User:Max Dovey/Reading Writing Research Methodologies/maxgradprop - Revision history

Max Dovey at 12:04, 5 November 2014

2014-11-05T12:04:05Z

← Older revision		Revision as of 14:04, 5 November 2014
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	'''Project'''<br>		'''Project'''<br>
	The project in June 2015 will be a performance with real-time video projection(s) that will present ~~ideas~~ of the ~~live aura~~ in networked performance and virtual reality. <br>A performer will be live streamed from the exhibition space into an online environment where the actions will be mediated by real-time networked technology. <br>I will explore the relationship between the physical and virtual in a live performance on the opening night of the exhibition. <br>Live actions will be performed in different locations and streamed into the space throughout the remainder of the exhibition. <br>Through my thesis ~~and collaborative work with artists~~ I will produce a live gallery for performance art ~~that works with~~ networked ~~communication and real time technology~~. <br>The installation will run showcasing durational-based artworks that are performed over the network and into the exhibition space. The installation will be a space to present my research in performance over communication networks. This research will be created through initiating collaborative encounters between fellow artists that reflect on performance and communication networks.		The project in June 2015 will be a performance with real-time video projection(s) that will present Walter Benjamin’s definition of the Aura in relation to networked performance and virtual reality. <br> A performer will be live streamed from the exhibition space into an online environment where the actions will be mediated by real-time networked technology.<br> I will explore the relationship between the physical and virtual in a live performance on the opening night of the exhibition. <br> Live actions will be performed in different locations and streamed into the space throughout the remainder of the exhibition. <br> Through investigation and collaboration done during my thesis I will produce a live gallery for performance art in the exhibition based on networked performance. <br> The installation will run showcasing durational-based artworks that are performed over the network and into the exhibition space. <br>

	'''Tech requirements''' <br>		'''Tech requirements''' <br>
	<ul>		<ul>

Max Dovey at 10:42, 5 November 2014

2014-11-05T10:42:59Z

← Older revision		Revision as of 12:42, 5 November 2014
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	<li>1 screen 5m x 3.5m </li>		<li>1 screen 5m x 3.5m </li>
	<li>A staged area for performance opposite projection screen 7m x 5m </li>		<li>A staged area for performance opposite projection screen 7m x 5m </li>
	<li>An ethernet internet connection ~~with 2.4ghz~~ </li>		<li>A 2.4ghz ethernet internet connection </li>
	</ul>		</ul>

Max Dovey at 10:41, 5 November 2014

2014-11-05T10:41:50Z

← Older revision		Revision as of 12:41, 5 November 2014
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	When the technology performs (Working Title)		When the technology performs (Working Title)

	'''Project'''		'''Project'''<br>
	The project in June 2015 will be a performance with real-time video projection(s) that will present ideas of the live aura in networked performance and virtual reality. <br>A performer will be live streamed from the exhibition space into an online environment where the actions will be mediated by real-time networked technology. <br>I will explore the relationship between the physical and virtual in a live performance on the opening night of the exhibition. <br>Live actions will be performed in different locations and streamed into the space throughout the remainder of the exhibition. <br>Through my thesis and collaborative work with artists I will produce a live gallery for performance art that works with networked communication and real time technology. <br>The installation will run showcasing durational-based artworks that are performed over the network and into the exhibition space. The installation will be a space to present my research in performance over communication networks. This research will be created through initiating collaborative encounters between fellow artists that reflect on performance and communication networks.		The project in June 2015 will be a performance with real-time video projection(s) that will present ideas of the live aura in networked performance and virtual reality. <br>A performer will be live streamed from the exhibition space into an online environment where the actions will be mediated by real-time networked technology. <br>I will explore the relationship between the physical and virtual in a live performance on the opening night of the exhibition. <br>Live actions will be performed in different locations and streamed into the space throughout the remainder of the exhibition. <br>Through my thesis and collaborative work with artists I will produce a live gallery for performance art that works with networked communication and real time technology. <br>The installation will run showcasing durational-based artworks that are performed over the network and into the exhibition space. The installation will be a space to present my research in performance over communication networks. This research will be created through initiating collaborative encounters between fellow artists that reflect on performance and communication networks.

	'''Tech requirements'''		'''Tech requirements''' <br>
	<ul>		<ul>
	A rough tech list		A rough tech list

Max Dovey at 10:41, 5 November 2014

2014-11-05T10:41:15Z

← Older revision		Revision as of 12:41, 5 November 2014
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	'''Title''' <br>		'''Title''' <br>
	When the technology performs (Working Title)		When the technology performs (Working Title)

			'''Project'''
			The project in June 2015 will be a performance with real-time video projection(s) that will present ideas of the live aura in networked performance and virtual reality. <br>A performer will be live streamed from the exhibition space into an online environment where the actions will be mediated by real-time networked technology. <br>I will explore the relationship between the physical and virtual in a live performance on the opening night of the exhibition. <br>Live actions will be performed in different locations and streamed into the space throughout the remainder of the exhibition. <br>Through my thesis and collaborative work with artists I will produce a live gallery for performance art that works with networked communication and real time technology. <br>The installation will run showcasing durational-based artworks that are performed over the network and into the exhibition space. The installation will be a space to present my research in performance over communication networks. This research will be created through initiating collaborative encounters between fellow artists that reflect on performance and communication networks.

			'''Tech requirements'''
			<ul>
			A rough tech list
			<li>2 projectors </li>
			<li>1 screen 5m x 3.5m </li>
			<li>A staged area for performance opposite projection screen 7m x 5m </li>
			<li>An ethernet internet connection with 2.4ghz </li>
			</ul>


	'''Intro''' <br>		'''Intro''' <br>

	Performance art has become networked and no longer bound to physical time and space. Real-time technology and networked communication is reconfiguring the ontology of performance, the ephemeral live act can now be performed and experienced in multiple locations simultaneously. <br>		Performance art has become networked and no longer bound to physical time and space. <br>Real-time technology and networked communication is reconfiguring the ontology of performance, the ephemeral live act can now be performed and experienced in multiple locations simultaneously.<br> Now that hyper-connectivity enables the performer to be both here and there, the idea of the auratic object that Walter Benjamin claimed to be bound to physical presence has been reconfigured by its technological mediation. <br>When referring to the aura of performance I locate it within tension of the unexpected, the improvised nature of the live moment that cannot be recreated.<br> Performance art has a long history of challenging the relationship between technology and the live aura and the discussion over reproduction and live art documentation has been fought since the 1960s. <br>We now find that Walter Benjamin’s argument needs to be revised, as artists are utilizing real-time technology and wireless networks to generate live performances with technology. <br>The medium can now operate within the live moment, processing and responding with the action so that the technology is no longer a reproduction detached from its authentic origin but a player in the act; generating the aura of the live moment in a relational mediation of events. <br>
	Now that hyper-connectivity enables ~~a shared presence between viewers and~~ the performer ~~becomes~~ both here and there, the idea of the auratic object that Walter Benjamin claimed to be bound to physical presence has been reconfigured by its technological mediation<br>
	When referring to the aura of performance I locate it within tension of the unexpected, the improvised nature of the live moment that cannot be recreated. <br>		My inquiry for the graduation project is how does technology mediate performance and our experience of liveness? <br> I am interested in how networked performance art uses real-time technology to imitate immediacy and create a shared presence with audiences.<br> In this configuration the technology becomes a live player in a networked act of performance where the unexpected, enigmatic aura becomes distributed through people and devices.
	Performance art has a long history of challenging the relationship between technology and the live aura and the discussion over reproduction and live art documentation has been fought since the 1960s. <br>
	We now find that Walter Benjamin’s argument needs to be revised, as artists are utilizing real-time technology and wireless networks to generate live performances with technology. <br> The medium can now operate within the live moment, processing and responding with the action so that the technology is no longer a reproduction detached from its authentic origin but a player in the act; generating the aura of the live moment in a relational mediation of events. <br>
	My ~~enquiry~~ for the graduation project is how does technology mediate performance and our experience of liveness? <br>
	I am interested in how networked performance art uses real-time technology to imitate immediacy and create a shared presence with audiences. In this configuration the technology becomes a live player in a networked act of performance where the unexpected, enigmatic aura becomes distributed through people and devices. ~~<br>~~


	~~'''Content''' <br>~~
	The project in June 2015 will be a performance with real-time video projection(s) that will present the ideas of aura in networked performance and virtual reality. <br> A performer will be live streamed into the exhibition space and will be simultaneously acting in both a physical and virtual environment. <br>The live representation of the performer will disrupt the relation between the audience and the action to call into question the origin of the aura in live performance. <br>
	My own methods of performing via computers with a live audience will be applied to reveal the questions regarding immediacy and mediation. <br>By performing actions that are instantly mediated by computational processes, the direct affect of real-time technology on experience is revealed. The value of performance, in its ephemerality and originality can be revealed through its technological mediation.

Max Dovey at 16:12, 4 November 2014

2014-11-04T16:12:58Z

← Older revision		Revision as of 18:12, 4 November 2014
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	<li>Last December we began performing in real-time in different locations </li>		<li>Last December we began performing in real-time in different locations </li>
	<li> http://3screens.eu/ </li>		<li> http://3screens.eu/ </li>
			<br>
			<br>
			<br>
	'''Previous Work''' <br>		'''Previous Work''' <br>

Max Dovey at 16:10, 4 November 2014

2014-11-04T16:10:15Z

← Older revision		Revision as of 18:10, 4 November 2014
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	<li> '''Sample rates''' – </li>		<li> '''Sample rates''' – </li>
	<li> In an attempt to sonify sub-divisions of a second I have been processing recordings of my voice to present how the speed and treatment of technology can mediate performance.</li>		<li> In an attempt to sonify sub-divisions of a second I have been processing recordings of my voice to present how the speed and treatment of technology can mediate performance.</li>
	<li> http://headroom.pzwart.wdka.hro.nl/~max/secondsounds.html</li>		<li> http://headroom.pzwart.wdka.hro.nl/~max/secondsounds.html </li>

	<li>'''Video Streams''' – </li>		<li>'''Video Streams''' – </li>

Max Dovey at 16:09, 4 November 2014

2014-11-04T16:09:52Z

← Older revision		Revision as of 18:09, 4 November 2014
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	When referring to the aura of performance I locate it within tension of the unexpected, the improvised nature of the live moment that cannot be recreated. <br>		When referring to the aura of performance I locate it within tension of the unexpected, the improvised nature of the live moment that cannot be recreated. <br>
	Performance art has a long history of challenging the relationship between technology and the live aura and the discussion over reproduction and live art documentation has been fought since the 1960s. <br>		Performance art has a long history of challenging the relationship between technology and the live aura and the discussion over reproduction and live art documentation has been fought since the 1960s. <br>
	We now find that Walter Benjamin’s argument needs to be revised, as artists are ~~utlizing~~ real-time technology and wireless networks to generate live performances with technology. <br> The medium can now operate within the live moment, processing and responding with the action so that the technology is no longer a reproduction detached from its authentic origin but a player in the act; generating the aura of the live moment in a relational mediation of events. <br>		We now find that Walter Benjamin’s argument needs to be revised, as artists are utilizing real-time technology and wireless networks to generate live performances with technology. <br> The medium can now operate within the live moment, processing and responding with the action so that the technology is no longer a reproduction detached from its authentic origin but a player in the act; generating the aura of the live moment in a relational mediation of events. <br>
	My enquiry for the graduation project is how does technology mediate performance and our experience of liveness? <br>		My enquiry for the graduation project is how does technology mediate performance and our experience of liveness? <br>
	I am interested in how networked performance art uses real-time technology to imitate immediacy and create a shared presence with audiences. In this configuration the technology becomes a live player in a networked act of performance where the unexpected, enigmatic aura becomes distributed through people and devices. <br>		I am interested in how networked performance art uses real-time technology to imitate immediacy and create a shared presence with audiences. In this configuration the technology becomes a live player in a networked act of performance where the unexpected, enigmatic aura becomes distributed through people and devices. <br>
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	<ul>		<ul>
	<li> '''Sample rates''' – </li>		<li> '''Sample rates''' – </li>
	<li> In an attempt to sonify sub-divisions of a second I have been processing recordings of my voice to present how the speed and treatment of technology can mediate performance.		<li> In an attempt to sonify sub-divisions of a second I have been processing recordings of my voice to present how the speed and treatment of technology can mediate performance.</li>
	~~[[examples]]~~ </li>		<li> http://headroom.pzwart.wdka.hro.nl/~max/secondsounds.html</li>

	<li>'''Video Streams''' – </li>		<li>'''Video Streams''' – </li>

Max Dovey at 15:22, 4 November 2014

2014-11-04T15:22:44Z

← Older revision		Revision as of 17:22, 4 November 2014
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	Performance art has become networked and no longer bound to physical time and space. Real-time technology and networked communication is reconfiguring the ontology of performance, the ephemeral live act can now be performed and experienced in multiple locations simultaneously. <br>		Performance art has become networked and no longer bound to physical time and space. Real-time technology and networked communication is reconfiguring the ontology of performance, the ephemeral live act can now be performed and experienced in multiple locations simultaneously. <br>
	Now that hyper-connectivity enables a shared presence between viewers and the performer becomes both here and there, the idea of the auratic object that Walter Benjamin claimed to be bound to physical presence has been reconfigured by its technological mediation<br>		Now that hyper-connectivity enables a shared presence between viewers and the performer becomes both here and there, the idea of the auratic object that Walter Benjamin claimed to be bound to physical presence has been reconfigured by its technological mediation<br>
	When referring to the aura of performance I locate it within tension of the unexpected, the improvised nature of the live moment that cannot be recreated. <br>		When referring to the aura of performance I locate it within tension of the unexpected, the improvised nature of the live moment that cannot be recreated. <br>
	Performance art has a long history of challenging the relationship between technology and the live aura and the discussion over reproduction and live art documentation has been fought since the 1960s. <br>		Performance art has a long history of challenging the relationship between technology and the live aura and the discussion over reproduction and live art documentation has been fought since the 1960s. <br>

Max Dovey at 15:21, 4 November 2014

2014-11-04T15:21:18Z

← Older revision		Revision as of 17:21, 4 November 2014
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	'''Title'''		'''Title''' <br>
	When the technology performs (Working Title)		When the technology performs (Working Title)

	'''Intro'''		'''Intro''' <br>

	Performance art has become networked and no longer bound to physical time and space. Real-time technology and networked communication is reconfiguring the ontology of performance, the ephemeral live act can now be performed and experienced in multiple locations simultaneously. <br>		Performance art has become networked and no longer bound to physical time and space. Real-time technology and networked communication is reconfiguring the ontology of performance, the ephemeral live act can now be performed and experienced in multiple locations simultaneously. <br>
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	<br>		<br>

	'''Relation to a larger context'''		'''Relation to a larger context''' <br>

	There is an unknown encounter happening in the live moment that is beyond reproduction. This can be seen in the unexpected encounters created by a video stream that was installed on the streets of LA and New York in an early telepresent work ‘Hole in Space’ by Kit Galloway & Sherrie Rabinowitz. <br>		There is an unknown encounter happening in the live moment that is beyond reproduction. This can be seen in the unexpected encounters created by a video stream that was installed on the streets of LA and New York in an early telepresent work ‘Hole in Space’ by Kit Galloway & Sherrie Rabinowitz. <br>
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	Blast Theory are a contemporary example of a performance history that can be traced from Futurist performances, Fluxus, Allan Kaprow’s Happening’s, John Cage, Sheer Doruff’s networked installations and Tate Modern’s video streaming platform ‘BMW Tate Live’. Artists and organizations across a broad cultural field are challenging how performance can be experienced with networked technology.<br> The theoretical context is currently situated between arguments put forward by Phillip Auslander in ‘Liveness’ (1999), Peggy Phelan’s ‘Unmarked’ (1993) and Matthew Caurey’s ‘Theatre and Performance in Digital Culture’ (2006). <br> These three texts all describe performance in reference to the Walter Benjamin text ‘Art in the age of technical reproducibility’ (1936). Their writing will support my practice in locating the authentic in performance with networked technologies and provide a critical framework for my graduate project.		Blast Theory are a contemporary example of a performance history that can be traced from Futurist performances, Fluxus, Allan Kaprow’s Happening’s, John Cage, Sheer Doruff’s networked installations and Tate Modern’s video streaming platform ‘BMW Tate Live’. Artists and organizations across a broad cultural field are challenging how performance can be experienced with networked technology.<br> The theoretical context is currently situated between arguments put forward by Phillip Auslander in ‘Liveness’ (1999), Peggy Phelan’s ‘Unmarked’ (1993) and Matthew Caurey’s ‘Theatre and Performance in Digital Culture’ (2006). <br> These three texts all describe performance in reference to the Walter Benjamin text ‘Art in the age of technical reproducibility’ (1936). Their writing will support my practice in locating the authentic in performance with networked technologies and provide a critical framework for my graduate project.

	'''Thesis Plan'''		'''Thesis Plan''' <br>
	My Thesis plan will be an investigation of performance with different communication networks. I am interested in how the medium has changed the way artists have performed live work, and locating examples of the technology performing with a live or durational-based artwork. My investigation will survey the major communication networks of the last century looking at how each medium has affected performance based art works.		My Thesis plan will be an investigation of performance with different communication networks. I am interested in how the medium has changed the way artists have performed live work, and locating examples of the technology performing with a live or durational-based artwork. My investigation will survey the major communication networks of the last century looking at how each medium has affected performance based art works.

Max Dovey at 15:20, 4 November 2014

2014-11-04T15:20:08Z

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