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Background :: Process :: Questions & Answers a shinkansen / ResCen project

Towards the end of the project a sheet of questions was circulated by the Documentation Pod for general discussion. Some of the written responses and discussion responses were posted here.

* What are some of the technical challenges you have found in dual 'stage' research? How blue skies is the researchl? What technical breakthroughs are needed?

Network administration set-up'

* 'Laney noticed something then that he knew from his encounters with celebs at Slitscan: that binary flicker in his mind between image and reality, between the mediated face and the face there in front of you. He'd noticed how it always seemed to speed up, that alternation, until the two somehow merged, the resulting composite becoming your new idea of the person.' Have you noticed anything like this? (William Gibson's 'idoru', 1996, Penguin, p.166)


'In computer gaming'

* Presence is a key term in CellBytes. What does it mean to you to be 'present' in a performance space? When in a dual-'stage' context, are you doubly present, here and there - or do you perceive yourself more as either telepresent to the other space, or that the remote performers are telepresent to you?

'I was more conscious of the remote performers being telepresent to me than me to them.'

'Light and colour (form and life). Reflection and refraction.'

* Have you experienced any breakthrough moments? Or slow dawning realisations?

* What is it like to connect with a performer in a remote space - or are you 'faking it'?

'At times there are elements of falsity, as senses are absent. I am constantly aware of the outside look of the thing.'

* What about dual-'stages' work is more interesting than using walkie-talkies between spaces?

'The feedback and lag aesthetic'

* Are you deliberately working with the time-lag, or trying to cover-up its existence? Or is it not something that has much concerned you?

* Have you experienced any shifts to your kinaesthetic and visual senses of self-identity through work in dual spaces?

'Walking with shadows.'

* Has virtual space orientation concerned you much, other than when it is a case of aligning performers carefully for a virtual touch? Have you felt more than spatial disorientation in dual 'stages' work? Are you comfortable with how you are orienting to the remote space?

'Careful planning is essential to allow the dancers to have knowledge of their boundaries and of how they are imaged by the streaming camera'.

'I'm more concerned with how the visual is distorted through temporal delay.'

* Are there seeds here for your future research? If so, what might they be?

'Yes, of future work integrating costume, projections and virtual movies.'

'Loads - if only I have time.'

* Describe any method that you have used within the making process of one of the CellBytes, either consciously, or one that you realised with hindsight

* In dual 'stage' work, what is your sense of the audience on the web or in the remote space? Are you much aware of performing for them?

'I think I am aware of the viewers in each space and the overall effect.'

* Do you need displacement activity in order to get on with your research? (ie does going to fill the kettle, fiddling with the camera focus or reading slash.dot actually get you somewhere?)

'Not particularly, although fun distractions give the brain a rest and gives time for ideas to flow.'

* What has most interested you in (or the potential of) dual-'stage' telematics work?

'To work in the 3D realm of performance and installation stretches my work as a 2D visual artist'

* Have you noticed shared approaches or predicaments in how artist participants from other disciplines have worked during CellBytes01? (Are dancers 'physical hackers'?)

* Do you tend to consider streaming from the remote space in terms of mediated images in an information-generated environment, or as a communication link to that space? Or do you consider both simultaneously (or neither)?

'As images that communicate through shape and movement.'

'Depends upon to whom "the story is told"'.

* 'Rather than conceptualising phenomena as more or less imperfect incarnations of some ideal essence, we must recognise that It is only variation which is real'. Do you agree? How might it impact on your sense of identity within dual 'stages'? (Cyberspace, Cyberbodies, Cyberpunk, ed Mike Featherstone & Roger Burrows, 1995, SAGE Publications, London, p.5)

'What is real? . I become no longer "I".'

* 'The symbol becomes the reality. This is the meaning of telepresence.' Any comments? (p.70, ed Featherstone and Burrows)

'Symbols have been very important both visually and physically in CellBytes almost as triggers and senses.'

'We live in a symbolic world.'

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