lag/delay in live internet performance can introduce 'difficulties' but
it's a feature of the landscape - even on the best connections it can
occur, at random; & we have found that it is also an important verifier
of the liveness of an event. i think the only time i've experienced a
totally lag-free cyberformance was when avatar body collision performed
at the virtual minds congress (bremen, 2004) & afterwards people were
questioning whether the live web cams were in fact live, or prerecorded
video. when we assured them that it was all live, people then asked why
did we risk doing it live, when it looked like it had been pre-recorded.
random lag can be really frustrating but it also heightens suspense,
tension & liveness; & the 'normal' delay of the internet can be played
with, for instance in layering of images, or creating a different sense
of rhythm & timing.
h : )
Josephine Bosma wrote:
> dear Sarah and other Crumbs,
>
>
> Just some thoughts...
>
> Since the discussion is going in many different directions I decided
> to look back at your initial call and theme, which is in the subject
> line of this mail. Am I mistaking when I think this topic is first and
> foremost not so much about time, but about presence, access and
> connectivity? I have always found this aspect the most intriguing
> issue in art using any kind of electronic media, because of the
> sensitivity and vulnerability involved. In this area one time aspect
> appears that was not mentioned here yet, and this is delay. Delay is
> of special importance in decentralized performance. I remember how
> VRML and sound performance Adrift by Helen Thorington and Fakeshop
> between Vienna and New York in 1997 was difficult because of it. I am
> not sure how and if it is of influence in 'decentralized'
> installations, like for instance in Atau Tanaka's Global String.
>
> Delay only really matters in case of actual real-time experiences;
> there are also real-time simulations. The beauty of all media (print
> included) is of course the possibility of some sort of presence
> despite of distance. In the 19th century the museum's reach for
> example was expanded through the publication of photographs and
> collector's albums and magazines. A very interesting text about
> photography/reproduction and the artworld is the PhD of Friedrich
> Tietjen, which was not published as a book yet as far as I know.
> Radio, TV and Internet create a much stronger sense of real-time
> presence though, which can feel very real even when faked. I think of
> for instance Debra Solomon's project 'The_Living' in which she
> combined chat-performances with fake webcam input of her and her
> keyboard under water, on a bicycle, or on a boat in an Amsterdam
> canal. It took a while before her audience realized one could connect
> a video camera/player to the webcam input quite easily. This
> theatrical side of electronic media (think also of War of the Worlds
> or in some ways the Truman Show) is well known and discussed, like in
> Zizek's text about the Matrix. It undermines a sense of reality, and
> thus of engagement. I like very much how questions of presence, the
> tension between local and distant interaction, and the importance of
> intimacy/closeness for an experience of reality can be investigated
> and displayed through the theme of Real-Time. I hope some of you can
> share some nice examples of exhibitions or artworks that explore these
> topics. Technical issues are most welcome to hear about too... ;-)
>
>
> Back to work,
>
>
>
>
> J
> *
>
--
____________________________________________________________
helen varley jamieson: creative catalyst
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http://www.creative-catalyst.com
http://www.avatarbodycollision.org
http://www.upstage.org.nz
http://www.writerfind.com/hjamieson.htm
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