Presentation
- 1. presentation According to arts management guru Ben Cameron, “audiences are plummeting but artistic participants are blooming” as a result of new technology and the internet. How does the modern producer of live arts adapt?
- 2. Digital: friend or foe? • Is there a threat of the internet on leisure time? • 2012 Olympics, Jubilee etc. • Many shows/performances & festivals are selling out. • ACE claim that paid theatre attendances have on the hole remained fairly stable • Increasing number of cultural institutions & pioneer artists are using digital technologies in a way that is starting to have a very real impact on audiences & the artform.
- 3. Stats… • 6.9 billion people • 30% are on the internet • 15% decent bandwidth • Video games are outselling music and movie sales combined. • Demand for a 24-7 culture + Personalisation
- 4. • Facebook Pro-ams & Spec-actors • Twitter • YouTube • Birth of the • Google plus participatory society since 60s • Vimeo • Tumblr • Participation has become an expectation. • Myspace • Bebo • Websites • Club penguin • Music videos (youtube + • Linked in MTV) • Forums • Advertising. • Second Life • Explosion of creativity • Soundcloud ouside of the official • Spotify sphere of the artworld. • Last fm • Pro-ams / spec-actor • Mash ups
- 5. A New cultural renaissance • The internet’s left side of the brain has been built. It’s right side can now fully develop creatively, to enrich & stimulate. • “new opportunities will come to pass only if control of the technology is taken from the technologist and given to those who understand human beings, human interaction, communicatio n, pleasure & pain. It is time for engineers to go back to engineering.” (Donald A. Norman)
- 6. Art & Science • Historically art & science are polarized. • New computer technologies have become an interface for their mutual coexistence. • Computing + drama theory are intrinsically linked through interaction & action. • Laurel’s influential Computers as theater.
- 7. What is “Liveness”? • What do we mean by a “live” performance? (physical and temporal co-presence of audience and performers). • The idea of “Live” performance born through advancements in broadcast technology / recording methods. • Live broadcasts • Recorded live • Online liveness & group liveness • Real time
- 8. WHAT DOES THIS MEAN FOR PERFORMANCE?
- 9. 1. New formats in performance practice • One-to-one performance • Virtual environments • Telematic performance using both new & old technologies (web-conferencing, purpose- built software, telephone).
- 10. 2. Integration of ICT + other state-of- the-art technologies in performance • Wearable technologies, sensors, motion capture technologies, sound manipulation technologies, virtual environments, online communities, web-conferencing, audiovisual technologies, VJing, Web 2.0 technologies such as social networking sites & YouTube, microcameras attached to the body etc
- 11. 3. Use of ICT as means of heightened connectivity, intimate interaction & affect. • How do digital technologies effect our qualities of human interaction & sociability? Are they enabled or disabled? • Do computers turn humans into digital objects / avatars? • “The digital tends to the specular, the solitary, the pornographic, the onanistic, the commodity. Can we play responsibly with each other in the digital domain?” (T.Warr) • What are the rules of communication facing an invisible audience? • Is the idea of a replacement of physical encounters by mediated encounters an illusion? • Could a new form of public assembly emerge from the new distributed space-time configuration?
- 12. Conclusion • It used to be that cave and campfire were two separate places. Cave for eating, sleeping, and caring for loved ones. Campfire for sharing a sense of community. Now, the campfire is no longer bound to a place. It is a feeling. A feeling that could come about from Facebook, YouTube, or twitter feed. Nor is it bound to the presence of others.” (Warren Stringer).