Chapter11 Intelligence, Interaction, Reaction, and Performance

Chapter11 Intelligence, Interaction, Reaction, and Performance




The performances consist of various physical/virtual interactions using a diverse range of technologies including motion capture, artificial intelligence and or 3D animation. With the technological advancements, new liminal spaces exist where there is a potential for a diverse creativity and experimentation.


Blue Bloodshot Flowers (Performed at Brunel University, 2001)
It is a movement-scripted piece. This performance consisted of the real-time interaction between a human performer Elodie Berland, and Jeremiah(a head model based upon Geoface technology), an avatar and also between Jeremiah and the audience. Jeremiah consists of computerised artificial intelligence with the ability to track humans, objects and other stimuli and to react to something near him directly and in real time.
It was divided into two sections The first part consisted of a scripted movement-based interactive piece with Berland, while the second part involves the spectators who were invited to interact with Jeremiah.
***origin and identity


Dead East, Dead West (Performed at Institute of Contemporary Arts, 2003)
it was an experimental sound and movement-based piece with some fragmented script and fused with 3D interactive technology. It consisted of motion tracking interactive pads, ad miniature cameras worn by the performers. When seeing the performance with polarised glasses the captured images come straight out at the spectators. In addition this was n intercultural and interracial performance that explored and exploded the margin between dominant Western art practices and the exotic performance of the other.
' Intelligence, interaction, reaction and performance' is an ongoing project of what is hoped will be a variety of performances which combine the physical and virtual in performance. Emphasis was placed more in the process of adaptation rather than on the finished product.
The performances are hybridised and intertextual and demonstrate such aesthetic features as heterogeneity, indeterminancy, reflxivity, framentation, a certain shift-shape style, and a repetitiveness which produces not sameness but difference. The digital, like all formal systems, has no inherent semantics unless meaning is added.
For Merleau-Ponty, instrumentation and technology is mutually implicated with the body in an epistemological sense. The body adapts and extends itself through external instruments. The experience of the corporal schema is not fixed or delimited but extendable to the various tools and technologies that may be embodied. Our bodies are always open to and intertwined with the world. Therefore, technologies implies a reconfiguration of our embodied experience. The intertwining of body ,technology, and world is important since instead of abandoning or subjugating the physical body, instrumentation and technology extends it by altering and recreating its embodied experience. The body, in turn, creates new technologies and instrumentation to bring potential creativity and mediation into its corporeal world.