Trajets (2000) is an installation inspired by dance and visual choreography. Twelve motorised screens move slowly in response to the paths taken by the visitors through the space. Video imagery projected onto the screens is of moving bodies and kinaesthetic patterns. The installation is a kinetic, enveloping, responsive environment.
In the ground of trajets we can find two different research on kinetic movement: the first one is Fullers body screenography that uses body as a moving screen to create fantasy(here body itself disappears) and the second one is Mareys movement mapping that investigate body movements to figure out kinetic methode of our body. Through these artistic and scientific scope of movement perception and transformation is the screen stage stretching.
Trajets reduces the gap between action and representation. The screen is not only a projection surface, but also a dynamic participant in the screenography, with video and force-based reactions that move in relationship to the visitor in real-time. The screens in trajets do not separate the subject of the visitor's movement experience from its representation, but instead seek to develop a participatory dynamic which continuously maps and renders present movement perception between the participant and the given feedback experience. The visitor's body in trajets has the opportunity to experience its own inner-felt movements' kinaesthesia, a sense of empathy for other participant's movements and/or physical connection to the images. This physical internal reception of the public is described by visual and cultural critic Marks as haptic cinema a sort of visceral chiasmus of perception and moving images.
“haptic visuality” is a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory.
2008년 4월 25일 금요일
2008년 4월 10일 목요일
Mark Coniglio: Materials vs Content in Digitally Mediated Performance
Mark Coniglio, the author of this text, tries to divide digitally mediated performance in two according to their methodology of the presentation. The first one is ‘material driven’ like “Apparitions” and the second ‘content driven’ like ‘16 (R)evolution’. Of course there are different ways and purposes to use imaginary in the performance. In Apparitions, the visuals stay within a clearly defined realm throughout the course of the piece, and these visuals are visible throughout almost the entire work and the materiality, the exhaustively explore the attributes of all materials, is the subject of the peace. But the 16 Revolutions, on the other hand, presents a far more varied palette of visual imagery that is present in several sections, but is, significantly, absent in others. In the 16 (R)evolution, the visual imagery itself is not the subject but a method to emphasis the narrative of the piece.
Some characteristics of the both side are listed bellow.
Material driven (Apparition)
Based on Reality
Traditional in art making, exhaustively explore the attributes of all materials
Abstraction
Dance (contemporary – without narrative & in abstract sense)
Exploring the materials is the subject of the work
Content driven (16 Revolutions)
Based on illusion
Narrative oriented
Theater (by more traditional literary interpretation)
Use materials to suggest or provide context
An idea implies narrative
Someone is telling a story
Some characteristics of the both side are listed bellow.
Material driven (Apparition)
Based on Reality
Traditional in art making, exhaustively explore the attributes of all materials
Abstraction
Dance (contemporary – without narrative & in abstract sense)
Exploring the materials is the subject of the work
Content driven (16 Revolutions)
Based on illusion
Narrative oriented
Theater (by more traditional literary interpretation)
Use materials to suggest or provide context
An idea implies narrative
Someone is telling a story
2008년 3월 31일 월요일
2008년 3월 18일 화요일
2. Truth-Seeker's Allowance: Digitising Artaud - Steven Dixon
The Chameleons Group is established in 1994 and has toured internationally with innovative 'film-theatre' productions where live actors work in front of large video screens, interacting with film characters and their own recorded 'doubles', and appear to move from the stage to the screen space. The company has produced two award-winning CD-ROMs analysing their work, and has also created high-tech interactive performances for the internet.
The separate ontologies of film and theatre
Audience orientations when experiencing the two forms are quite different since theatre has an inherent falsity acknowledged by all - 'dramatic illusion is nver.. the illusion of reality; it is always imaginative illusion whereas film purports to truth.
The author described the darker aspects of Artaudian theater containing elements such as eroticism, cruelty, the taste for blood, obsession with the horrible, dissolution of moral values, social hypocrisy, lies, false witness, sadism, perversity. There are much of comedy factor in the play of the Chameleons 4.
Humour serves as one of the most direct routes to audience response. Through humor becomes the audience more engaged and drawn to the scene.
Artaud propounds radical theories on the disruptive and transformative potential of what he calls ‘the power of physical and anarchic dissociation in laughter’
The femme fatale accuses the devil for inappropriately staring at her breasts..
As he protests his innocence, she walks around him on the stage shouting angrily, and finally kneels down in front of him with her back to the audience. Her movements are mirrored in a reverse on the screen and mid-shot of her face and torso are facing the audience. ‘Is that what you want to see’, she says as she simultaneously pulls down the front of her dress on the stage, where wee see her back and her breast on the screen...,
The separate ontologies of film and theatre
Audience orientations when experiencing the two forms are quite different since theatre has an inherent falsity acknowledged by all - 'dramatic illusion is nver.. the illusion of reality; it is always imaginative illusion whereas film purports to truth.
The author described the darker aspects of Artaudian theater containing elements such as eroticism, cruelty, the taste for blood, obsession with the horrible, dissolution of moral values, social hypocrisy, lies, false witness, sadism, perversity. There are much of comedy factor in the play of the Chameleons 4.
Humour serves as one of the most direct routes to audience response. Through humor becomes the audience more engaged and drawn to the scene.
Artaud propounds radical theories on the disruptive and transformative potential of what he calls ‘the power of physical and anarchic dissociation in laughter’
The femme fatale accuses the devil for inappropriately staring at her breasts..
As he protests his innocence, she walks around him on the stage shouting angrily, and finally kneels down in front of him with her back to the audience. Her movements are mirrored in a reverse on the screen and mid-shot of her face and torso are facing the audience. ‘Is that what you want to see’, she says as she simultaneously pulls down the front of her dress on the stage, where wee see her back and her breast on the screen...,
2008년 3월 6일 목요일
The chapter 11...
the chapter 11 would be my prefered one. But if it would not be available, then I'll take the chapter 2 or 5.
2007년 12월 6일 목요일
Video: From Technology to Medium, by Yvonne Spielmann
Video differs from television and film due to the function of the apparatus specific to each medium. Firstly signals of the electronic medium (video) are output interchangeably as audio or video and can be fed back as video input, and so forth vice versa. Secondly, Video’s open apparatus structure includes the multiple possibilities for the audiovisual exchange of electronic waveforms. Therefore video is the first audiovisual medium. These differences do matter why video plays an important role in artworks as a part or as a whole.
The author argues video has not become obsolete with the development of computer, but on the contrary has incorporated analogue computer applications since the early 1970s. And video has further enriched an electronic media culture increasingly oriented toward signal processing and digital imaging.
Dan Sandin
He made an image processor named Sandin image processor for his own video works. It was video synthesizer and accepted basic video signals and mixed and modified them with audio. It’s an analog, modular, real time, video processing instrument.
Physically, an Image Processor system would be built out of modules. Several types of modules were defined and typically would be an aluminum box containing a circuit board inside, video connectors and knobs on front of box and power connector on back of box. It provided video processing performance levels and produced subtle and delicate video effects of a complexity not seen again until well into the digital video revolution.
David Stout: NoiseFold
NoiseFold is an interactive visual-music-noise performance that draws equally from mathematics, science and the visual and sonic arts. This networked performance duet explores the use of infrared and electromagnetic sensors to manipulate and fold virtual 3-D objects that emit their own sounds. The work integrates multiple techniques including; real-time 3-D animation, mathematic visualization, recombinant non-linear data-base, A-life simulation, image to sound transcoding, complex data feedback structures and a variety of algorithmic processes used to generate both sonic and visual skins. The result is a theater of emergence and alchemical transformation existing within an intricate cybernetic system. The endlessly folding objects, synthetic life forms, vortices and oblique spirals defy easy anthropomorphic projection - images of crumpled paper, nerve ganglia, dendrites, organic architectures, impossible animals, seed-pods and fungi may come to mind.
The author argues video has not become obsolete with the development of computer, but on the contrary has incorporated analogue computer applications since the early 1970s. And video has further enriched an electronic media culture increasingly oriented toward signal processing and digital imaging.
Dan Sandin
He made an image processor named Sandin image processor for his own video works. It was video synthesizer and accepted basic video signals and mixed and modified them with audio. It’s an analog, modular, real time, video processing instrument.
Physically, an Image Processor system would be built out of modules. Several types of modules were defined and typically would be an aluminum box containing a circuit board inside, video connectors and knobs on front of box and power connector on back of box. It provided video processing performance levels and produced subtle and delicate video effects of a complexity not seen again until well into the digital video revolution.
David Stout: NoiseFold
NoiseFold is an interactive visual-music-noise performance that draws equally from mathematics, science and the visual and sonic arts. This networked performance duet explores the use of infrared and electromagnetic sensors to manipulate and fold virtual 3-D objects that emit their own sounds. The work integrates multiple techniques including; real-time 3-D animation, mathematic visualization, recombinant non-linear data-base, A-life simulation, image to sound transcoding, complex data feedback structures and a variety of algorithmic processes used to generate both sonic and visual skins. The result is a theater of emergence and alchemical transformation existing within an intricate cybernetic system. The endlessly folding objects, synthetic life forms, vortices and oblique spirals defy easy anthropomorphic projection - images of crumpled paper, nerve ganglia, dendrites, organic architectures, impossible animals, seed-pods and fungi may come to mind.
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