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.


Monday, January 10, 2011

Week 2 Embodiment 1/11/11!

Agenda:

  1. Final Avatar Critique:
  2. Administrative: make-up class
  3. Short small group discussion on resource assignment for 1/10/11. Send Responses before Wednesday to my risd email.

    4. When dance-media and social media merge to form social dance-media works, the result is not simply additive. Posting a comment on a YouTube video, for example, does not constitute an example of social dance-media, since the commentary does not alter the work as such. The choreographic component of social dance-media must accommodate and reflect the use of social media strategies in composition as well as reception, which allow a creator to integrate users and audience members not just as commentators, but also as collaborators of a sort.
    –from "Screendance 2.0: Social Dance-Media" at Participations by Harmony Bench

  4. Workshop Projection Exercise with Pianographique

Assignment:
  1. Download and try free demo of Max 5 with Vizzie. Watch tutorials to get some ideas.

Posted by sgorman at 8:52 PM

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