WEEK 11
9.30: '' Catherine, Jocelyn, Jennifer
10.00: 'Second Life Art Group' Audrey, Sam, Leigh, Boris, Julia
10.30: 'Chrysalis' Sarah ,Shari, Jack, Christina
11.00: 'Colouring It Blue' Clara
11.20: 'Beijing and Athens - the Olympics' Maika, Talin, Anthony, Jessica
WEEK 12
9.30: 'Wake Up' Anna, Hannah, Cainan, Annidette, Michelle
10.00: 'The Phone' Clementine, Louise, Darin, Alex, Annabelle
10.30: 'In The Shadows' Stacey, Ali, Lyndall
11.00: 'Interactivity & immersion within CryENGINE® 2 - The Leading Game Engine of Today' Vijay
11.20: 'Working Title' Christopher, Carolina, Nic, Belinda
Tuesday, May 19, 2009
Monday, May 18, 2009
Icinema reflection- clem russell
Hi all,
Same as below, I know I’m a bit late so apologies! But better late then never! I really enjoyed the Icinema excursion. For the last two years I have walked past that the Icinema and wondered what went on behind those doors. In terms of what actually occurred the overall feelings of excitement I originally felt from the prospects of an excursion remained through out the experience, but were consistently challenged as we ventured further in to the degrees of reality and technology that Icinema presented.
The most intriguing part of the event (for me) was the 3D televisions! I was fascinated and intrigued with what we (the human) became in that room. As the elements that surrounded us began to encompass some degree of life, I felt my existence challenged. It was almost as though we became a hybrid with the screens (the floating ones that is) Everything had its own purpose yet heavily relied upon the other factors for its existence/reasoning of being there! We ultimately controlled the screen choice, but they inturn controlled our attention or choice of what to watch (as there was so many options at once) so who was governing who became blurred. I hope I’m making sense! This made me feel slightly insignificant compared to the technology that was on exhibit. That life had progressed way past the point of me living in the 3D world, and TV – Internet existing only in the 2D world.
To simplify what I am trying to say, overall I felt all the elements of the Icinema made a me feel less like an individual and more like a human/technology cyborg, in co-existence with the room! I felt transported, yet that transportation on some level was to the places we were visiting, but more a trip inside the visions being seen. I felt as though I was the camera or technology viewing the selected scenes.
This gave me a new outlook in to the directions education and experience are taking. The possibilities of being with out moving are becoming more and more a reality. (Kinda second life sims type experience)
Thus, Overall I think this type of technology has great potential but we as a society must be careful when using it not to exploit its power. I think the ways in which it could aid most industries is incredibly amazing but there is nothing like personal experience and we must be careful to remember the differences between actual 3D and technologically stimulated 3D.
Just to add! Also, it was really fun! Made me feel a bit dizzy and sick at times! Also made me feel like I needed a holiday! I loved the beach and driving part as well! That was slightly trippy yet an overall wicked experience.
Same as below, I know I’m a bit late so apologies! But better late then never! I really enjoyed the Icinema excursion. For the last two years I have walked past that the Icinema and wondered what went on behind those doors. In terms of what actually occurred the overall feelings of excitement I originally felt from the prospects of an excursion remained through out the experience, but were consistently challenged as we ventured further in to the degrees of reality and technology that Icinema presented.
The most intriguing part of the event (for me) was the 3D televisions! I was fascinated and intrigued with what we (the human) became in that room. As the elements that surrounded us began to encompass some degree of life, I felt my existence challenged. It was almost as though we became a hybrid with the screens (the floating ones that is) Everything had its own purpose yet heavily relied upon the other factors for its existence/reasoning of being there! We ultimately controlled the screen choice, but they inturn controlled our attention or choice of what to watch (as there was so many options at once) so who was governing who became blurred. I hope I’m making sense! This made me feel slightly insignificant compared to the technology that was on exhibit. That life had progressed way past the point of me living in the 3D world, and TV – Internet existing only in the 2D world.
To simplify what I am trying to say, overall I felt all the elements of the Icinema made a me feel less like an individual and more like a human/technology cyborg, in co-existence with the room! I felt transported, yet that transportation on some level was to the places we were visiting, but more a trip inside the visions being seen. I felt as though I was the camera or technology viewing the selected scenes.
This gave me a new outlook in to the directions education and experience are taking. The possibilities of being with out moving are becoming more and more a reality. (Kinda second life sims type experience)
Thus, Overall I think this type of technology has great potential but we as a society must be careful when using it not to exploit its power. I think the ways in which it could aid most industries is incredibly amazing but there is nothing like personal experience and we must be careful to remember the differences between actual 3D and technologically stimulated 3D.
Just to add! Also, it was really fun! Made me feel a bit dizzy and sick at times! Also made me feel like I needed a holiday! I loved the beach and driving part as well! That was slightly trippy yet an overall wicked experience.
Thursday, May 14, 2009
Icinema - related mediatization info
Hi Guys,
I know im about three weeks late but i thought id quickly post my thoughts on the Icinema excursion we took the other week. I found the whole environment very surreal and exciting. I think in terms of the interaction photos (of different places and countries) i was afraid that one day this might influence peoples decisions to travel at all. If one was able to go, see, and experience a place without leaving their living room (or movie room) I am worried they would be content with this. It frightens me that this may be a possibilty in the future as it would have devistating effects on tourism and poor countries that rely on international tourism.
On the other hand as a spectator I really enjoyed both the theatre performance done with the round 360 camera. It really displaced me and made me feel as if i was secretly watching the performances without the performers knowing! I felt as if i had been in the real life 'honey i shrunk the kids' and i was a teenie tiny person sitting in their set.
Finally i thought the idea of working with other industries to furthur the prospects of simulation training is absolutely incredible. as i said in the theatre i can think of a single company that would prefer to place their trainee staff in the dangerous 'real life' experience as opposed to the simulation experience! I feel they might be on a winner there!!
I also wanted to add to the blog a film clim and web page that i thought you might want to check out. It is an idea that my group are using to base our performance proposal on, however it is seriously clever and an exciting prospect for the future of performance!!
www.playingforchange.com
www.youtube.com/watch?v=Us-TVg40ExM
Thanks,
Hannah
I know im about three weeks late but i thought id quickly post my thoughts on the Icinema excursion we took the other week. I found the whole environment very surreal and exciting. I think in terms of the interaction photos (of different places and countries) i was afraid that one day this might influence peoples decisions to travel at all. If one was able to go, see, and experience a place without leaving their living room (or movie room) I am worried they would be content with this. It frightens me that this may be a possibilty in the future as it would have devistating effects on tourism and poor countries that rely on international tourism.
On the other hand as a spectator I really enjoyed both the theatre performance done with the round 360 camera. It really displaced me and made me feel as if i was secretly watching the performances without the performers knowing! I felt as if i had been in the real life 'honey i shrunk the kids' and i was a teenie tiny person sitting in their set.
Finally i thought the idea of working with other industries to furthur the prospects of simulation training is absolutely incredible. as i said in the theatre i can think of a single company that would prefer to place their trainee staff in the dangerous 'real life' experience as opposed to the simulation experience! I feel they might be on a winner there!!
I also wanted to add to the blog a film clim and web page that i thought you might want to check out. It is an idea that my group are using to base our performance proposal on, however it is seriously clever and an exciting prospect for the future of performance!!
www.playingforchange.com
www.youtube.com/watch?v=Us-TVg40ExM
Thanks,
Hannah
Case Study: 'In the Shadows'
Lyndell Walsh, Ali Saad and Stacey Neumann
Our group has chosen to do a case study on 'In the Shadows' a very recent theatre work which was performed at PACT Youth Theatre in Erskenville from the 29th to the 3rd May this year. The work was created and performed by 'Stage Juice', an emerging Sydney theatre group which is run and produced by many UNSW associates including Katy Green and Tom Hogan. It was an extremely short work lasting only approximately 40mins and incorporated dance, music and projection as well as prerecorded and live video.
Our study is particularly aimed at deconstructing the performance's relationship to surveillance and liveness as well as highlighting the obstacles experienced by emerging artists in Sydney when engaging with new media technologies.
The artistic director, performer and creator of the work, Katy Green has agreed to do a video interview with us so we can use some of the footage in our presentation. Perhaps even begin the presentation with Katy introducing the work with a short summary as there was no video taken of the performance. Photos and diagrams will also be used to describe the performance.
We plan to compare our personal impressions of the performance with it's intended impact upon audiences to assess its relative success (or failure) and possible room for future improvement, tempering this analysis of course with a recognition of its low budget and limited access to new technology.
Our group has chosen to do a case study on 'In the Shadows' a very recent theatre work which was performed at PACT Youth Theatre in Erskenville from the 29th to the 3rd May this year. The work was created and performed by 'Stage Juice', an emerging Sydney theatre group which is run and produced by many UNSW associates including Katy Green and Tom Hogan. It was an extremely short work lasting only approximately 40mins and incorporated dance, music and projection as well as prerecorded and live video.
Our study is particularly aimed at deconstructing the performance's relationship to surveillance and liveness as well as highlighting the obstacles experienced by emerging artists in Sydney when engaging with new media technologies.
The artistic director, performer and creator of the work, Katy Green has agreed to do a video interview with us so we can use some of the footage in our presentation. Perhaps even begin the presentation with Katy introducing the work with a short summary as there was no video taken of the performance. Photos and diagrams will also be used to describe the performance.
We plan to compare our personal impressions of the performance with it's intended impact upon audiences to assess its relative success (or failure) and possible room for future improvement, tempering this analysis of course with a recognition of its low budget and limited access to new technology.
Wednesday, May 13, 2009
Microsoft’s DirectX®10 - Experience a whole new level of gaming Interactivity and Immersion
I intend to focus on Microsoft’s DirectX®10 (Microsoft 2009) as a media technology which is used in todays video games as a graphic accelerator.
I will be using examples from game titles like Crysis™ (Electronic Arts Inc. 2008), Wanted Weapons of Fate (Warner Bros. Entertainment Inc. 2009), X-Men Origins: Wolverine (Activision 2009), and so on.
Image courtesy of Electronic Arts Inc. 2008; Warner Bros. Entertainment Inc. 2009; Activision 2009
By doing so, I would be demonstrating the level of interactivity and immersion that these games are capable of. I will be linking up my findings with the notions on ‘Interactive Art: Installation and Cinema’ and ‘Video Art’ from Micheal Rush’s New Media in Late 20th-Century Art.
Bibliography
Activision, 2009. X-Men Origins: Wolverine Official Video Game Site. Available at: http://www.uncaged.com/ [Accessed May 12, 2009].
Electronic Arts Inc., 2008. EA : Crysis : Age Verification Page. Available at: http://games.ea.com/crysis/ [Accessed May 12, 2009].
Microsoft, 2009. DirectX® 10. Available at: http://www.gamesforwindows.com/en-US/AboutGFW/Pages/DirectX10.aspx [Accessed May 12, 2009].
Warner Bros. Entertainment Inc., 2009. Wanted Weapons of Fate Video Game | Gameplay Trailers, Videos & Downloads| XBOX, PS3, Playstation & PC Game. Available at: http://thewanted.warnerbros.com/ [Accessed May 12, 2009].
I will be using examples from game titles like Crysis™ (Electronic Arts Inc. 2008), Wanted Weapons of Fate (Warner Bros. Entertainment Inc. 2009), X-Men Origins: Wolverine (Activision 2009), and so on.
Image courtesy of Electronic Arts Inc. 2008; Warner Bros. Entertainment Inc. 2009; Activision 2009
By doing so, I would be demonstrating the level of interactivity and immersion that these games are capable of. I will be linking up my findings with the notions on ‘Interactive Art: Installation and Cinema’ and ‘Video Art’ from Micheal Rush’s New Media in Late 20th-Century Art.
Bibliography
Activision, 2009. X-Men Origins: Wolverine Official Video Game Site. Available at: http://www.uncaged.com/ [Accessed May 12, 2009].
Electronic Arts Inc., 2008. EA : Crysis : Age Verification Page. Available at: http://games.ea.com/crysis/ [Accessed May 12, 2009].
Microsoft, 2009. DirectX® 10. Available at: http://www.gamesforwindows.com/en-US/AboutGFW/Pages/DirectX10.aspx [Accessed May 12, 2009].
Warner Bros. Entertainment Inc., 2009. Wanted Weapons of Fate Video Game | Gameplay Trailers, Videos & Downloads| XBOX, PS3, Playstation & PC Game. Available at: http://thewanted.warnerbros.com/ [Accessed May 12, 2009].
SLAG
Ladies and gentlemen. Presenting
SLAG
(Second Life Art Group)
As a small collective we are interested in the ways a person may represent themslves in a un-monitored, anonymous virtual realm. We seek to juxtapose this with a similar representation of self in a real world situation, immediate and personal. We will pose the open question, Tell us a Story. The boundaries of this question being intentionally vague. What is a story? Who is a story about? Does a story present a truth? Can a story tell a story about the self? Is a story personal or impersonal? Fictional or Factual? When posed with this question, how will the stories differ between the two realms of existance?
We will stage two story telling events, one in the online world of Second Life, and one in an analogous place in the Real World. We will ask people and avatars to tell us a story and these will be recorded.
These stories will form the text and basis for a realworld live event. a multi/inter medial performance. The stories will act as a script, and will be both enacted out, analysed and juxtaposed against each other. Ideally this performance will be simulcast in the realm of Second Life as well. We hope to embody both the virtual and breathing avatars of average participants.
We are interested in how the simple idea of storytelling is altered through different forms or percieved contact. In an anonymous, virtual world, where speech is untraceable, and people are un-recognisable, will the stories be different to a traceable, recognisable and known real world?
So keep your eyes here for when you can participate and become part of the SLAG project.
Julia, Leigh, Audrey, Sam, Boris.
SLAG
(Second Life Art Group)
As a small collective we are interested in the ways a person may represent themslves in a un-monitored, anonymous virtual realm. We seek to juxtapose this with a similar representation of self in a real world situation, immediate and personal. We will pose the open question, Tell us a Story. The boundaries of this question being intentionally vague. What is a story? Who is a story about? Does a story present a truth? Can a story tell a story about the self? Is a story personal or impersonal? Fictional or Factual? When posed with this question, how will the stories differ between the two realms of existance?
We will stage two story telling events, one in the online world of Second Life, and one in an analogous place in the Real World. We will ask people and avatars to tell us a story and these will be recorded.
These stories will form the text and basis for a realworld live event. a multi/inter medial performance. The stories will act as a script, and will be both enacted out, analysed and juxtaposed against each other. Ideally this performance will be simulcast in the realm of Second Life as well. We hope to embody both the virtual and breathing avatars of average participants.
We are interested in how the simple idea of storytelling is altered through different forms or percieved contact. In an anonymous, virtual world, where speech is untraceable, and people are un-recognisable, will the stories be different to a traceable, recognisable and known real world?
So keep your eyes here for when you can participate and become part of the SLAG project.
Julia, Leigh, Audrey, Sam, Boris.
Identity Definitive (I.D) - [working Title]
Group Proposal -
Nic Douglas, Karolina Kosla, Christopher Childs-Maidment, Belinda Elchaar.
The departure point for our project developed from Question 3 (a) of the guidelines: "applies to an aspect of the Australian community". Of course it is an innocent guide to help in the structuring of our projects (we know you were not trying to subversively control and limit our process Bryoni : ) !!) But when you take a close look at this kind of guide and its application in the performance industry what does it mean for our creative freedom?
Our group has decided to explore how the mediatisation of the Australian image through film affects how others perceive us and how we then perceive ourselves. Furthermore we will seek to show how these characteristics can potentially lead to a stagnation of identity within the general community and the film industry.
In keeping with the ‘interventionist’ outline of the project we aim to produce an 'Australian' film that doesn’t contain any popular, iconised characteristics of the 'Australian' identity, and then apply to Screen Australia for funding to see if we fit into the 'significant Australian content'(SAC) guidelines (you can look at the guidelines HERE).
Although the film is our ultimate goal, the main body of the project is to set up a website that tracks the films creation as it develops from the story board to the finished product. The website would offer online participation, such as surveys, blogs and opinion polls to help identifying with what people believe to be 'Australian' and so further inform our process. By doing so we hope to question people’s perceptions of identity and prompt at least an awareness of the influence mediatised 'truth' can have.
As we found in the study of Phillip Auslander there is the notion that theatre imitated the 'live' and film imitated the theatre only in turn for theatre to imitate film. It would seem that this notion draws parallels to the way the Australian identity has been lived, expressed, appropriated and then played back to us. In seeing this playback we perceive a reflection that we then adhere to; we perform in ourselves what we have perceived, however those perceptions are based on our initial performance. It's this process that provides a potential loop that could lead to the stagnation of identity and as a result inhibit the creative process.
So what does it take to make an Australian film? Is it enough that the people physically involved with the process, from writer to crew, are 'Australian' even if the film is set in Africa? Or does it mean we have to tell an "Australian" story? What ever that may be. We would be interested to hear your thoughts on what you think it means to be Australian. If there is indeed a definitive label at all.
A really interesting and clever influence that we have looked at in considering our website is the site promoting an upcoming movie D9 LINK
It draws some parallels that we think really sit well with our topic. A person is a person regardless of their origin. A story is a story regardless of its origin. And in the film industry, in our community, in the world, that should be what matters.
Tuesday, May 12, 2009
Research Proposal
Research Proposal - Case Study
Jack Butler, Shari Marie, Christina Terranova, Sarah Milsted
The changing form of the human body and its extensions have become a critical focus for many modern dance performances; none more so than Craig McGregor’s Crysalis. Crysalis was one of three award winning dance films presented on DanseDanseDanse by Heure d’Ete Productions. In this fantasy world dancer McGregor plays the part of K a half insect, half metal-head-plated human, slithering around in a bath, wired up to futuristic technological devices that seem to give us an insight into his thought processes. Through this piece we aim to derive a further understanding of the ways in which the body is differentially understood in the modern world. Unpacking McGregor’s artistic commentary in Crysalis will enable us to understand more comprehensively his understanding of the ways in which the body interacts with the mind in a technologically mediated environment.
Jack Butler, Shari Marie, Christina Terranova, Sarah Milsted
The changing form of the human body and its extensions have become a critical focus for many modern dance performances; none more so than Craig McGregor’s Crysalis. Crysalis was one of three award winning dance films presented on DanseDanseDanse by Heure d’Ete Productions. In this fantasy world dancer McGregor plays the part of K a half insect, half metal-head-plated human, slithering around in a bath, wired up to futuristic technological devices that seem to give us an insight into his thought processes. Through this piece we aim to derive a further understanding of the ways in which the body is differentially understood in the modern world. Unpacking McGregor’s artistic commentary in Crysalis will enable us to understand more comprehensively his understanding of the ways in which the body interacts with the mind in a technologically mediated environment.
http://www.smh.com.au/news/home/technology/rape-game-rewards-sexual-violence/2009/05/11/1241893890294.html
since we were on the topic of a rape case in a virtual world - second life, i thought this article will highlight further issues about regulating virtual worlds.
i was thinking through about today's discussion on the case study, and realised that more likely than not, linden will not be responsible for the rape as the rape was not committed by them but by individuals in the virtual reality. however, the victim might be able to get some form of redress if he/she can demonstrate that there has been some form of negligence played on the part of linden and that they had a duty of care to her. i don't think it'll be possible to just sue them for psychological trauma as they probably never did permit such actions by another player and they probably had tried their best to monitor the situation but resources might be limited.
Depression is one of the most overlooked mental conditions in many societies around the globe. In Australia alone, 10% of the male population and 20% of the female population will suffer from this condition. However, most individuals do not recognise the need to seek help and the mental condition tends to be swept under the carpet until something triggers an extreme response to it – suicide. Every year, there will be around 2000 suicides occurring in Australia and a large proportion of them are individuals suffering from depression. Awareness of this condition is rising but is still lacking and this performance project proposal aims to help more individuals understand on a more confronting basis.
The performance project proposal will most likely be in the style of the typical public service commercial, except that there will be multiple commercials going on simultaneously. A part of the performance that will focus on demonstrating the possible symptoms of depression; another will be portraying the various types of depression. There will be a presentation of the consequences that may follow with and without help. These consequences could highlight the various methods of suicide for those who did not seek help and also, the various methods of recovery or managing of the condition.
Visual mediums will also be used, with snippets taken from films, such as 15 and Prozac Nation playing in the background with no audio. Photographs and a brief biography of various creative individuals, along with individuals from all walks of life will be placed around the space. Audience will be encouraged to participate by getting them to describe how they feel as they watch the performance. There will also be performers who will walk the ground and speak random thoughts in reply to the various responses. This will, hopefully, allow more individuals to recognise and retain the information provided that will be essential in identifying the condition.Research Project Proposal
MEFT3353: Performance in a Mediatised Culture
Research Project: Case Study
Second Life
Cat Griffiths, Jocelyn Underwood and Jen Youkhana
Our group has taken on the concepts of immersion and interactivity, fascinated by the blur between real life and technology as opposed to its simple presence in the 21st century. To explore these concepts, we are looking at Second Life, the virtual world accessed on the internet that surpasses anything seen virtually and interactively in recent times. It differs in that residents have near unlimited freedom to create and experience whatever they want as long as they agree to its terms and conditions of use. Just like in real life, you can hear the wind blowing, waves crashing on the shore, the call of birds, people talking and music playing. The sun goes down at night and you can see the stars. As well as this you can hang out with friends, not to mention being able to visit casinos, shopping centres, dance clubs and the movies, as well as attend special occasions like art gallery openings and fashion shows. While it is cartoony, it is not the visual that immediately blurs the user from distinguishing what is virtual, and what is not. It is the mental space and interactions that happen between the avatars that dedicated users cannot separate from their real life counterparts.
We intend to show how second life interacts with virtual technologies, as well as discuss the laws and rules that exist within this world. Also, we want to open a forum for immersion, discussing how and why people want to submerge themselves into a virtual world, and how their performance in this world influences and/or differs from their performance in their real lives.
To do this, we are going to set up a profile ourselves in Second Life, so we are able to interact with other avatars and explore the world that is offered. We want a first hand experience into the interactions that take place within the virtual world so we can effectively discuss the life presented online, and how immersion and interactivity are concepts that are only new to the ‘live’ experience in performance. We also look various motivations into creating an avatar on Second Life, and if these motivations help or hinder Second Life as experienced by the user.
Key Questions we will discuss:
- If the Virtual World exists and operates in the same way the real world does, what are the real motivations behind its creation at all?
- The concept of total immersion: Why is interacting with technology purely as a medium no longer enough? Why is a complete ‘one-ness’ (being ‘in’ the technology) with the medium (computer) a necessity?
- How does performance in a virtual world affect performance in the real world?
New Media Performances project called " Wake Up"
Group members: Anidette, Anna, Cainan, Hannah and Michelle.
Title of project: “Wake Up”
Aim: To alert the Australian society to its own naivety regarding the lack of Human Rights protection in
Our campaign slogan: “Wake Up”, will be graffiti-ed/givent out/advetised on TV, Radio and the Internet. In conjunction with volunteer celebrities, we hope to encourage people to view our website which will inform more details about the main performance and how to get involved.
The final performance will be performed in various cities in
Budget: we will be seeking assistance from volunteers, government organizations, universities and students, NGOs such as Get Up? Action for
CASE STUDY – MEDIATISED PERFORMANCE IN THE OLYMPIC GAMES OPENING CEREMONY WITH PARTICULAR REFERENCE TO BEIJING AND ATHENS.
CASE STUDY – MEDIATISED PERFORMANCE IN THE OLYMPIC GAMES OPENING CEREMONY WITH PARTICULAR REFERENCE TO BEIJING AND ATHENS.
Anthony Kalergis, Maika Nguyen, Jessica Lawrence and Talin Agon.
The Olympic Games are a celebration of humanity through physical excellence in sport and the arts. The Opening Ceremony of both the recent Beijing 2008 Olympics and its previous in Athens 2004 extended the concept of mediatised performance to drastic levels never thought possible.
The issue of liveness, interaction, intimacy and audience experience is prevalent when analysing a live performance in a mediatised culture. Auslander’s Live Performance In A Mediatised Culture outlines the notion that that the ‘liveness’ of performance and mediatised culture is a fusion of a digital environment that incorporates the live elements as part of its raw material.
The Olympic Opening Ceremonies present mediatised performance in such a way. The presentation will be broken up into four distinct categories of how mediatised performance is used:
• Liveness
• Surveillance
• Embeddedness and Culture
• Technology
Each area will be addressed to the audience with a focus on how such areas are evident within the theatrical and mediatised performance of the Olympic Games Opening Ceremony.
The Olympic Ceremonies highlight the contemporary themes of technology becoming the forefront of society, culture, media & performance. In light of such ideas, the relationship between the body and technology is also intensified. This can be seen in the example of the Beijing Olympics Opening Ceremony in which hundreds of people wore lit-up body suits in which the technology was incorporated into their clothing, which in essence looked as though it was incorporated into the performers' being or selves. The physical participation of the audience within the Opening Ceremony, such as carrying flags or waving torches to create a light effect also incorporates technology as an extension of the individual. The relationship between technology and the body within the performance displays the embeddedness of technology within culture.
The concern for the fusion of technology and culture can be found in the Beijing Olympic Ceremony's theme of 'Civilization & Harmony'. The presentation of the Games relied heavily on the fact that the entire event was mediatised as a ‘live’ performance throughout the world at the exact same time through television broadcast, radio and Internet documentation. Thus in technology being so prevalent within the ceremony it must be asked how this comments on the contemporary notion of civilization and what we, the audience, consider to be reflective of modern day culture.
A live performance must appeal to every sense and emotion possible. A live performance, regardless of its presentation, must contain an intimate relationship and understanding with the audience of the present. The live is the current cultural experience of the audience, whether it is the experience of an original presentation or the reproduction of the original. This is dependent on the level of interaction between the performance and the audience, and arguably (according to Auslander) the level of realism of what is being experienced by the initial audience, irrespective of the time and space.
In this case the group will present a series of YouTube videos, images and minor case studies illustrating various media performances of the Olympics. These include the lighting of the Olympic flame in Beijing (an athlete hoisted into the air, running across the rim of the stadium, which is illuminated with visuals of China’s history and people), the ‘parade of history’ in the Athens 2004 Games illustrating over two-thousand years of history for the Greeks, the countdown to the start of the Opening Ceremony with thousands of Chinese illuminated drums and participants, and the Greek depiction of the development of the arts, sculpture and humanity in its elevation of a series of props and representations to the centre of the stadium.
The embeddedness of technology in culture and the human condition is reflected in performance artists' work such as Stelarc, who explores the symbiotic relationship between technology and the body. Such theories and concepts will be related to the Olympic ceremonies in order to draw conclusions about the relationship between the body and technology as well as embeddedness.
Auslander explains how the notion of liveness has shifted with the development of technology. Not realising that we all consume performance in a mediatised form, such liveness is simply distorted through sound amplification (microphones) to cinematic technique. We often don’t question the nature of liveness when we consume, especially if the consumption offers a particularly good perspective of a performance that we most likely couldn’t reach ourselves. Initially we are accepting. The Beijing Opening Ceremony depicts the traditional past in transition with the technological present. China’s seek for perfection has brought up two startling truths, that is, the digitally produced footprint fireworks and the singing girl who mimics another voice (both of which will be discussed in detail throughout the presentation). Living in such a mediatised world we are able to manipulate such things to a point of contemporary illusion; a new type of liveness.
In connection to this we have the concept of surveillance that we refer to not just literally but cinematically. We found that the Beijing government faced serious controversy with issues of censorship and the Games. Censorship is a form of control that directly correlates to ‘perspective’; the perspective of the performance we are offered, especially in relation to the Olympic Games as it was a largely mediatised and broadcast international event. Much like the ‘Big Brother’ effect, surveillance is kept to control a crowd but also control our experience. The unbelievable footage ties into the whole feeling of power in surveillance. Again we can reflect to the digitally produced footprint fireworks to completely comprehend the true nature of what is ‘unbelievable’.
Such theories will be presented to the class with paper handouts, visual YouTube and image presentation and class discussion. The Olympic Games definitely displays a creative blend of technology, surveillance and culture to create a broad physical and visual experience for the participating audience.
Auslander, Phillip ‘Introduction’ [excerpt] Liveness: Performance in a Mediatised Culture (Routledge, London and New York, 1999), pp10-39.
Anthony Kalergis, Maika Nguyen, Jessica Lawrence and Talin Agon.
The Olympic Games are a celebration of humanity through physical excellence in sport and the arts. The Opening Ceremony of both the recent Beijing 2008 Olympics and its previous in Athens 2004 extended the concept of mediatised performance to drastic levels never thought possible.
The issue of liveness, interaction, intimacy and audience experience is prevalent when analysing a live performance in a mediatised culture. Auslander’s Live Performance In A Mediatised Culture outlines the notion that that the ‘liveness’ of performance and mediatised culture is a fusion of a digital environment that incorporates the live elements as part of its raw material.
The Olympic Opening Ceremonies present mediatised performance in such a way. The presentation will be broken up into four distinct categories of how mediatised performance is used:
• Liveness
• Surveillance
• Embeddedness and Culture
• Technology
Each area will be addressed to the audience with a focus on how such areas are evident within the theatrical and mediatised performance of the Olympic Games Opening Ceremony.
The Olympic Ceremonies highlight the contemporary themes of technology becoming the forefront of society, culture, media & performance. In light of such ideas, the relationship between the body and technology is also intensified. This can be seen in the example of the Beijing Olympics Opening Ceremony in which hundreds of people wore lit-up body suits in which the technology was incorporated into their clothing, which in essence looked as though it was incorporated into the performers' being or selves. The physical participation of the audience within the Opening Ceremony, such as carrying flags or waving torches to create a light effect also incorporates technology as an extension of the individual. The relationship between technology and the body within the performance displays the embeddedness of technology within culture.
The concern for the fusion of technology and culture can be found in the Beijing Olympic Ceremony's theme of 'Civilization & Harmony'. The presentation of the Games relied heavily on the fact that the entire event was mediatised as a ‘live’ performance throughout the world at the exact same time through television broadcast, radio and Internet documentation. Thus in technology being so prevalent within the ceremony it must be asked how this comments on the contemporary notion of civilization and what we, the audience, consider to be reflective of modern day culture.
A live performance must appeal to every sense and emotion possible. A live performance, regardless of its presentation, must contain an intimate relationship and understanding with the audience of the present. The live is the current cultural experience of the audience, whether it is the experience of an original presentation or the reproduction of the original. This is dependent on the level of interaction between the performance and the audience, and arguably (according to Auslander) the level of realism of what is being experienced by the initial audience, irrespective of the time and space.
In this case the group will present a series of YouTube videos, images and minor case studies illustrating various media performances of the Olympics. These include the lighting of the Olympic flame in Beijing (an athlete hoisted into the air, running across the rim of the stadium, which is illuminated with visuals of China’s history and people), the ‘parade of history’ in the Athens 2004 Games illustrating over two-thousand years of history for the Greeks, the countdown to the start of the Opening Ceremony with thousands of Chinese illuminated drums and participants, and the Greek depiction of the development of the arts, sculpture and humanity in its elevation of a series of props and representations to the centre of the stadium.
The embeddedness of technology in culture and the human condition is reflected in performance artists' work such as Stelarc, who explores the symbiotic relationship between technology and the body. Such theories and concepts will be related to the Olympic ceremonies in order to draw conclusions about the relationship between the body and technology as well as embeddedness.
Auslander explains how the notion of liveness has shifted with the development of technology. Not realising that we all consume performance in a mediatised form, such liveness is simply distorted through sound amplification (microphones) to cinematic technique. We often don’t question the nature of liveness when we consume, especially if the consumption offers a particularly good perspective of a performance that we most likely couldn’t reach ourselves. Initially we are accepting. The Beijing Opening Ceremony depicts the traditional past in transition with the technological present. China’s seek for perfection has brought up two startling truths, that is, the digitally produced footprint fireworks and the singing girl who mimics another voice (both of which will be discussed in detail throughout the presentation). Living in such a mediatised world we are able to manipulate such things to a point of contemporary illusion; a new type of liveness.
In connection to this we have the concept of surveillance that we refer to not just literally but cinematically. We found that the Beijing government faced serious controversy with issues of censorship and the Games. Censorship is a form of control that directly correlates to ‘perspective’; the perspective of the performance we are offered, especially in relation to the Olympic Games as it was a largely mediatised and broadcast international event. Much like the ‘Big Brother’ effect, surveillance is kept to control a crowd but also control our experience. The unbelievable footage ties into the whole feeling of power in surveillance. Again we can reflect to the digitally produced footprint fireworks to completely comprehend the true nature of what is ‘unbelievable’.
Such theories will be presented to the class with paper handouts, visual YouTube and image presentation and class discussion. The Olympic Games definitely displays a creative blend of technology, surveillance and culture to create a broad physical and visual experience for the participating audience.
Auslander, Phillip ‘Introduction’ [excerpt] Liveness: Performance in a Mediatised Culture (Routledge, London and New York, 1999), pp10-39.
Group Proposal
Group Proposal
As a group we have come to a decision to tackle the topic of surveillance. We will be paying close analysis to the case study of new media technology such as the mobile phone. One particular program that plays on the notion of surveillance and mobile privacy is Fox 8’s The Phone. The show is part reality and part scripted and follows a game show premise where two phones are placed randomly in a city and when the phone rings someone answers. Whoever answers has three hours to find clues to help find the briefcase with $25,000 cash inside. Throughout the game, the phone will ring with information on what to do next. Two random strangers are paired up and sent around the town looking for memory cards that hold the secrets to the location of the briefcase. In this case study we will also be looking at the definition of embeddedness and how daily reliance on mobile phones allows the mobile phone to become a physical part of our daily living. We will also be looking to see how we can relate this to technological surveillance.Through our case study of The Phone we will be examining the following points:
Observation
Being watched or observed through tapping or hacking our mobile phones e.g. in ‘The Phone’, organizers are able to map out every thing we do daily because we are in constant contact with our phones
One of the major problems for this is the fact that we do not know where this surveillance information is going. As Giannachi says in The Politics of New Media Theatre (2007; pg42) it could be “operated by a public service, a private business, an individual or a group of citizens… We don’t know.”
Using this quote as a springboard we will examine the consequences of people understanding these hacking capabilities and how their use or interaction would differ.Would this change their normal performances/ behaviors in society and rather begin to behave through aesthetic, cultural, or quotidian performances as they know someone may be watching?
Identity
As Peggy Phelan discusses, identity and visibility does not always equal the truth. Therefore even extremely private conversations, where someone feels they are in a private space will be playing a role in some respect fitting into societies norms (for the surveyor). This defeats the concept of mobile phone technology bringing private to a physically public space (“hypervisibility” [Bryoni week 4 lecture]).
We will also be looking at ‘The Blast Theory’ and the theory of the “panopticon”, which is a prison building designed by English philosopher and social theorist Jeremy Bentham in 1785. The concept of the design is to allow an observer to observe (-opticon) all (pan-) prisoners without the prisoners being able to tell whether they are being watched, thereby conveying what one architect has called the "sentiment of an invisible omniscience.” Bentham himself described the Panopticon as "a new mode of obtaining power of mind over mind, in a quantity hitherto without example." This is clearly relates to mobile phone surveillance, as the user of the phone has no way of telling if they are being surveyed.
Lou, Darin, Clem, Alex & Annabel
As a group we have come to a decision to tackle the topic of surveillance. We will be paying close analysis to the case study of new media technology such as the mobile phone. One particular program that plays on the notion of surveillance and mobile privacy is Fox 8’s The Phone. The show is part reality and part scripted and follows a game show premise where two phones are placed randomly in a city and when the phone rings someone answers. Whoever answers has three hours to find clues to help find the briefcase with $25,000 cash inside. Throughout the game, the phone will ring with information on what to do next. Two random strangers are paired up and sent around the town looking for memory cards that hold the secrets to the location of the briefcase. In this case study we will also be looking at the definition of embeddedness and how daily reliance on mobile phones allows the mobile phone to become a physical part of our daily living. We will also be looking to see how we can relate this to technological surveillance.Through our case study of The Phone we will be examining the following points:
Observation
Being watched or observed through tapping or hacking our mobile phones e.g. in ‘The Phone’, organizers are able to map out every thing we do daily because we are in constant contact with our phones
One of the major problems for this is the fact that we do not know where this surveillance information is going. As Giannachi says in The Politics of New Media Theatre (2007; pg42) it could be “operated by a public service, a private business, an individual or a group of citizens… We don’t know.”
Using this quote as a springboard we will examine the consequences of people understanding these hacking capabilities and how their use or interaction would differ.Would this change their normal performances/ behaviors in society and rather begin to behave through aesthetic, cultural, or quotidian performances as they know someone may be watching?
Identity
As Peggy Phelan discusses, identity and visibility does not always equal the truth. Therefore even extremely private conversations, where someone feels they are in a private space will be playing a role in some respect fitting into societies norms (for the surveyor). This defeats the concept of mobile phone technology bringing private to a physically public space (“hypervisibility” [Bryoni week 4 lecture]).
We will also be looking at ‘The Blast Theory’ and the theory of the “panopticon”, which is a prison building designed by English philosopher and social theorist Jeremy Bentham in 1785. The concept of the design is to allow an observer to observe (-opticon) all (pan-) prisoners without the prisoners being able to tell whether they are being watched, thereby conveying what one architect has called the "sentiment of an invisible omniscience.” Bentham himself described the Panopticon as "a new mode of obtaining power of mind over mind, in a quantity hitherto without example." This is clearly relates to mobile phone surveillance, as the user of the phone has no way of telling if they are being surveyed.
Lou, Darin, Clem, Alex & Annabel
Monday, May 11, 2009
controlling technology with facial movements
watching good news week last night, it was mentioned that a new ipod has been developed where you can change the songs with a wink, frown or poking your tongue out... it was then added that the technology is hoped to be extended and used with other forms of technology. paul mcdermont joked about the absurdity of the extent technology and its everyday uses has come in saying something along the lines that, 'this technology is being proposed to be used around the house, with a simple wink devices can be turned on. its much like my lighting system at home, where a simple movement of the finger turns on the lights'... do you agree with this view that we are just becoming way too reliant on the embededness of technology in our lives and perhaps even finding new functions or uses that are completely unnecessary...
Saturday, May 9, 2009
Liveness & embeddedness in live performance
hey guys
the other day i was just listening to some music on youtube and found this video clip. they have strapped cameras on their instruments and microphones... great example of liveness and embeddedness i thought.
check it out http://www.youtube.com/watch?v=xMVTKOoy1uk
Friday, May 8, 2009
spit parties
Hi Guys,
I thought the “23andme” web site might relate to last weeks lecture and Bryoni’s discussion comment on the father who had his daughter tested for the fast gene, (and what to do with that knowledge).
This American company offers online gene testing kits for $399 (there is a mother’s day sale if u buy 2 kits though…). Once your kit is delivered to your home you just have to spit into the tube and send it back to the lab. The DNA is then analysed in the lab and within 6-8 weeks you can view your genome from your online account. This is so you can explore your ancestry, health, and traits and is becoming popular in the States with many taking the test at the increasing “spit parties”, where friends are getting together to spit together.
https://www.23andme.com/
I thought the “23andme” web site might relate to last weeks lecture and Bryoni’s discussion comment on the father who had his daughter tested for the fast gene, (and what to do with that knowledge).
This American company offers online gene testing kits for $399 (there is a mother’s day sale if u buy 2 kits though…). Once your kit is delivered to your home you just have to spit into the tube and send it back to the lab. The DNA is then analysed in the lab and within 6-8 weeks you can view your genome from your online account. This is so you can explore your ancestry, health, and traits and is becoming popular in the States with many taking the test at the increasing “spit parties”, where friends are getting together to spit together.
https://www.23andme.com/
Tuesday, May 5, 2009
Puma "Lift" advertisment:
Understanding the notion of embeddedness & immersion within these virtual spaces. I found this piece of work that resonated well with the main gist of this course, that is, the performance being in some way affected by technology.
http://motionographer.com/theater/puma-lift/
http://motionographer.com/theater/puma-lift/
Monday, May 4, 2009
Surface Computing
Yeah dude this microsoft Surface, is just like the Sixth Sense Project... through a touch screen the computing capabilities are literally at your fingertips. This thing can import photos from your digital camera through just laying it on the surface... talk about wireless. Its all in this Youtube clip i found - http://www.youtube.com/watch?v=rKgU6ubBgJA&feature=related
insane!
The Sixth Sense
Human technology, that has been Nokia's slogan ever since the company was established. More and more devices today incorporate high technology into them without being complicated. It is evident as instruction manuals become more like product brochures as the operation of these devices are become more and more intuitive.
Take the Sixth Sense Project as an example. Masterminded by Pranav Mistry (The dude must be an alien), this project showcases the way of the future of how technology trully is at our fingertips.
Bibliography
Pattie Maes', “Pattie Maes demos the Sixth Sense | Video on TED.com,” March 2009, http://www.ted.com/talks/pattie_maes_demos_the_sixth_sense.html.
Pranav Mistry, “Pranav Mistry,” 2009, http://www.pranavmistry.com/.
Take the Sixth Sense Project as an example. Masterminded by Pranav Mistry (The dude must be an alien), this project showcases the way of the future of how technology trully is at our fingertips.
Bibliography
Pattie Maes', “Pattie Maes demos the Sixth Sense | Video on TED.com,” March 2009, http://www.ted.com/talks/pattie_maes_demos_the_sixth_sense.html.
Pranav Mistry, “Pranav Mistry,” 2009, http://www.pranavmistry.com/.
Friday, May 1, 2009
Impact
I'm sure you all saw Bryoni's email for Impact. Seriously do it. i did it last year. incredible course. But dont apply for vacant room, cos i am...
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