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.


Tuesday, January 4, 2011

Assignment: 1/10/11 "Performing the Avatar


AVATAR: An avatar is a computer user's representation of himself/herself or alter ego whether in the form of a three-dimensional model used in computer games, or a two-dimensional icon, or a ScreenName used on Internet forums and other communities. The term "avatar" can also refer to the personality connected with the screen name, or handle, of an Internet user.






Introduction

Influences: In digital media identity can be fluid and fluctuating. Early video art experiments often turned the medium on the performer and addressed concepts of identity and self-representation. The potential of media as a lens through which we might better know ourself is nothing new. There are many ways we daily perform/represent our identities through/in media, whether it is online in social networking sites, when we chat with friends through an alias, or control a representation of ourselves in a video game. After the ideals of the 60s, many performances turned from outward focus on community to an inward focus on the self. Performance Art was somewhat obsessed with the self, often to the point of narcissism. For this exercise we are going to start where we are most familiar: performing the self. We are going to make an ultimate avatar that is an amalgam of all our virtual identities and bring it into the very real space of live performance and the body.


  1. You may answer the prompt literally and create a “character” that will be performed online or in class. I'd prefer a form of performance for this assignment made in live space because I think it could offer an interesting parallel of bringing the virtual representation of ourselves into real-life flesh. However, if you are uncomfortable with that idea for now I would accept a performance online. I will give an example of this below. As long as it is well thought out, addresses the concept, and is in an advanced stage of execution. I'd prefer something more flushed out than a text description.

  2. You may generally respond to the concept of AVATAR as long is it includes clear aspects of your online “selves”


Concrete Approaches:

Here are some quick concrete examples. However, I encourage you to think creatively and bring your own spin to this assignment.


  1. Create a character Script/Profile/Persona Using compilations of images, scraps of found text, and other data that comes up when you search for your “name”. Consider, your name no longer represents only you, but is a unique digital handle for an avatar, that describes and incorporates all the John Does online. Write a Script and create some slides that blend and merge the faces for your portrait. Perform the script you have written as your ultimate character. You may do this anyway you like. One simple way would be to interview yourself using sound files or another student as the interviewer. Stay in character and answer details.

  2. Mine google and websites such as 23 people for text. Log onto facebook make a new profile for the ultimate you using only snippets of text/image that are available to you in the constraint of your searches. Friend all the other yous. Engage in wallposts/messages to them over the week using only material available for your searches. Document the performance of your avatar through screen captures, and or live-reading of the facebook profile/results to the class.

  3. Pick a community forum to infiltrate. Create two alternate characters with different personas but your same name. These characters should be diametrically opposed and can represent multiple parts of yourself. Post as both characters, imagine how they would respond to other people's post differently. Have the characters acknowledge the same name coincidence. Insert yourselves In the forum. Argue amongst yourselves on the forum about who has the most authentic interpretation/better responses. Rinse, lather repeat until someone calls your bluff.

  4. Alternatively. Create one character to infiltrate the forum. The type/nature/purpose of the forum is key. Within your responses change a key aspect of the character with each post: voice, prose level, gender, race, ethnicity...take inspiration for the multiple voices from the lives of the people you find who share your name.

  5. Think about the qualities of body movement as an avatar. Compose a Dance piece in the vein of Foofwa's avatar performance. Title it your name. Project as a score the avatar photos that come up with google search. How would these people move in space? Study a series of different walks for some additional clues. Use very close zooms of the pixils in the photos as a visual score if you are stuck. Feel free to use the advanced image search tools. What clipart are you?

  6. Find your name soul mate. Create a performance based on one other person that shares your name. For example. Discover you're a toddler since the late 90s imagine what your life might be like now in photo-diary form. Keep the leaping dolphins for dramatic emphasis. EXAMPLE



Day 2 Fluxus and Composition 1/4/11

Administrative:
  1. Portfolio of process and artist documentation

  2. Attendance Policy

  3. reminder to email me saying you have read the syllabus.


Exercise from 1/3/11

before we begin
  1. Impressions from the exercise, what was instructive, what was destructive?

  2. What can we learn from the original fluxus movement and why is it still relevant today? Especially for artists incorporating media?

The script I gave you was to expand your notion of performance and score as well as address the key concepts of interval, time and space. Since our resources are limited in this class, the the hope is that you will be able to treat accessible aspects of digital culture/digital media you encounter “in the wild” as you did this score and consider ways of interpreting them for performance. Also, on a practicle level we will consider the fluxus paradigm of what is simple and does not need to reply on complex technical apparatus.


Key Concepts: Fluxus to Digital Media
  • Fluidity-Flux-Improv that is situationally determined.
  • Democratization of the production and consumption of art.
  • Chance methods that contribute to the democratization and the real or supposed reduced influence of the author..
  • Letting the work of art make itself.
  • Ephemerality of art object and process.
  • Loosening of conventional boundaries between=intermedia John Cage Theater Piece #1


John Cage

b
Cage organized the performance in line with his recent study of Huang Po's Doctrine of Universal Mind, a key Zen text which explained that nature as a complex of non-hierarchical events where everything has equal value.

George Maciunas-”concretism”: “engages with the world of concrete reality rather than artificial abstraction of illusion.” In theater: “replacement of artificial plots and predetermined acts on stage with unrehearsed and undetermined events resulting from spontaneous and improvised actions of a group of people who have been given by the author only specific tasks or a general outline of actions. - in Avant-garde performance: live events and electronic technologies.



“theater is something which engages the eye and the ear. The two public senses are seeing and hearing; the senses of taste, touch, and odor are more proper to intimate, nonpublic, situations. The reason I want to make my definition of theatre that simple is so one could view everyday life itself as theatre.
-"Interview with John Cage" in the Drama Review: Thirty Years of Commentary on the Avant-Garde.
John Cage, “Freeman-etudes” score, 1952-53 http://upload.wikimedia.org/wikipedia/en/6/60/Freeman-etudes-18.gif
Freeman Etude #23, 1990 with notation example based on star chart
Williams Mix info
Great Syllabus with music

Merce Cunningham: http://www.merce.org/about/mondays-with-merce.php

http://openendedgroup.com/index.php/artworks/hand-drawn-spaces-1998/

http://www.merce.org/company/biped.php

http://www.youtube.com/watch?v=a-QMlTsNtxM

http://openendedgroup.com/index.php/artworks/loops-2001-present/open-acess-data/

http://vimeo.com/4298574


Artists of Interest based-on surveys.

Nam June Paik With Charlotte Moorman: TV Cello, 1984. http://www.youtube.com/watch?v=r9hTdaFz36c

Eduardo Kac: http://www.ekac.org/, http://www.ekac.org/biopoetry.html,

Tiffany Holmes: http://tiffanyholmes.com/

Video Game Performance Art: http://illusion.scene360.com/video/11772/video-game-performance-art-pacman-tetris/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Scene360Illusion+%28Illusion+360%29

Brody Condon, “Worship Online Game Performance”: http://tmpspace.com/worship.html and “Death Animations” http://www.tmpspace.com/deathanims.html

Video Games at Brick: http://www.bricktheater.com/gameplay


Assignment:

Talk more about assignment and bring up site pal. http://www.sitepal.com/

type of body art that deals with questions of authenticity, identity and self-hood in digital age.


Sunday, January 2, 2011

First Day 1/3/11

I. Welcome and Introduction
  • Introduce class description, requirements, and aims
  • Go over syllabus, class structure, readings and expectations
  • Introduce resource page and the following examples of broad range:
  1. Digital Performance Institute: Interesting resource that shows a few different approaches
  2. Ed Purver projections
  3. Digital Art in Activism example
  4. Performance in Device Relay
  5. Very polished spectacle
  6. Conceptual Writing/Conceptual Blogging
  7. Human Beast
  8. 1 Year Performance Video
  9. Early Video Art/Simple Conceptual Experiments
  10. Performance mediated through video
  11. Stelarc: The Body
  12. Performance Art with Conceptual Relevance
  13. What "not" to do
2. Break and Survey

3. Talk about prompts, low-fi, High-fi and concept-based work for final projects

surveillance and capture,circuits,nonlinearity, information transfer,interface, digital/analog, Archive/memory, ping, troll


123 People Exercise due on 1/4/11 & Interpolation due on 1/10/11

4. Wind-down exercise