Paper presentation proposal, Dr. Gregory Sporton & Tychonas Michailidis, Visualisation Research Unit, Department of Art, Birmingham City University.
Traditionally, latency is considered as a problem in performance contexts, and nowhere has this been more apparent than in the use of the Internet for networked-based performance. The absence of latency in stand-alone computers contrasts with the experience of networked performance, creating ambivalence about the role the network can play in computer-based sonic and visual art.
This paper suggest that rather than being a problem for the digital artist, latency is an inherent property of the network, and as such is one of the determining features of the creative space. This demands that creative practitioners account in their work for latency as a creative and aesthetic aspect of digital arts practice.
The opportunities are more apparent when it comes to live performances or interactive installation using technology. Hardware communication, long cables and networking produce significant latency that does not respond instantly to the performance or installation situation. We discuss, through practical demonstration, not how to reduce latency to the minimum but rather how to use latency as a creative and aesthetic property within the presentation structure. Creativity through latency is exploited by suspending the expectations of what we experience visually, aurally and sensually.
We approach the aesthetics of latency in two ways. Firstly we examine the effect of different latencies by delaying the audio from the visual and vice versa. Secondly, we look at the effects of latency in audio-haptic domain. By examining the areas above we present some alternative approaches in digital creativity practice, experiencing latency from an audience perspective as well as the challenges for the performer.
Monday 15 December 2008
Wednesday 11 June 2008
Writing with Her Body: Transference of Movement, Spectacle and Meaning through Technology
Writing with Her Body: Transference of Movement, Spectacle and Meaning through Technology
When the American dancer Loie Fuller first appeared in Paris, she created a sensation. Her performances combined her graceful physical presence with the latest in stage technology, including lighting devices and gel colours (for which she often owned patents), augmented by prosthetics and vast quantities of silk that extended her body and the flow of her movement. The Symbolist poet Stéphane Mallarmé, inspired by her performance, described her as 'writing with her body' providing a rich starting point for the transference of literary concepts into performance.
Drawing on practical research work in networked art-making and motion capture developed by the Visualisation Research Unit at the School of Art, Birmingham City University, this presentation deals with the issues that arise when the moving body combines with technology to create new meaning to Mallarmé's phrase.
When the American dancer Loie Fuller first appeared in Paris, she created a sensation. Her performances combined her graceful physical presence with the latest in stage technology, including lighting devices and gel colours (for which she often owned patents), augmented by prosthetics and vast quantities of silk that extended her body and the flow of her movement. The Symbolist poet Stéphane Mallarmé, inspired by her performance, described her as 'writing with her body' providing a rich starting point for the transference of literary concepts into performance.
Drawing on practical research work in networked art-making and motion capture developed by the Visualisation Research Unit at the School of Art, Birmingham City University, this presentation deals with the issues that arise when the moving body combines with technology to create new meaning to Mallarmé's phrase.
Friday 8 February 2008
In the Service of the State: Art and Politics in the Soviet Union
A presentation on the impact and influence of the political changes in the Soviet Union on the Arts community from 1917-1940.
When the Bolsheviks seized power in 1917 they inspired a generation of young Russian artists. These artists were looking for practical ways to contribute to the new polity that would eventually become the Soviet Union, and to express the radical ideas of the revolution through their creative activities. The Soviets for their part placed great emphasis on culture, providing funding for many artists and developing many important cultural institutions. The dynamism of this outpouring of creativity waned as Stalin rose to power through the late 1920s, with attacks on formalism and individualism in the Arts restricting artistic activities and modes of expression. This presentation is about the role of the arts during the period 1917-1940, and the consequences that arise when all art has of necessity a political character.
Keywords: politics, russia, constructivism, aesthetics
Stream: Social, Political and Community Agendas in the Arts
Presentation Type: 30 minute Paper Presentation in English
When the Bolsheviks seized power in 1917 they inspired a generation of young Russian artists. These artists were looking for practical ways to contribute to the new polity that would eventually become the Soviet Union, and to express the radical ideas of the revolution through their creative activities. The Soviets for their part placed great emphasis on culture, providing funding for many artists and developing many important cultural institutions. The dynamism of this outpouring of creativity waned as Stalin rose to power through the late 1920s, with attacks on formalism and individualism in the Arts restricting artistic activities and modes of expression. This presentation is about the role of the arts during the period 1917-1940, and the consequences that arise when all art has of necessity a political character.
Keywords: politics, russia, constructivism, aesthetics
Stream: Social, Political and Community Agendas in the Arts
Presentation Type: 30 minute Paper Presentation in English
Tuesday 5 February 2008
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