Listen and Repeat by Rachel Knoll is a modified megaphone installed on a mountain in Washington state.

Social media is used to connect but concurrently serves as a disconnect from social life outside of the virtual world. In Listen and Repeat, a modified megaphone uses text to speech capabilities to recite tweets composed with the tag ‘nobody listens’ from the social media website Twitter. The megaphone…dictates tweets to an audience of trees.

For similar work see Untitled (Singing Tree) by Peter Coffin.

Tempo by Marie-Julie Bourgeois, Luiza Jacobsen, Rémi Bréval and Julien Brévalis:

a mosaic of sky in real time. Webcams from around the world set the sky and broadcast live images. By reversing the usual vision of the Earth seen from above, this installation offers an instant map of the sky. The work takes to beat the rate of rotation of the Earth and the sun becomes the reference point and the center position at the height of the installation. Tempo appears as an environmental monitoring, in which the viewer becomes the guardian
of heaven.

Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance, a two-day international conference with performance evening, exploring the use of networks as a means to enhance or create a wide variety of performance arts is now over.

The event brought delegates from Wales, England, France, Holland, Germany, Spain, Sweden, Norway and Turkey together to practice and discuss areas including live streaming video performance, virtual worlds, sonic arts, net.art, haptics, dance and theatre which all incorporated network performance. A special issue of the journal Liminalities will be published later this year documenting the event. If you missed it or could not attend please keep an eye on this weblog and the Remote Encounters site for a call for additional contributions which will be announced soon.

Below are a selection of photographs and screenshots from the event. To view all see the Remote Encounters group on Flickr.

Above: Presents // Presence by Lembrança (Rea Dennis & Magda Miranda)

Above: On LOVE by Annie Abrahams

Above: Synema by Jérôme Joy

Above: Human Stitches by Prof. Dr. Stahl Stenslie

Above: Pain Dance by Alan Sondheim and Sandy Baldwin

Above: disDance 11054.80 by Heidi Saarinen and Ian Willcock

The culmination of many, many months of research and work will soon be here. The Remote Encounters conference is almost upon us, register now to avoid disapointment!

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Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance

keywords: performance, networked, body, space, place, time, real, virtual

URL: http://remote-encounters.tumblr.com/

:: Description ::

Since the internet entered the public domain in the early 90′s there has been an explosion in artistic interest in its use as a means, site and context for creative practice. Much of this practice is performative in nature; ether originating from a performance background and using the internet as a new site and/or augmenting aspect of that practice or is a form of practice developed as direct response to the internet and becomes performative to some degree in its spectatorship.

It has been well established that the internet is not the first or only example of the use of a networked technology repurposed for creative practice. There is a clear time line that can be traced back through the practice of Roy Ascott and his coining of the term Telematic Art in the 1980′s to artist’s use of satellite networks, telephone and other telecommunication devices as each were invented. Seen in this respect the internet can be considered as one of many networked technologies that has enabled networked performance.

The internet is unique however in that it is not a singular network type that favours a particular form of media, broadcast or spectatorship. Most famously known as the network of networks it enables multiple protocols of which the world wide web’s http is just one, is multimedia in nature and encourages intertextual folding and layering of media, is multi-directional not simply a broadcast communication form, de-centralised in ownership and the majority of its technologies are openly accessible.

Remote Encounters, a two-day international conference with performance evening, aims to explore the use of networks as a means to enhance or create a wide variety of performance arts. How do networks as a site for performance provide opportunities for us as artists and performers? In particular how can we remotely collaborate, merge geographically separate places and times, reconfigure the space of performance and the relationship between artist and audience?

:: Keynotes/Key performers ::

Elif Ayiter – Sabanci University and Editor of Metaverse Creativity (http://www.intellectbooks.co.uk/journals/view-journal,id=179/)
Marc Garrett – Furtherfield (http://www.furtherfield.org/)
Annie Abrahams – Artist (http://bram.org/)

Also including: Alan Sondheim and Sandy Baldwin, Patrick Lichty, Bibbe Hansen and Second Front, Jerome Joy, Paula Crutchlow and Helen Varley Jamieson, Prof. Dr. Stahl Stenslie, Tony Olsson, Andreas Gøransson and David Cuartielles, Sander Veenhof, Heidi Saarinen and Ian Willcock, Elizabeth Leister, Cassandra Tytler, Rea Dennis and Magda Miranda, Ximena Alarcón, Ivani Santana, Beatriz Albuquerque, Kate Genevieve, Giulia Ranzini, Christina Papagiannouli, Giovanni Boccia Artieri, Laura Gemini and Federica Timeto, Erik Geelhoed, Phil Durrant, Tina Mariane Krogh Madsen.

Full schedule online here:
http://remote-encounters.tumblr.com/schedule

Registration:
Fee – academic affiliated £100, non-affiliated £50
http://remote-encounters.eventbrite.co.uk/

:: Conference information ::

Location: ATRiuM, Cardiff School of Creative & Cultural Industries, University of Glamorgan, Adam Street, Cardiff, Wales, CF24 2FN.

Date: 11th – 12th of April 2013

Metaverse Creativity, a journal on “creativity in user-defined online virtual worlds such as Second Life”, has just published an article of mine titled A Metaverse Art Residency: ‘Garrett Lynch Yoshikaze “Up-in-the-air” Second Life Residency’ in Volume 2, Issue 2. The article is about my 2011 Yoshikaze ‘Up-in-the-air’ residency at HUMlab and the following is the abstract:

This article discusses the artist Garrett Lynch’s residency in Second Life® at Yoshikaze ‘Up-in-the-air’, HUMLab, Umeå University in Sweden. The artist’s mixed-reality live performance and installation work in the ‘virtual’ world, part of a wider artistic practice on networks, focuses on the identity and role of the artist within an environment mediated by networked technology. The residency enabled the continuation of this practice and facilitated through the site of the residency the development of ideas of space and place as they relate to identity. Eleven works, predominantly performance based, were produced during the residency that explored the breadth of the Virtuality Continuum. Each investigated the boundary between the ‘virtual’ and the ‘real’ and how creative practice can be produced at their intersection. Techniques of juxtaposition, framing, layering, folding, combination and mixing were employed throughout. Works involved performance across multiple ‘real’ and ‘virtual’ spaces and used specifically built props and environments in-world, performance software for a number of computing and mobile devices and Web 2.0/Second Life mash-ups. A number of recurring themes emerged in the development of work, including liminality, new frontiers, augmented or mixed presence and vision, which formed thematic strands of research. It is these thematic strands, their development and use that form the structuring of this article.

More details on the issue here.