Course Description


What does it mean to perform through/with/in digital media? How can artists harness new media and available technology for performance work? Further, how do we perform the daily use of technology? To investigate these questions we will begin by examining avant-garde practices in theater and literature during the 50s, 60s and 70s together with media art of the 80s and 90s. We will then trace these foundations within contemporary approaches to performance work. While pursuing the practice, history, and theory of performing in and through media, students develop a final project that responds to class themes. An emphasis on concept ensures that students of all technical levels are welcome to engage in theater workshops, class writing exercises, and technical labs Short curated readings will augment our creative practice and fall within broad categories: theoretical texts in performance and media, scripts, interventions in online communities, screenings of installation and performance documentation, video art, games, digital literature, sound recordings, project pamphlets, and reviews. To inspire our work in emerging genres we will consider a variety of artists that perform with media beyond the confines of a computer screen including : The Wooster Group, Alan Sondheim, Laurie Anderson, Judd Morrissey & Mark Jeffery, Nico Muhly, Lynn Hershman, Brian Eno, Janet Cardiff, and George Higgs.


Course Syllabus


Title:Digitally Mediated Performance
Department: RISD Liberal Arts, English [Wintersession 2011]
Instructor: Samantha Gorman/ samantha(dot)k(dot)gorman(at)gmail(dot)com
Office hours available by appointment


Aims

  1. Activate a critical awareness of how we “perform” the use of everyday media and technology. Use awareness to expand our definition of “performance” and foster an appreciation for performance that goes beyond the screen to engage an audience.
  2. Use class material and assignments as input in order to output a capstone performance project that conceptually addresses the notion of the digital/binary.
  3. Develop a solid critical vocabulary founded in history and analysis. Employ new knowledge to hone creative problem solving skills.
  4. Improve the ability to compose and analyze writing about art.
  5. Acquire target skills in media that may evolve or re-imagine one's artistic practice and encourage a greater range of experimentation.
  6. Derive inspiration from a range of relevant modern and contemporary artists.

General Methods and Structure

The Art of Digitally Mediated Performance offers a three-tiered pedagogy: discussion/analysis, practice/experimentation and review/context. Both “structured” and “organic” methods will be employed by students to develop a final capstone performance based on their daily encounters with media. Structured methods will offer weekly milestones and curated assignments to keep students on task. Since not every artist fully conceptualizes content before creating it, experimental prompts will enhance the flexibility of the course. Lessons will be imparted through in-class exercises, tech. labs, open-critique, discussion of readings/artists, and mile-stones. Course material will be flexible according to the interests of the students enrolled. All exercises and assignments are to be formulated from this material with the goal of inspiring reflection on how emerging technologies and historical context may enhance one's artistic practice. Class labs could offer articulated exercises in writing, improv, technological skills and theater warm-ups inspired by class material.

DMP is divided into “input” and “output” days. Output Days are devoted to results: review of student projects, discussion/analysis of readings or artists, and in-class work time. Input Days center on acquiring skills/knowledge through exercises, technical labs, group focus work and one-on-one assessment meetings. Students are invited to bring computers or technical materials. If students bring computers they must have them closed during class-time unless needed for a class activity. Advanced technical resources aren't necessary or mandatory since DMP is conceptually focused to accommodate a range of skill levels.


Objectives :

In fulfillment of the first aim, each student will produce one capstone project that incorporates material covered in class. This performance project should be significant, but not overly ambitious and should draw upon readily available resources: such as skills, materials, and local communities. Project's technologies need not be overly complex as long as the project meets class guidelines and is conceptually sound. It is useful to acquire new tools or improve on current skills, but essential to keep focused on what is simple, effective and punctual. In addition to regular feedback on Output Days, students will be assessed at three major critiques: mid-term, pre-final and final. Ideally, student's will receive additional critique from their colleagues within an atmosphere of open dialogue between disciplines. All students will be required to attend office hours at least once for discussion of progress and individual technical support.

Facilitated discussion of the media and performance theory covered in readings/screenings will help fortify the class's creative practice. Short curated readings will link the nuances of what it means to “use” technology with performance practices examined in class. Readings will be weighed more at the beginning of the session to help build a firm foundation. The aim is to question the use of technology and the participation in virtual communities as a type of ritualistic daily performance where the interface is the stage. Within technology's virtual and physical stage we can take our practice beyond live proscenium theater into the more malleable and interactive realm of bits.

Avant-garde practices in theater and literature in the 50s, 60s and early computer art will be analyzed through writing and discussion. Parallels will be established between contemporary media theory and its historical context. Take-home assignments will cover: reading a short passage of relevant prose, writing about projects or artists, viewing the work of an artist, responding to a creative prompt or some combination of the above. In addition to a final artist statement, short analytical writing exercises may be required. These short exercises would help document project progress. A relevant writing exercise may expand on the semiotic notion of “text” in artwork. The scoring/development of art as a form of writing may also be discussed. 



Requirements:
  1. Finish all projects on time and to the best of your ability
  2. Come to studio on time and be prepared to work. Comfortable clothes for movement is encouraged.
  3. Participate in labs, studio critiques and discussions
  4. Respect your colleagues and actively offer constructive feedback
  5. Create a physical archive of your project's progress. With permission of instructor, the student may choose any means/method/material that is most conducive to their practice.
  6. Come to class prepared for discussion: read short readings, complete any writing exercises and view recommended artists.
  7. Meet with me individually at least once. Meetings will be held around midterm and will focus on your progress. 



Assessment:

The system below is a rough guide to grading. Other important factors are: dedication , effort and willingness to engage with class concepts.
15%:Attendance: Class + Office Hours
20%:Participation: Discussion, Critique, Labs and Exercises
20%:Midterm Presentation
30%: Final Performance
15%:Take-home Assignments: Readings, Artist Sites, and Preparation for Class


Visiting Artists, Troupes
Visiting Artist: Pie-hole –Media theater and puppet troupe based in Brooklyn, New York.
Local artist: Ian Hatcher – Musician and performance artist who uses technology.
Human Beast: Local Providence Performers/Musicians who often integrate media in their work.


Concept Prompts for Performance
Surveillance and Capture
Circuit
Non-Linearity
Information Transfer
Digital/Analog
Archive/Memory
Ping/Troll



Class Texts:

Montfort, Nick, and Noah Wardrip-Fruin, eds. The New Media Reader. Cambridge, Mass: MIT,2003.
Kostelanetz, Richard, ed. Scenarios: Scripts to Perform. 1st ed. Brooklyn, NY: Assembling, 1980.

Other non-electronic Sources:

Aronson, Arnold. American Avant-garde Theatre: a History. London: Routledge, 2000.
Counsell, Colin, and Laurie Wolf, eds. Performance Analysis: an Introductory Coursebook. London: Routledge, 2001.
Hanhardt, John G., ed. Video Culture a Critical Investigation. Layton, UT: G.M. Smith, Peregrine Smith Books, 1986.
Harding, James Martin, ed. Contours of the Theatrical Avant-garde: Performance and Textuality. Ann Arbor: University of Michigan, 2000.
McNamara, Brooks, and Jill Dolan, eds. The Drama Review: Thirty Years of Commentary on the Avant-Garde. Ann Arbor, MI: UMI Research, 1986. .
"'Theatre Analysis: Some Questions and a Questionnaire' in Analysing performance." 1985. Performance Analysis: an Introductory Coursebook. Ed. Colin Counsell and Laurie Wolf. London: Routledge, 2001. 229-32.
Weiner, Hannah. Hannah Weiner's Open House. Ed. Patrick F. Durgin. Berkeley, CA: Kenning Editions, 2007. Print.
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