Uncanny Feedback

2019 ◽  
pp. 97-142
Author(s):  
Kriss Ravetto-Biagioli
Keyword(s):  
Dark Matter ◽  
Digital Media ◽  
Voice Recognition ◽  
Surface Effects ◽  
Sound Art ◽  
Interactive Performance ◽  
The Uncanny ◽  
Muscle Memory ◽  
Imagined Movement ◽  
Intentional Movement

Combining dance with digital and sound art, the performances of Simon Biggs, Sue Hawksley, and Garth Paine produce uncanny effects at the interface of the movement of the performer’s body with the software and technological apparatus that track, map, and interact with it. In Bodytext, Crosstalk, Blowup and Dark Matter the uncanny is neither presented as a questioning of subjectivity nor does it emerge from the viewer’s experience of the artwork, but is rather created within the artwork itself, from the feedback among its different interacting elements. “Uncanny Feedback” examines how interactivity between humans and digital media generates uncanny events. Interactivity is not simply a play of surface effects but a complex interactive performance that explores the inter-relationships between kinesthetic experiences and memory, muscle memory and intentional movement, and dance as an imagined movement, a form of interaction, gesture and response to voice recognition, sonification and audio programming.

Bill Viola and the Cinema of Indefinite Bodily Experience

2017 ◽  
Author(s):  
Kriss Ravetto-Biagioli
Keyword(s):  
New Media ◽  
Digital Media ◽  
High Speed ◽  
Digital Video ◽  
Digital Technologies ◽  
High Speed Camera ◽  
Bodily Experience ◽  
The Uncanny ◽  
Sense Of Time

This chapter examines ghostly gestures that we cannot consciously experience, but only perceive through digital technologies. Internationally recognized as a leading video artist, Viola’s work focuses on the intersections of new media and experiences like death, consciousness, spirituality, and emotion. Many of his recent installations manipulate our sense of time by using a special high-speed camera. Uncanny gestures (those that are embodied but unreadable) emerge as the film is transferred to digital video and slowed down. The emergence of gestures that we can recognize once visualized through digital media as our own, but we cannot recall – that is, we cannot reenact or remember – points to something uncanny about gesture and its relation to affect. Rather than offering us a new understanding of human interiority or an opportunity to make sense of the uncanny, Viola’s work leaves us only with uncertainty as a visceral affect.

scholarly journals Interactive performance: the digital of theatre

2021 ◽  
Author(s):  
Nadya Mahalati Khoja
Keyword(s):  
Digital Media ◽  
Interactive Design ◽  
Peak Experiences ◽  
Interactive Performance ◽  
Theatre Companies ◽  
Self Actualization ◽  
Immersive Theatre ◽  
The Relationship

The purpose of this MRP is to explore the nature of Peak Experiences, which Maslow refers to as the combined response of the emotions, senses, intellect and imagination that are often experienced by people who have achieved self actualization. Using the theatre as an environment that creates meaning and fulfillment and exploring the relationship between theatrical engagement experiences and digital media experiences, the goal of this paper is to determine how engagement practices between both media can function in harmony, in order to produce the hedonic experiences that Maslow describes. This analysis is done by comparing various immersive theatre companies and interactive design companies who are pushing the boundaries of their fields and attempting to produce infectious and enlightening experiences in their area of expertise.

Sculpting Image and Sound

2016 ◽  
Author(s):  
Cornelia Lund
Keyword(s):  
Digital Media ◽  
Digital Technology ◽  
Sound Art ◽  
Artistic Production ◽  
Visual Elements ◽  
Visual Music ◽  
Use Of Technology ◽  
The Status ◽  
Media Formats

Digital technology increasingly has offered new possibilities of combining audio and visual elements, be it in live performances, installations, or videos. The Canadian artist and musician Herman Kolgen plays the different genres like a virtuoso, exploring overarching themes in audiovisual performances as well as audiovisual installations. This chapter offers a case study that takes Kolgen’s work as an example of artistic production that pushes its investigation of audiovisual combinations in different directions by its flexible use of analog and digital media formats. The chapter first discusses the status of Kolgen’s work in terms of categories of audiovisual production such asvisual music, live cinema, andsound art. It then focuses on an analysis of his work under three aspects: exploration of media formats, use of technology, and relation to performance and performativity. At the same time, the chapter situates Kolgen’s work in the wider context of audiovisual art.

scholarly journals How Internet music is frying your brain

Popular Music ◽  
2016 ◽  
Vol 36 (1) ◽  
pp. 86-97 ◽  
Author(s):  
Adam Harper
Keyword(s):  
Digital Media ◽  
Digital Technology ◽  
Information Overload ◽  
Uncanny Valley ◽  
The Uncanny

AbstractThis article argues that the production and reception of certain recent electronic musics has resonated with criticisms of the perceived degenerative effects of digital technology on culture and ‘humanity’ – such as the lack of attention it promotes or the ‘information overload’ it causes – in an at least partially positive way. The resulting ambivalent aesthetics, sometimes thought of as one of ‘Internet music’, embraces particular negative notions of digital mediation in ways that can and have been thought of as satirical, exploratory or ‘accelerationist’. I examine three facets of this aesthetics: maximalism, kitsch and the uncanny valley. I also question the legitimacy of dramatising, even positively, digital media and culture as effectively ‘degenerate’.

scholarly journals Improving models for urban soundscape systems

2013 ◽  
Vol 3 (3) ◽  
pp. 113-137
Author(s):  
Lawrence Harvey
Keyword(s):  
Digital Media ◽  
Large Scale ◽  
Public Investment ◽  
Original Study ◽  
Sound Art ◽  
Art Galleries ◽  
Key Players ◽  
Critical Issues ◽  
Private And Public ◽  
Concert Halls

Large-scale urban soundscape systems offer novel environments for electroacoustic composers, sound artists and sound designers to extend their practice beyond concert halls, art galleries and screen-based digital media. One such system with 156 loudspeakers was installed in 1991 on the Southgate Arts and Leisure Precinct in central Melbourne. Over the next 15 years another three large multichannel soundscape systems were installed on other sites close to the first. A fifth system was established for a single work of art in 2006. Despite this private and public investment in sound art estimated at over one million Australian dollars, several systems are no longer in operation while some remaining systems require technical and curatorial development to ensure their continued cultural presence. To investigate why some systems had failed, interviews were conducted with key players in the development and operation of the five systems. A report from the interviews was produced and is the basis of this paper framing critical issues for improving models of urban soundscape practice. Following a brief overview of related studies in urban sound practices, and descriptions of the system and original study, key themes that emerged from the interviews are examined.

scholarly journals Dead voices and lost sounds: an imagined sonic history

2021 ◽  
Vol 9 (2) ◽  
pp. 1-12
Author(s):  
Adrienne Kapstein
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Sound Art ◽  
Audience Participation ◽  
Audience Member ◽  
Live Performance ◽  
Interactive Performance ◽  
Art Installation ◽  
Project Description

A project description of a sound art installation and interactive performance presented as part of the Up Close Festival in New York City in the winter of 2019/2020. The article is authored by the creator and director of the piece, Adrienne Kapstein. Created for an all-age audience, the piece was a unique, relational and socially engaged experience that merged sound art, live performance, illusion, technology, and audience participation. Designed to be completed in partnership with members of the community it sought to serve, the piece invited participation from every audience member through multiple and varied means of engagement.

scholarly journals Interactive performance: the digital of theatre

2021 ◽  
Author(s):  
Nadya Mahalati Khoja
Keyword(s):  
Digital Media ◽  
Interactive Design ◽  
Peak Experiences ◽  
Interactive Performance ◽  
Theatre Companies ◽  
Self Actualization ◽  
Immersive Theatre ◽  
The Relationship

The purpose of this MRP is to explore the nature of Peak Experiences, which Maslow refers to as the combined response of the emotions, senses, intellect and imagination that are often experienced by people who have achieved self actualization. Using the theatre as an environment that creates meaning and fulfillment and exploring the relationship between theatrical engagement experiences and digital media experiences, the goal of this paper is to determine how engagement practices between both media can function in harmony, in order to produce the hedonic experiences that Maslow describes. This analysis is done by comparing various immersive theatre companies and interactive design companies who are pushing the boundaries of their fields and attempting to produce infectious and enlightening experiences in their area of expertise.

‘Aren't you Maria?’: The Uncanny and the Gothic in Silent Hill 2

2021 ◽  
Vol 23 (1) ◽  
pp. 1-20
Author(s):  
James Aaron Green
Keyword(s):  
Digital Media ◽  
Video Game ◽  
Main Ingredient ◽  
Digital Medium ◽  
Moving Image ◽  
The Uncanny ◽  
To Receive ◽  
Scholarly Attention

The attractiveness of the ‘moving image’ to the gothic imagination has begun to receive scholarly attention from the perspective of videogames, and it has been argued that the digital medium renovates gothic ‘milieus’ (transmedial genre labels) by its combination of ludic and narrative properties. This article focuses in particular on the gothic milieu of the uncanny as it appears in Team Silent's 2001 videogame Silent Hill 2. Examining its depictions of the double, animism, and involuntary repetition, this article claims that Silent Hill 2 is sui generis in its depiction of the uncanny, and in this regard must be considered distinctly from the rest of the series. Following Isabella van Elferen's contention that ‘the participatory uncanny of certain games can be identified as the main ingredient of video game Gothic’, this study argues for Silent Hill 2 as a superlative case of the gothic potential of videogames, and of the uncanniness of contemporary, digital media.

scholarly journals MATLIT v.5

2017 ◽  
Vol 5 (1) ◽  
pp. 84
Author(s):  
John F. Barber
Keyword(s):  
Digital Media ◽  
Sound Art ◽  
Electronic Literature ◽  
Special Issue ◽  
Sound Poetry ◽  
The Past ◽  
The Aesthetic

To demonstrate through listening the aesthetic concept and practices described in my text essay, "Vox Media: Sound, 'under language,' and 'narrative archaeology' in/as Literature" also submitted for this special issue*. Recombining / reconceptualizing sound artifacts promotes broader opportunities for conceptualizing and creating literary artifacts characterized by audibility of text, sound as text and meaning, and heightened awareness of the author's/speaker's voice(s) in the text. Tensions produced by these combinations may help foreground conceptualizations and practices regarding sound-based texts. Specifically, these combinations of technologies and performances may help challenge the past invisibility of voice in literature and promote future digital media and textuality theory and practices more rewarding than simulacra, description, or transcription. Vox Media. Sound in/as literature. From something comes something more: electronic literature as sound-based narrative composed from sound poetry, text-sound composition, and/or sound art.   *Editor's Note: Available here http://impactum-journals.uc.pt/matlit/article/view/3777/4162

Discordant storytelling, ‘honest fakery’, identity peddling: How uncanny CGI characters are jamming public relations and influencer practices

2021 ◽  
pp. 2046147X2110269
Author(s):  
Elena Block ◽  
Rob Lovegrove
Keyword(s):  
Civil Rights ◽  
Public Relations ◽  
Digital Media ◽  
Mixed Method ◽  
Communication Strategies ◽  
Virtual Character ◽  
Culture Jamming ◽  
The Uncanny ◽  
Computer Generated Imagery

This article critically explores whether and how computer-generated imagery (CGI) characters are jamming public relations and influencer practices. We use Miquela, a virtual character with 3 million Instagram followers as a case study. We examine Miquela’s (and her creators’) communication strategies to identify what makes her so appealing to postmillennial audiences, luxury and indie brands, and civil rights activists alike. Valued at USD125 million, Miquela is algorithmically moulded as a fashionista, singer and civil rights warrior to maximise visibility, influence and emotional release. ‘Her’ discordant, uncanny human/nonhuman ethos simultaneously attracts, intrigues and defies. To study Miquela’s case we built a four-tiered theoretical framework (parasocial relations, identity influence, culture jamming, and algorithmic branding) using the Freudian concept of ‘the uncanny’ as connecting thread; and a mixed method that includes digital ethnography, textual and sentiment analysis. We aim to make a contribution to studies on the use of digital media in PR.

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