wonder if the questions this decade actually mean the same
> thing they were understood to mean last? For instance in that time, much
> higher grade motion tracking, and or much more ubiquitous motion tracking
> (Kinect) have become widely available. I and many others are using wireless
> bio-sensing on dancers in realtime.... etc These may only appear to be
> technical developments, but in fact they also represent a movement of ideas
> (for instance, that we can track the body in space in realtime, or understand
> something about the organisation of limbs in space or to each other...)
> beyond the university/industry lab into the everyday practice of a wide range
> of artists, which in term ramps up the investigation exponentially - now much
> of those outcomes will be under-developed and perhaps naive, both others will
> be surprising, inspiring and pique the interest of all from Professors to
> undergraduate students to communities of hackers... at that point emergent
> applications come to light and the paradigm broadens and shifts. Then, when
> we ask the same simple question(s), ie.
> • How have notions of Agency changed in mediated performance?
> • How have notions of embodiment changed, expanded or transformed, in
> mediated performance?
>
> We possibly get much different answers
>
>
> Cheers,
> Garth Paine
> ga...@activatedspace.com<mailto:ga...@activatedspace.com>
>
>
>
> On Jul 16, 2013, at 8:27 PM, mez breeze
> <netwur...@gmail.com<mailto:netwur...@gmail.com>> wrote:
>
> ----------empyre- soft-skinned space----------------------
> On Tue, Jul 16, 2013 at 8:18 PM, Garth Paine
> <ga...@activatedspace.com<mailto:ga...@activatedspace.com>> wrote:
> 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…
>
>
> Hi Garth, All.
>
> Talking of interactive systems that stretch and [potentially] make elastic
> definitions involving consciousness, autonomy, agency and otherness, I've
> just been reminded of one of my early unpolished AI Stories through a
> call-out via Christy Dena for Aussie SciFi/Robot Writers. "The (MALFI)
> Trials" was written in 1996 and incorporated elements from
> text-abbreviation-"speak" (back then it was via email list/irc conventions
> rather than mobile) and faux scientific journal emulation. There's a badly
> formatted first draft available here if you're curious: http://bit.ly/8JkwKE.
> The final draft (sans typos/errors but keeping elements of the original
> formatting) was published via "Interaction: Artistic Practice in the
> Network", an Eyebeam Book, in 2001. Just makes you realise that these issues
> have been kicking around [and around again] on these types of online forums
> [+ elsewhere, obviously] for an elongated time.
>
> Chunks,
> @mezbreezedesign + @netwurker
>
> --
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>
>
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>
> Simon Biggs
> si...@littlepig.org.uk<mailto:si...@littlepig.org.uk>
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>
> 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
>
>
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> Scotland, with registration number SC005336.
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