Points to consider:
–> What can the sensors see? … View kumite through the eyes of the sensors…
… Choose ONE dimension make storyboards of the development of the narrative as experienced through this one dimension.
– Place a notebook and pen next to the performance site, in easy reach of an extended arm but at the same time out of the frame of the camera
– Write down throughts and impressions as soon as they arise, or once the immediate improvised exchange reached a hiatus.
– Have a clear field defined by the camera – to know when I am in the frame and where I am positioned in the frame.
This methodology provides the opportunity for the artist to enact the tightest performative-reflective loops: performing and documenting experiences simultaneously.
Bodies in Technology by Don Idhe (2002)
Honours Paper. Since I was competing in Melbourne last week, I was given a short extension to submit my draft abstract to Andrew.
I have decided to my honours paper topic will be something along the lines of “Communicating human qualities digitally.”
Although since having watched the presentation by Olafur Eliasson on TED (my latest art crush), I was tempted to do my paper on performance and perceptions of a space (or something like this)… hmm… to be continued…
This is the work Telematic Dreaming by Paul Sermon and performed by Susan Kozel.
“…with its connotations of intimacy and dream states, extends telepresence beyond the screen to spatialize the site of interaction and transform it into a live theatrical event in which visitors are key performers. The work explores presence, absence and the psychology of human interaction within technologically mediated communications.”
This piece is significant for revealing, in an invisible way, that basic human qualities such as touch, trust, vulnerability, pain and embodiment are not lost when people engage with each other through technologies: we just need an appropriate methodological framework in order to see and validate this. (Kozel, Closer)