Word/ Phrase Index
Historical and Aesthetic Trajectories
For the purposes of critical reflection and making a contribution to an evolving discourse related to interactrive, mediated performance work, it is useful to research who has done this sort of work in the past and for what purpose. As noted in the introduction, we have done some of that work both before and during this project.
When asked about historical antecedents to his,
work Sharir replies: My personal work and exploration lies within
the following technologies: Exploring computerized choreography/virtual
reality & cyberspace, the use of wearable computers in performance,
as well as the use of interactive systems for performance augmentation.
My initial interest was based on notions and imagery of travels to distant
and usually outer spaces. Instead I am exploring these notions turned
in on themselves - my travels not to an abstract virtual "outer"
space, but to the inner reaches of the way I make things work and in the
physical spaces with which I am most familiar and comfortable with.
Question #22: As far back as the early 1960s, Joseph Svoboda and Merce Cunningham experimented with (respectively) live remote television streams in performance as well as triggering environments. What makes this work we are doing today new or not? Are there a particular set of aesthetics and / or compositional strategies that might be unique to this sort of artwork? Do you think this type of artwork or creative experience will become more common in the future and why?
Answer #1: In the spirit of Postmodernism, everything has already been done. To me that doesn't matter. Many great artists copied the Master's works to then find a unique way of expressing themselves.I believe that this artwork will be more common in the future. As technology advances and the performing arts embrace new technology we will see more advanced work. (AJ Niehaus)
Answer #2: I think what makes what we are
doing to day important and even is some ways new is that "we"
are doing it. With increased accessibility to technology, live remote
television streams in performance as well as triggering environments are
Answer #3: The work that is being produced
today I would consider to be new. Granted ideas may be the same or productions
may be similar, but because of the new inventions and more technologically
advanced devices and programs that are being used how can you say things
have not evolved? As well, new ideas and more bold conceptual ideas I
feel have emerged in the forefront of the art world because of the level
and ground that was covered by these pioneers.
For more information see the SDAT04 reading list.
Project 1 – setting the space
Afternoon Work Session
Interaction with animations