Electronic Media & Live Performance: Intro

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Heidegger asserts that phenomena can be grasped in and for themselves in immediate perception. THE FUNCTION OF LANGUAGE is to reveal what phenomena show . However language has a different Being from the phenomena it describes, so the danger is that language will only 'appear' to tell us what the phenomena is. In other words, the inherent danger of describing phenomena in language is that the Being of language (because it is different from the Being of phenomena) can effectively cover up the Being of phenomena. EMLP > OVERVIEW ELECTRONIC MEDIA & LIVE PERFORMANCE PERFORMANCE : DEFINITIONS + Criteria, art, history, theory, identity, ONTOLOGY MEDIA : art, history, theory, EPISTEMOLOGY PRAXIS : TELEPRESENCE, EMBODIMENT, ACTUALITY + INTERACTIVE REALISM LANGUAGE : See Heidegger > > > > > > > > > Live TV & Awards Season Peformance-based Video Instant Replay + Goal-Line Technology Pre-Recorded VideoTape Trials Multimedia Performance EDM, Rock, Pop, & Jazz Dance on Camera Virtual Communities / Environments: MMORPGs, MUVEs, ICTs, Networked Performances Performance of Self Cyborgs, wearable tech, + AI Mind Uploading, Reanimation & Life Extension LARPing , COSPLAY, + DISNEY on ICE

description

Electronic Media & Live Performance is a graduate class in the School of Media Studies at The New School for Public Engagement first developed in 2000. The course surveys the history, theory, practices, and artists involved in the intersections between live performance and electronic media, and covers theater, music, dance, sports, politics, gaming, social media, and the legal arena (e.g. memory retrieval as performance and pre-recorded video trials), as well as cyborgs, virtual reality, and artificial intelligence.

Transcript of Electronic Media & Live Performance: Intro

Page 1: Electronic Media & Live Performance: Intro

Heidegger asserts that

phenomena can be graspedin and for themselves in immediate perception.

THE FUNCTION OF LANGUAGE is to reveal what phenomena show.

However language has a different Being from the phenomena it describes, so the danger is that language will only'appear' to tell us what the phenomena is.

In other words, the inherent danger of describing phenomena in language

is that the Being of language (because it is different from the Being of phenomena)

can effectively cover upthe Being of phenomena.

EMLP > OVERVIEW

ELECTRONIC MEDIA & LIVE PERFORMANCEPERFORMANCE : DEFINITIONS + Criteria, art, history, theory, identity, ONTOLOGYMEDIA : art, history, theory, EPISTEMOLOGYPRAXIS : TELEPRESENCE, EMBODIMENT, ACTUALITY + INTERACTIVE REALISMLANGUAGE : See Heidegger > > > > > > > > >

Live TV & Awards SeasonPeformance-based VideoInstant Replay + Goal-Line TechnologyPre-Recorded VideoTape TrialsMultimedia PerformanceEDM, Rock, Pop, & JazzDance on CameraVirtual Communities / Environments: MMORPGs, MUVEs, ICTs, Networked Performances Performance of SelfCyborgs, wearable tech, + AIMind Uploading, Reanimation & Life ExtensionLARPing , COSPLAY, + DISNEY on ICE

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EMLP > CRED

Early training in theater and dance, performance experience 1978-1999

STAC > TIAA-CREF > INSIDE

MA in Media Studies / 3rd World Newsreel

Award winning performing arts journalist/critic/editor since 1996

10 year term on New York Dance & Performance Award committee (2002-2012)

10 years teaching arts criticism in NAHYP recognized program

15 years producing, marketing, mediatizing dance company

Developed EMLP in 2000 / online first 9 years

Extensive knowledge and network of relationships in performing arts

NPAC Technology Guest Curator

Panelist, moderator, agitator - Movement Research, TCG, CMJ

Access to array of exceptional breadth and depth of performances

including BAM, 3LD, HERE Arts Center, NYLA, Joyce Theater, BAC, BAX,

The Kitchen, Chocolate Factory Theater, Danspace Project, IronDale,

MoMA, New Museum, Roulette, EYEBEAM Gallery, FIAF, Japan Society,

La Mama, NYTW, Lincoln Center, Broadway, Off Broadway, The Public

Theater, Off-off-off Broadway, Site Specific performances, Electric Daisy

Festival, MSG, Barclays, Beacon, Webster Hall, Terminal 5, Joe’s Pub,

Bowery Ballroom, Highline Ballroom, The Apollo, Irving Plaza, Mercury

Lounge, Music Hall, Village Vanguard, Bluenote, Brooklyn Lyceum, The

Whitney Museum, PERFORMA, PS122, Abrons Arts Center, NJPAC,

Jamaica PAC, Snug Harbor, as well as many festivals, free outdoor

events, and performance installations.

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EMLP > DIXON 1

Avant-garde, futurism, 20th Century phenomenon ... Sony Portapak ...Early adopters

INTERNET / WWW Performance collaboration and distribution medium. Virtual performance of the self: MUDs, MOOs, VR

“Theater is created not only by those who consciously use computer networks for theatrical events, but also by billions of ordinary individuals who use the World Wide Web.” [p3]

DIGITAL PERFORMANCES = All works where COMPUTER TECHNOLOGY plays a KEY role in:

• Content • Techniques • Aesthetics • Delivery Forms • Interactive

Technology Versus Content... > Antidote to techno fetishistic determinism and the Lev Manovich gang

UTOPIA / DYSTOPIA / >>>>> HETEROTOPIA (See Downes) + feminism, + phenomenology

ARTISTS: Merce, DumbType, Troika Ranch, Stelarc, Survival Research Labs, Eduardo Kac, The Builders Association, [3LD http://bit.ly/1hTur5U ] Surveillance Camera Players, Mr Bungle cyber-rape, Theater in Cyberspace, VideoGames as theater, [Annie Dorsen http://bit.ly/L7l2d7 ], [Lynn Hershman Leeson http://bit.ly/1hTtRVN ]

The Body / The Rhetoric of disembodiment and virtual bodies (See Coleman)

Via Negativa / Via Positiva / Trends & Cycles

HISTORY

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EMLP > AUSLANDER 1

How does media saturation impact audience expectations for the live?

JOAN JONAS

BILL T. JONES withPAUL KAISER & SHELLY ESHKAR (OpenEndedGroup)

BUILDERS ASSOCIATION

SOPHIE CALLE

BROADWAY DISNEYFICATION

PRVT & LEGAL MEDIA

LIP SYNC

COSPLAY AUDIENCE PARTICIPATIONAUDIENCE PARTICIPATION

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EMLP > SCREENINGS 1

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http://bit.ly/19XQhSODAFT PUNK et al #whack