Hi Victoria and everyone.
Thanks, Victoria, for that welcome update on your work.
In relation to nonhuman performance, this is something that maybe one can only experience directly when one is beside oneself, so to speak.
I am taking a cue from Jon's earlier discussion of behavior as mimetic process, i.e., processes that can be conserved through imitation, passed along through generations.
Here is an example...one of many science articles appearing on the web that most of us are probably seeing on a daily basis...
"Fledglings of a southern African bird species threaten suicide to blackmail their parents into bringing them more food,..When hungry, pied babbler fledglings flutter from the nest to the ground, where predators roam, and start screeching to highlight their plight, said a study published in the British journal Proceedings of the Royal Society B."
I am glad I do not have to compete for an audience using such a method. However, I can admire the notion of evolutionary risk when processes are forged into behaviors.
Perhaps the issue of risk, how risk entails an expansion of a world, is relevant to this discussion of nonhuman oerformance? ...also, whether or not performance risks (rather than "needs") an audience?
Associate Professor of Interactive Arts
School of Art and Design
NYSCC at Alfred University
From: Curating digital art - www.crumbweb.org [[log in to unmask]] on behalf of Victoria Bradbury [[log in to unmask]]
Sent: Saturday, March 15, 2014 9:29 AM
To: [log in to unmask]
Subject: Re: [NEW-MEDIA-CURATING] VB thesis
Hi Bill, GH and List,
I am glad to share about my research, but wanted to hold back and allow the
first part of the month to open this conversation as wide as the interests
of the respondents. I will send through some questions below that will
hopefully get the discussion going again in a more/new directed
I began to think about the performativity of object/gesture in Jeremy
Sigler's *Time Based Work* course at the Maryland Institute College of Art
in 2002/03. Jeremy invited Allison Knowles to work with our class and we
performed her newspaper music score. It was during this course that I
began to understand the role of scores to provide structure for time-based
When my work moved more toward "new media" and I began to incorporate
programming and algorithmic process into my practice, the performativity of
code emerged as a parallel to or extension of instruction-based works.
This is because I see code as a set of instructions that are run by
hardware but also through the body. On a practical "making' level, I see
code as a sculptural material alongside the other physical materials I work
with. As GH has also said, code's properties and constraints often inform
the direction that the work takes. Kaprow's phrase "the blurring art and
life" takes on even more relevance as technology and art and technology and
life become further entwined.
My engagement with this practical CRUMB research was led by a
search to draw connections between performed, hand-made and hand-coded
means of art-making. I am motivated to broaden the field of thinking about
code as a performative medium, specifically in relation to the bodies of
viewer/participants and a coding artist. The method for my art making in
relation to the thesis is led by question and experiment. I make artworks
then analyse them in relation to the performativity of code.
Before this research, I was working in interactive
installation, performance, sculpture, and video. I had been incorporating
code into my work, using both visual and textual languages/environments
including Max/Msp Jitter, Processing, Arduino, and openFrameworks.
*Toast* was the first project created under the research.
*Toast* emerged while I was living in Beijing and Shanghai in 2012. It
resulted in a series of iterative tests of a translation device that uses
Processing to turn a "toaster's" speech-to-text, translates it either from
English to Mandarin or Mandarin to English, then displays it as a speech
bubble next to the speaker's face on a monitor.
*Ventriloquisms for Fun and Profit *was carried out in April of 2013 at
Datarama, Pixel Palace, Newcastle UK. In this performance, I read a
ventriloquist act from Paul Winchell's book *Ventriloquism for Fun and
Profit *and included the audience in a call and response song, *Oh Mona, *while
acting as a ventriloquist for a self-coded cat puppet, written in
I described *Witch Pricker *in a previous post, but briefly, it was an
interface of wool-felted strawberries wearing petticoats, a pin to prick
them, and a receipt printer, all coded in openFrameworks.
Finally, *Data Raft* (blurringartandlife.com/vb/dataraft.html) was just
completed in January 2014. This work places participants' metadata on a
computer-embroidered sail that they then incorporate into a handmade stick
raft and float on an in-gallery pond.
Most of these works can be viewed on my website:
I can be more specific about the artworks and research as the conversation
moves forward, but for now, I would like to ask your take the following:
*Can non-human entities perform? *
*Does performance require an audience?*
On Fri, Mar 14, 2014 at 4:39 PM, Miller, Bill <[log in to unmask]> wrote:
> [ Iąd like to second this ]
> [ would be interesting to ]
> [ here some of that bg ]
> [ as all these tails ]
> [ continue to stretch out ]
> [ maybe we can grab some ]
> [ back ]
> >Since Victoria initiiated this discussion perhaps sheąd like to present
> >some of her ideas, research and observations she has gained while working
> >on her thesis project or other performative code projects.
// Victoria Bradbury
Researcher @ www.crumbweb.org
New Media Caucus <http://www.newmediacaucus.org> <CommComm>
Attaya Projects <http://attayaprojects.com> // Collaborator