Puppeteers, performers or avatars - A perceptual difference in telematic space
Sermon, P 2009, Puppeteers, performers or avatars - A perceptual difference in telematic space , in: Object and Identity in a Digital Age (CHArt 2009), CHArt COMPUTERS AND THE HISTORY OF ART Seeing, Vision and Perception in a Digital Culture CHArt twenty-fourth Annual Conference, Thursday 6 - Friday 7 November 2009, Birkbeck, University of London, London, United Kingdom.
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My work in the field of telematic arts explores the emergence of a user-determined narrative by bringing remote participants together in a shared telepresent environment. Through the use of live chroma-keying and videoconferencing technology, two public rooms or installations and their audiences are joined in a virtual duplicate that turns into a mutual, visual space of activity. Linked via an H.323 Internet videoconference connection, this form of immersive interactive exchange can be established between almost any two locations in the world. The audiences form an integral part within these telematic experiments, which simply wouldn’t function without their presence and participation. Initially the viewers seem to enter a passive space, but they are instantly thrown into the performer role by discovering their own body-double in communication with another physically remote user on video monitors in front of them. They usually adapt to the situation quickly and start controlling and choreographing their human avatar. Nevertheless, the installation set up in the form of an open accessible platform offers a second choice of engagement: the passive mode of just observing the public action, which often appears to be a well-rehearsed piece of drama confidently played out by actors. Compelling to watch, it can be a complex issue to discover that the performers are also part of the audience and are merely engaging in a role. The entire installation space then represents two dynamic dramatic functions: the players, controllers, or puppeteers of their own avatar, absorbed by the performing role; and the off-camera members of the audience, who are themselves awaiting the next available slot on the telematic stage, soon to be sharing this split dynamic. However, the episodes that unfold are not only determined by the participants, but by the given dramatic context. As an artist I am both designer of the environment and therefore ‘director’ of the narrative, which I determine through the social and political milieu that I choose to play out in these telepresent encounters.
|Item Type:||Conference or Workshop Item (Paper)|
|Themes:||Subjects / Themes > N Fine Arts > NX Arts in general|
Subjects outside of the University Themes
|Schools:||Colleges and Schools > College of Arts & Social Sciences > School of Arts & Media > Centre for Media, Art & Design Research and Engagement (MADRE)|
Colleges and Schools > College of Arts & Social Sciences > School of Arts & Media
|Journal or Publication Title:||Object and Identity in a Digital Age (CHArt 2009)|
|Publisher:||CHArt COMPUTERS AND THE HISTORY OF ART|
|Depositing User:||Professor Paul Sermon|
|Date Deposited:||08 Oct 2010 09:51|
|Last Modified:||20 Aug 2013 17:31|
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