🎭Performance Art Unit 10 – New Media in Performance Art

What's New Media in Performance Art?

• New media in performance art incorporates digital technologies, interactive elements, and unconventional mediums to create immersive and engaging experiences for audiences
• Combines traditional performance art practices with cutting-edge technologies (virtual reality, augmented reality, motion capture, projection mapping)
• Explores the relationship between technology, art, and the human experience, often challenging conventional notions of performance and audience participation
• Utilizes digital platforms (social media, live streaming, online virtual environments) to expand the reach and accessibility of performance art beyond physical spaces
• Emphasizes interactivity, allowing audiences to actively participate in and shape the performance, blurring the lines between performer and spectator
• Incorporates real-time data, algorithms, and generative processes to create dynamic and ever-changing performances
• Enables the creation of multi-sensory experiences that engage sight, sound, touch, and sometimes even smell and taste
• Facilitates collaboration between artists, technologists, and audiences, fostering interdisciplinary and cross-cultural exchanges

Key Concepts and Terminology

• Interactivity: The ability for audiences to actively engage with and influence the performance through various means (sensors, touchscreens, motion tracking, voice commands)
• Immersion: Creating a sense of presence and involvement in the performance environment, often through the use of virtual or augmented reality technologies
• Multimedia: Incorporating multiple forms of media (video, audio, animation, graphics) into a single performance piece
• Real-time processing: Using computer algorithms to generate, manipulate, or respond to live data during the performance
• Telepresence: Enabling performers and audiences to interact and collaborate remotely through video conferencing, live streaming, or virtual environments
• Mapping: Projecting digital content onto physical surfaces or objects to create dynamic and interactive visual displays
  • Projection mapping: Using specialized software to map and align digital projections with the contours and features of physical objects or spaces
  • Body mapping: Projecting digital content onto the bodies of performers, often in response to their movements or gestures
• Generative art: Creating art using algorithms, often incorporating elements of chance, randomness, or real-time data to produce unique and unpredictable results
• Posthumanism: Exploring the intersection of technology and the human body, often challenging traditional notions of identity, agency, and embodiment

Historical Context and Evolution

• New media in performance art emerged in the late 20th century, building upon the experimental and avant-garde practices of earlier movements (Futurism, Dada, Fluxus)
• Early pioneers (Nam June Paik, Stelarc, Laurie Anderson) began incorporating video, electronic music, and computer technologies into their performances in the 1960s and 1970s
• The advent of personal computers and the internet in the 1980s and 1990s expanded the possibilities for digital art and networked performances
• The rise of virtual reality and augmented reality technologies in the 2000s and 2010s opened up new avenues for immersive and interactive performances
• The proliferation of mobile devices and social media platforms has made new media performance art more accessible and participatory than ever before
• Contemporary new media performance artists continue to push the boundaries of technology and art, exploring themes of identity, privacy, surveillance, and the human-machine relationship

Tools and Technologies

• Computer hardware: Laptops, tablets, smartphones, microcontrollers (Arduino, Raspberry Pi), sensors (motion, touch, light, sound), cameras, projectors
• Software: Programming languages (Processing, Max/MSP, openFrameworks), digital audio workstations (Ableton Live, Logic Pro), video editing and effects software (Adobe Premiere, After Effects), 3D modeling and animation software (Blender, Maya)
• Virtual and augmented reality: VR headsets (Oculus Rift, HTC Vive), AR devices (Microsoft HoloLens, Magic Leap), 360-degree cameras, haptic feedback devices
• Networking and communication: High-speed internet, Wi-Fi, Bluetooth, OSC (Open Sound Control), MIDI (Musical Instrument Digital Interface)
• Projection mapping: Specialized software (MadMapper, TouchDesigner) for aligning and warping digital projections onto physical surfaces
• Motion capture: Optical systems (Vicon, OptiTrack) using infrared cameras and reflective markers, inertial systems (Xsens) using gyroscopes and accelerometers, depth cameras (Microsoft Kinect, Intel RealSense)
• Wearable technology: Smart clothing, biometric sensors, LED displays, conductive fabrics
• Robotics and mechatronics: Servo motors, stepper motors, pneumatic actuators, control systems

Notable Artists and Works

• Stelarc: An Australian performance artist known for his pioneering work in body modification and cybernetic art
  • "Third Hand" (1980): A robotic third arm attached to Stelarc's right arm, controlled by EMG signals from his abdominal and leg muscles
  • "Ear on Arm" (2006): A surgically constructed ear implanted in Stelarc's left forearm, intended to be a permanent, internet-connected organ
• Troika Ranch: A New York-based performance company founded by Dawn Stoppiello and Mark Coniglio, known for their integration of dance, music, and interactive media
  • "16 [R]evolutions" (2006): A performance piece using motion capture technology to generate real-time visuals and music based on the dancers' movements
• Rafael Lozano-Hemmer: A Mexican-Canadian artist known for his large-scale interactive installations and public art projects
  • "Pulse Room" (2006): An installation featuring hundreds of incandescent light bulbs that pulsate in sync with the heartbeats of visitors, creating a collective "pulse" of the room
  • "Zoom Pavilion" (2015): An interactive installation using facial recognition technology to detect and track the presence and movements of visitors, projecting their images onto the walls in real-time
• Kris Verdonck: A Belgian artist and theater director known for his multimedia performances exploring the relationship between humans and machines
  • "Actor #1" (2010): A performance featuring a humanoid robot that recites a monologue about the nature of acting and the blurring of boundaries between humans and machines
• Hiroaki Umeda: A Japanese choreographer and multidisciplinary artist known for his minimalist performances combining dance, light, and sound
  • "Holistic Strata" (2011): A solo performance piece using real-time motion tracking and projection mapping to create immersive visual landscapes that respond to Umeda's movements

Techniques and Approaches

• Sensor-based interaction: Using various sensors (motion, touch, light, sound) to detect and respond to the actions and movements of performers or audience members
• Generative and algorithmic composition: Creating music, visuals, or choreography using computer algorithms that generate content based on predefined rules or real-time data
• Projection mapping: Using specialized software to align and warp digital projections onto physical surfaces, objects, or bodies, creating dynamic and immersive visual environments
• Motion capture and real-time animation: Capturing the movements of performers using optical, inertial, or depth-sensing technologies, and using this data to control digital avatars, generate visuals, or trigger other media in real-time
• Telematics and networked performance: Connecting performers and audiences across remote locations using video conferencing, live streaming, or other networking technologies, enabling collaborative and distributed performances
• Wearable technology and e-textiles: Incorporating electronic components, sensors, and displays into clothing and accessories worn by performers, allowing for interactive and responsive costumes
• Biofeedback and physiological monitoring: Using sensors to measure and visualize physiological data (heartbeat, brainwaves, muscle activity) from performers or audience members, and using this data to control or influence the performance
• Augmented and virtual reality: Creating immersive and interactive performance environments using AR or VR technologies, blurring the boundaries between physical and digital spaces

Impact on Traditional Performance Art

• New media has expanded the palette of tools and techniques available to performance artists, allowing for the creation of novel and immersive experiences
• The incorporation of interactive and participatory elements has challenged traditional notions of the performer-audience relationship, blurring the lines between creator and spectator
• Digital technologies have enabled the creation of dynamic, responsive, and ever-changing performances that can adapt to the actions and inputs of performers and audiences in real-time
• New media has facilitated the emergence of new forms of performance art that transcend traditional disciplinary boundaries, combining elements of dance, theater, music, visual art, and technology
• The use of digital platforms and networks has allowed for the creation of distributed and telematic performances, enabling collaboration and participation across geographic boundaries
• New media has challenged the ephemerality and uniqueness of traditional performance art, as digital documentation and reproduction have made it possible to capture, preserve, and share performances in new ways
• The incorporation of technology has raised questions about the role of the human body and presence in performance art, as digital avatars, robots, and virtual environments have become increasingly prevalent
• New media has opened up new avenues for social and political commentary, as artists use technology to engage with issues of surveillance, privacy, identity, and power in the digital age

Challenges and Ethical Considerations

• Technological complexity: New media performance art often requires specialized technical knowledge and skills, which can create barriers to entry and limit accessibility for some artists and audiences
• Dependence on technology: The reliance on complex technological systems can make new media performances vulnerable to technical failures, glitches, and obsolescence
• Digital divide: Unequal access to technology and digital literacy can create disparities in who is able to create, participate in, and benefit from new media performance art
• Privacy and surveillance: The use of sensors, cameras, and tracking technologies in new media performances raises concerns about data privacy, consent, and the potential for surveillance and misuse of personal information
• Intellectual property: The use of digital tools and platforms can create challenges around ownership, attribution, and remuneration for artists, as well as issues of copyright and fair use
• Environmental impact: The production and disposal of electronic devices and components used in new media performances can contribute to e-waste and environmental degradation
• Cultural appropriation and representation: The use of digital technologies can enable the appropriation or misrepresentation of cultural heritage, as well as the perpetuation of stereotypes and biases in virtual environments
• Authenticity and "liveness": The incorporation of digital elements and mediation can raise questions about the authenticity and immediacy of new media performances, challenging traditional notions of live presence and embodiment

Future Trends and Possibilities

• Continued integration of emerging technologies: As new technologies (5G networks, brain-computer interfaces, AI, blockchain) become more accessible, they will likely be incorporated into new media performance art in novel and unexpected ways
• Increased use of AI and machine learning: Artists may increasingly use AI algorithms to generate, analyze, or respond to performance data, creating more adaptive and autonomous performances
• Growth of virtual and augmented reality: As VR and AR technologies become more sophisticated and affordable, they may enable the creation of even more immersive and interactive performance environments
• Expansion of telematic and distributed performances: With the proliferation of high-speed networks and cloud computing, artists may increasingly create performances that span multiple locations and involve remote collaboration and participation
• Greater emphasis on multisensory experiences: New media performances may increasingly incorporate elements that engage multiple senses (haptics, smell, taste) to create more holistic and embodied experiences
• Increased blurring of boundaries between art and everyday life: As digital technologies become more ubiquitous and integrated into daily life, new media performance art may increasingly infiltrate and intervene in public spaces, social networks, and other aspects of the everyday
• More diverse and inclusive participation: The accessibility and affordability of digital tools and platforms may enable a wider range of voices and perspectives to participate in new media performance art, fostering greater diversity and inclusivity
• Continued exploration of the post-human: Artists may increasingly use new media technologies to interrogate and speculate about the future of the human body, identity, and consciousness in an age of rapid technological change