ABSTRACT
If digital media performance continues to evolve through the convergence of diverse technologies, where does this leave the audience with respect to the creative experience? Is it important for the artist to understand how the audience understood the use of technology in their work? Should the artist care? This paper discusses the relationship between artist and audience through an examination of an Augmented Reality Performance Project Edible Audience.
- Cover, Rob. New Media Theory: Electonic Gamers, Democracy and Reconfiguring the Author-Audience Relationship, Social Semiotics. 14(2). (2004), pp. 173--191.Google Scholar
- Fels, Sydney, Ashley Gadd and Axel Mulder, Mapping transparency through metaphor: towards more expressive musical instruments. Organized Sound. 7(2). pp. 109--26 Google ScholarDigital Library
- Gunning, Tom. Bodies and Phantoms: Making Visible the Beginnings of Motion Pictures' Binocular, (1994), pp.84--99.Google Scholar
- Gunning, Tom. The Cinema of Attractions -- Early Film, Its Spectator and the Avant-Garde', Binocular, (1990), pp.84--99.Google Scholar
- Howell, Anthony. The Analysis of Performance Art: A Guide to its Theory and Practice, Harwood Academic Publishers, Amsterdam. (1999).Google Scholar
- Manovich, Lev. The Language of New Media, Cambridge: Mass. MIT Press. (2001).Google Scholar
- Manovich, Lev, The Anti-Sublime Ideal in Sound Art, www.manovich.net/DOCS/data_art.doc. (2001), viewed 5-June-2007.Google Scholar
- Paine, Garth. Interactivity, where to from here?, Organized Sound. 7(3). (2002), pp. 295--304. Google ScholarDigital Library
- Pritchett, James. The Music of John Cage, Cambridge University Press. (1993).Google Scholar
- Rebelo, Pedro. Performing Space, Organized Sound. 8(2). (2003), pp. 181--86. Google ScholarDigital Library
- Revill, David. The Roaring Silence, Arcade: New York. (1992).Google Scholar
- Sparacino, Flavia et al. Wearable Performance. Proceedings of the First International Symposium on Wearable Computers (ISWC'97). (1997). Google ScholarDigital Library
- Winkler, Todd. Audience Participation and Response in Movement-Sensing Installations, ISEA. Paris. (2000).Google Scholar
Recommendations
Towards a narrative theory of virtual reality
Virtual Reality (VR), by its nature and characteristics, is of specific interest to the AI community, particularly in the domains of Storytelling and Intelligent Characters. We argue that VR must be considered a particular narrative medium alongside ...
Exploring the boundaries of augmented reality in a magic show performance
ACE '09: Proceedings of the International Conference on Advances in Computer Entertainment Technology"Magic for a Pixeloscope" is an experimental performance that merges augmented and mixed reality and full-body interaction within a classical magic show. The magician uses custom based hardware and software to create new illusions which are a starting ...
The Experience “Mondrian from Inside”. An Immersive and Interactive Virtual Reality Experience in Art
Augmented Reality, Virtual Reality, and Computer GraphicsAbstractTechnology and art can come together to create exciting experiences that bring the general public closer to different types of artworks. Virtual reality experiences are transforming the way cultural heritage institutions exhibit their works of art ...
Comments