On Mar 24, 2014, at 9:29 AM, Victoria Bradbury <[log in to unmask]> wrote:
> When, in your own art practice, does performativity occur? Is it when the
> code is written? Is it when you perform with your body or voice? When a
> participant encounters your work? At all of these points, at another time,
> or not at all? Can you give a specific example?
Hi Victoria & List,
I have two works that I can use as examples. See/Saw ó http://nujus.net/~nujus/gh_04/gallery16.html
and Post Browser - http://nujus.net/~nublog/
Both use the body as an interface. The See/Saw controls two projected windows in which a deconstructed movie plays.
The users sit on the see/saw and their movements turn the windows off and on. The code was written before but the data input(motion)
executes sub-routines. There are three parts to this work. One is the immersive experience of a movie and the re-assembling of itís narrative.
Another is the kinesthetic sensations of riding a seesaw. And lastly is the recognition that the users motion controls the windows. What this does is stack or rearrange or integrate all these thoughts and sensations.
Thereís another part that is symbolic or archetypal. The seesaw usually represents childhood, memory and play. The movie used is a 1962 movie called Two for the Seesaw. But the piece can be readily adapted to any country by choosing a noir romantic film that the local population can remember and understand. In this case part of the perfomativity or most of it occurs within the users of the seesaw. Thereís also a feedback loop between the two people on the seesaw. They have to coordinate their movements while trying to assemble the narrative of the movie. The dissasembled narrative triggers a particular linguistic impulse in humans to discover meaning. Itís coded into the brain.
The other work is Post Browser. It uses a Kinect camera, a projector and a sound system. The space projected is a 3D space in which the users virtual body is present. It is taken from a infrared scan from the Kinect and is live. The user is integrated into the information space. The code has an html parser that gets past the CMS layout for the Museum of Modern Art and grabs the images for the current exhibitions. It then lays these out in a circle made up of images that spins and is in 3D. It follows the hand movements of the user in a 3D space. A rapid swipe causes the code to got to an RSS feed for the art blog Hyperallergic. The RSS headlines are returned and read by a synthetic voice. There is also an RSS feed from Yahoo weather that gives time temperature, longitude, lattitude etc.. This piece is about adapting the body to the Data Body. It also wrests the control of information, the manner of presentation and the method for access away from the corporate and institutional controls. The proposition is that the web browser is a transitional interface to accommodate print and design media. Itís irrelevant to immersive data. The work proposes radically redesigned perceptual space for data access. The work is in the very early stages of research there is a lot of ways it can be articulated and expanded.
Both works exhibit the properties of performativity and performativity of code.
They may be what Roger Malina was referring to when he was talking about integrating code with the human.