Chapter4 Saira Virous : Game Choreography in multiplayer online performance spaces

Chapter4 Saira Virous : Game Choreography in multiplayer online performance spaces -Johannes BirringerDance and game may not appear to have a natural connection in Western culture, but dance which has moved into the telematic, networked terrain shares the digital design technologies that underlie the creation of artificial environments. In dance interactive design obviously includes the body that provide data and wear sensors with all its transactional capabilities. Gestures of performer that control human-computer interaction play a important role. The interactive relationship generally involves the control of and reaction to-digital image and sound generation or animation, the mutation of media form.Performance is no longer site-specific as it joins the creative industries, the Internet and streaming media It uses techniques of moving image production or data manipulation on a microcellular level. On the other hand, since so much interactivity involves media output(video, audio, animation), performance appears glued into screen-projection media. All photos we see today of such dance performances show the dance in front of, or surrounded by, digital projections.interactive environmentssensory environment, immersive environments, networked environments, derived environmentWe witness interest in abstraction, denaturalisation and media-computational investigation in many performances which integrate 'virtual bodies' in the choreography.(eg Merce Cunningham, Bill T. Jones) This tends to contradict the general emphasis on 'realism' in favored, in the popular 'first person shooter game', a clear relationship between the player's viewpoint(performed by an avatar) and the figures in the virtual game world.Game interface design : constructing a direct view of the screen scene through the player's eyes/ matching and synchronizing player actions with changes and movements on the screen. The myth of interactivityWhat causes the aesthetics or immersive experience in the interactive works?Not a dexterity of skill nor technical skill indicates the aesthetics or immersive experience and qualitative input.Interactivity in the evolution of interactive media art is clunky, the intuitive, the sensual, the coldly mechanical and enervating interfaces. The myth of participation has to be measured against the notion of pleasure that is used by games analyst.The pleasure of gaming and telematic pleasurethe computer game is a rule-based formal system with a variable and quantifiable outcome. The player exerts effort in order to influence the outcome. They feels attached to the outcome and the consequences of the activity are optional and negotiable. Multiplayer online games excite the body, generate affective alliances, social formations and communal relationships for the sharing of resources.telematic pleasure is based on based on similar process of socialisation and self-organization , and stimulate pleasure to experiment with playful scenarios that would not have occurred on a theatre stage.