theatre in a time of digital remediation

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1 erik lint theatre studies UvA twitter: itheatre itheatreconnect! theatre in a time of digital remediation image: Ruben L. Oppenheimer This presentation itheatreconnect is about the transformative power of the computer. It s about theatre in a time of digital remediation. Why? In today s time of digital remediation the notion of spectatorship is rapidly changing. The availability and exchange of digital information has begun to alter performance production and reception. 1

2 theatre in a time of digital remediation Performers and spectators are no longer contiguous, bound in a fixed spatio-temporal relationship. Some performances we experience today appear to be increasingly distributed and perceived at a certain distance, through the media, or virtually in the public sphere. 2

3 is about theatre as a hub In The Conversation Brian Solis represents his mapping of The Art of Listening, Learning and Sharing as a hub. It is full of connections between the web and the desktop and it visualises the transformation of the private and public space into one relational digital ecosystem; 3

4 a public synergetic sphere for communication and knowledge sharing full of related dependencies. 4

5 And it s about the stage as a hub And theatre, be it a performance - like a TEDtalk - or a public space - like a theatre -, can also be understood as a hub for listening, learning and sharing knowledge in the public sphere. 5

6 about a hub itheatreconnect! in the public sphere The Theatrum Mundi metaphor can be extended by looking at the way contemporary theatre acts upon the emancipated participative spectator because representing the world is a matter of interfacing; of the encounter with the world while being in it. Here you see a picture from the provocative Container installation/film/performance Foreigners Out created by Christopher Schlingensief and Paul Poet. A tv-big brother house with public voting for foreigners out. And provocing Austrian FPD policitician Jorg Haider with his own rassism. 6

7 about interfacing knowledge, tools and LinkedData for elearning So theatre is a process of making and distributing and thus enacting, perceiving and experiencing knowledge. This presentation will present different ways of knowledge sharing where both theatre and computer networks act as hubs, as interfaces. 7

8 Why Theatre? itheatreconnect - Why Theatre when speaking about the content of ECLAP indirectly? 8

9 = embodied knowledge Theatre Because theatre is embodied knowledge and I want to bridge performance art via itheatre towards ECLAP en elearning tools. Because elearning tools act. They perform as well, it s a stage like theatre. 9

10 = a physical memory system Theatre So Theatre can be considered as a physical memory system... 10

11 because Theatrum Mundi the world is a stage Theatre...mirroring the world. The social and political realm in the real world is manipulated in exactly the same way the actor and the technical devices in theatre are presenting/ limiting what is being presented on stage, hiding selectively all the machinery that makes the actions happen. How?.. 11

12 A {represents/is B} in co-presence of C Theatre By actor A representing character B, or performing as A, in the co-presence of C. 12

13 live, in co-presence of A,B,C in the HERE and NOW Theatre By performing live in co-presence of A,B,C, in the HERE and NOW. And don t we all play roles today? 13

14 Abramović & Ulay - Nightsea Crossing Ref: Johan Deumens Gallery This is a picture of one of the NIGHTSEA CROSSING performances of Marina Abramovic and Ulay Laipsinnen. It is a famous icon for performance art. And for Hans Ulrich Gumbrecht: presence has become a central value in communication practices for exploring the relationship between presence of persons and presence of things of the world. 14

15 Why itheatre Marina Abramović: The Artist Is Present March 14 May 31, 2010, MoMa, New York Today Gumbrecht perceives in our culture an intense desire for presence. Be it Live or... 15

16 Marina Abramović: The Artist Is Present March 14 May 31, 2010, MoMa, New York...Online. The Artist Is Present can be considered as a live AND digital remediation of the Nightsea Crossing performances in the eighties. 16

17 Marina Abramović: The Artist Is Present March 14 May 31, 2010, MoMa, New York Since Marina is no longer working with Ulay, the audience, the spectator takes Ulay s place in front of Marina. And today at flickr - the archive - it s a real adventure to sea all these faces of these spectators taking TIME to CONNECT with Marina. 17

18 iperform beyond time & space itheatre That s why I propose to add i to Theatre. Because, and I quote Hans Ulrich Gumbrecht, Contemporary communication technologies have doubtlessly come close to fulfilling the dream of omnipresence, which is the dream of making lived experience independent of the locations that our bodies occupy in space... 18

19 embodied distibuted knowledge itheatre..the more we approach the fulfillment of our dreams of omnipresence and the more definite the subsequent loss of our bodies and of the spatial dimension in our existence seems to be, the greater the possibility becomes of reigniting the desire that attracts us TO the things of the world 19

20 a system based memory system itheatre so this concept of LIVE PHYSICAL and DIGITAL VIRTUAL presence in a CONNECTED WORLD reflects the TRANSFORMATIVE power of the computer: Theater becomes a system based memory system... 20

21 A {represents/is B/A} in {co}-presence of C live or at a certain distance in time/space itheatre...and it changes the definition of what theatre is. A represents B or is A in co presence of C live or at a certain distance in time and/or space... 21

22 A,B,C are no longer fixed in the HERE and NOW itheatre..so A,B,C are no longer fixed in the unique moment of the HERE and NOW. 22

23 Theatrum Mundi the NET is a stage itheatre So we might be able to change the Theatrum Mundi metaphor into the NET is a stage. 23

24 but...art is different after new media because of new media - not because new media is next... Steve Dietz in Rethinking Curating Art after New Media - Beryl Graham and Sarah Cook...but according to Steve Dietz in the book Rethinking Curating...art is different after new media because of new media NOT because new media is next... 24

25 writing beyond writing Codex Fejervary-Mayar: Azteken Mexico let me give you just two examples of ancient writing, this is a Codex of the Azteks in Mexico, picture writing 25

26 & visualization..and this is the Minard Map, combining text and graphs visualising how, when, where Napoleon lost his solders on the way to Moskou back to France. In one STAGE you see the CONNECTED information: distance, temperature, dates, rivers, sites, and the amount of solders lost. 26

27 writing beyond writing writing notation picture Venn Circles - tripartite model of writing : James Elkin, The Domain of Images, Cornell Univ. Press, antropologist Elizabeth Hill Boone proposes to use James Elkins model of writing for the analysis of memory systems, and I would like to advice ECLAP to research the potential of this concept. a TRIPARTITE model of writing combining 1: text 2: image/audio/video 3: annotation 27

28 some examples of available tools we use in a classroom now. MindDomo Mindmapping which also confirms the potential of writing beyond writing. 28

29 is about theatre as a hub itheatreconnect! about annotation Annotating video in layers for cross cultural peformance analysis. Comparing Shakespeare performances in the NL and the UK online. Each layer for facilitating a synchronous discussion as preparation for the joint video conferencing lecture, Warwick University and UvA. 29

30 is about theatre as a hub itheatreconnect! itheatreconnect! blogging in cross cultural collaboration distance learning in a virtual classroom or community blogging 30

31 is about theatre as a hub blogging in cross cultural collaboration distance learning in a virtual classroom or user friendly online tools for publishing student essays 31

32 is about visualization Ticker = a Flickr Leech API in Dipity TimeLine Data Visualization or smarthistory timeline visualisation tools like Dipity 32

33 visualization on a SINGLE stage So the power of these tools is hidden in the visualization of information on a single page or stage. So itheatreconnect! is a plea for... 33

34 the design of easy to use interfaces & connections on a SINGLE stage the design of EASY TO USE interfaces & connections on a SINGLE stage. WHY?... 34

35 Because: You when you speak about the use of content in a classroom I want to be able to drive straight on a twisted lane. 35

36 picture: Vergel Bradford because...faced with information overload, we have no alternative but pattern recognition, quote Marshall McLuhan. 36

37 Therefore the presence of an argument and the power of creativity must reclaim their places in the design process of these tools and interfaces. WHY? 37

38 connect and patch messages in time & space 38 artists are like interfaces, they connect and patch messages about the world in time & space

39 they patch knowledge by using memories, books and other resources offering special experiences in real live...or virtual settings in time & space 39

40 So I want to argue that the creative process of writing, representation and reception should NOT be EXCLUDED from the design process of portals like ECLAP and elearning tools & interfaces. 40

41 Directors and spectators, writers and readers, musicians and listeners, meet by the creative process of making, enacting and perceiving experiences and knowledge. 41

42 Therefore the presence of an argument and the power of creativity must reclaim their places in the design process of these tools and interfaces. Some examples of interfaces will serve to re>lect and discuss this statement. 42

43 Double Skin/Double Mind is an installation with dance, recorded dance, and the remediation of it for real live physical interactive meetings with the emancipated spectator (Ranciere). 43

44 A sketch of the technical set up of this installation designed for spectators to dance and experience the orginal choreography. 44

45 This is an example of pictorial essay writing, on the left the text and #01, with the connect #01 academic footnotes references on the right. Pushing on the hashtagged number in the left, will activate the changing window on the right, showing the original textbook, a link to WorldCat.org (API) and other contextual information. 45

46 And this is a perfect example of today. It is this memory system of thevangoghletters.org bridging the letter of Van Gogh with his paintings he discusses with Theo and academic annotations. 46

47 like virtual social bookshelves text, notation, images text, notation, images combined on virtual social bookshelves. 47

48 itheatreconnect! #2 Carina Molier: The Waiting Room 2011 TUMBLR blog - performance under construction But that s what artist do: Let me show you some recent performances... 48

49 Carina Molier: The Waiting Room 2011 TUMBLR blog - performance under construction Theatre director Carina Molier is now using a TUMBLR blog for her research and preparation of a new performance called THE WAITING ROOM,... 49

50 set design: Roel Huisman Carina Molier: The Waiting Room 2011 TUMBLR blog - performance under construction in a hospital, about the conflict/synthesis of humans and technology. 50

51 tekst semacode set design: Roel / points Huisman of interest Carina Molier: The Waiting Room 2011 MOBILE performance under construction with semacodes and points of interest in... 51

52 set design: Roel Huisman Carina Molier: The Waiting Room 2011 TUMBLR blog - performance under construction the set for the use of... 52

53 Carina Molier: The Waiting Room 2011 JUNAIO ipad2 AUGMENTED REALITY - performance under construction ipad2 in the theatre by spectators revealing hidden dimensions of life. 53

54 Rimini Protokoll: Cal Cutta Mobile Phone Theatre - Premiere: Kalkutta, 2005 ; Berlin, 2005 Rimini Protokoll: Cal Cutta Mobile Phone Theatre - Premiere: Kalkutta, 2005 ; Berlin,

55 Rimini Protokoll: Cal Cutta Mobile Phone Theatre - Premiere: Kalkutta, 2005 ; Berlin, 2005 Connecting a call centre in Calcutta, India, with the wondering spectators in Berlijn. Spectators who marvel at the fact that the women in Calcutta knows more about Berlin. 55

56 itheatreconnect! Theatre director Christopher Schlingensief died in But he is still present and working on his mission, a opera house for africa in Burkina Fasso. 56

57 Schlingensief s opera village in Africa: A Conversation at the German Pavilion at the Venice Biennale, 2011 itheatreconnect! photo: Roman Mensing at the Biennale in Venice today. 57

58 Schlingensief s opera village in Africa: A Conversation at the German Pavilion at the Venice Biennale, 2011 itheatreconnect! photo: Roman Mensing showing his complete work 58

59 Schlingensief s opera village in Africa: A Conversation at the German Pavilion at the Venice Biennale, 2011 itheatreconnect! photo: Roman Mensing in an installation. 59

60 How can we re-use these connections & public LINKEDdata in a Virtual Classroom? So how.. 60

61 in? with.. 61

62 maybe! maybe 62

63 in beta in OER Glue beta 63

64 OER = open educational resources it stands for open educational resources 64

65 OER = open educational resources - dropped in a single box - glued into courses - on a single stage 65 Will it be the new Memex? The Memory Extender of Vannevar Bush in A memex is a device in which an individual stores all his books, records, and communications, and which is mechanized so that it may be consulted with exceeding speed and flexibility. It is an enlarged intimate supplement to his memory. It consists of a desk, and while it can presumably be operated from a distance, it is primarily the piece of furniture at which he works. On the top are slanting translucent screens, on which material can be projected for convenient reading.

66 this is the interface (in Beta) putting layers on top of the website of Via Intolleranza, the last performance of Schlingensief before he died. 66

67 itheatreconnect! the perfect memory machine, is it on the way? 67

68 erik lint theatre studies, UvA twitter: itheatre FIN unplugged itheatreconnect! theatre in a time of digital remediation image: Ruben L. Oppenheimer thank you. 68

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