Clash (and Dance) Yourself

2020 ◽  
Vol 11 (1) ◽  
pp. 36-58
Author(s):  
Hugo Canossa
Keyword(s):  
Digital Media ◽  
Performing Arts ◽  
Media Art ◽  
Test Reaction ◽  
Content Creation ◽  
Dance Movements ◽  
Content Generation ◽  
User Centered ◽  
A Performance

Use of media unleashed new perspectives for classic performing arts, expanding new possibilities of collaborative content creation and challenging the development of user-centered concepts. Clash (and Dance) Yourself is a performance audiovisual circuit for a PhD research in Digital Media Art, which puts the visitor at center of content generation for subsequent levels of entertainment of its own fruition. Appealing strongly to dance, it encourages visitors to participate, together with operators, in a challenge of dance replication of others and their own through circuit artifact execution. From relationship with music, dance movements performed, reaction to its own dance, visitors will test reaction to themselves, creating and exponentiating expectations resulting from participation. Different states of artifact have been presented whose results range from strangeness to deep involvement.

Livestreaming from the bedroom: Performing intimacy through domestic space on Twitch

2020 ◽  
pp. 135485652097832
Author(s):  
Bonnie ‘Bo’ Ruberg ◽  
Daniel Lark
Keyword(s):  
Digital Media ◽  
Video Game ◽  
Performing Arts ◽  
Domestic Space ◽  
Domestic Spaces ◽  
Affective Labor ◽  
Wide Range ◽  
History Of ◽  
Media Form ◽  
Cultural Connotations

This article looks at the appearance of domestic spaces on the popular livestreaming platform Twitch.tv, with a focus on livestreams that appear to be shot in streamers’ bedrooms. Many Twitch streamers broadcast from their homes, making domestic space central to questions of placemaking for this rapidly growing digital media form. Within the home, bedrooms merit particular attention because they carry particular cultural connotations; they are associated with intimacy, embodiment, and erotics. Drawing from observations of gaming and nongaming streams, we map where bedrooms do and do not appear on Twitch. We locate the majority of bedrooms in categories that foreground connections between streamers and viewers, like Just Chatting, Music & Performing Arts, and autonomous sensory meridian response (ASMR). By contrast, across a wide range of video game genres, bedrooms remain largely absent from gaming streams. The presence of bedrooms on Twitch also breaks down along gender lines, with women streaming being far more likely to broadcast from their bedrooms than men. Here, we build from existing research on both livestreaming and digital placemaking to argue for an understanding of place on Twitch as fundamentally performative. This performance is inherently gendered and bound up with the affective labor of streaming. In addition, we demonstrate how the bedroom, even when it does not appear on screen, can be understood as a ‘structuring logic’ of placemaking on Twitch. Given the history of livestreaming, which grows out of women’s experiments with online ‘lifecasting’, the bedroom sets expectations for the type of spatial and emotional access a stream is imagined to offer viewers. In this sense, the absence of bedrooms in gaming streams can be understood as a disavowal of intimate domestic space: an attempt by predominantly male streamers to distance themselves from the implicit parallels between livestreaming and practices like webcam modeling.

Intangible, invisible and eternally nascent: Designing sound in Australian performing arts

Scene ◽  
2021 ◽  
Vol 9 (1-2) ◽  
pp. 117-132
Author(s):  
Roger Alsop
Keyword(s):  
Performing Arts ◽  
Integrated Approach ◽  
Visual Object ◽  
Sound Design ◽  
A Performance

This article is primarily focused on sound design in the performing arts. While scenography is usually defined as the visual/object elements of a performance design, it is often discussed as including all of the heard and seen elements: sound, costume, lighting, sets, props and projections. The intention is that these elements work synergistically to create a ‘whole-more-than-the-sum-of-its-parts’, with scenography considered a wholistic discipline that embraces many aspects to support the intentions of the creators and the performers in a performance. Scenographic designers provide bespoke or unique solutions required to do this across specific briefs and budgets. While the discussion here centres on sound design for performance in Melbourne, it is intended to apply more broadly, particularly in developing a more complementary, integrated approach to sound in scenography, and regarding education and processes. This is to encourage a more global and inclusive consideration of the topic – to develop discussion, and therefore potential – of the manifold interrelationships in scenographic design in the performing arts. While there is no attempt to explicitly answer a key question or propose a defined theory, this discussion intends to illuminate various issues in sound design for performing arts in order to develop conceptual and practical approaches that enhance the collaborations and synergies possible in scenography for performing arts, ensuring that the whole is indeed more than the sum of its parts.

The Design and Application of Dynamic Symbol

2013 ◽  
Vol 442 ◽  
pp. 645-649
Author(s):  
Jing Wen Huang ◽  
Kun Qian Wang ◽  
Pei Hao Chen ◽  
Jian Bao ◽  
Pei Zhi Zhao
Keyword(s):  
Digital Media ◽  
Visual Language ◽  
Language Design ◽  
Media Art ◽  
Dynamic Design ◽  
Special Effects ◽  
Design Time ◽  
Design Philosophy ◽  
Dynamic Symbol ◽  
The Times

With the development of digital media art,the modern sign emerges as the times require. This article mainly discusses the design philosophy of dynamic symbol in modern signs ,covering two aspects on visual language design ( dynamic design,time design and The special effects design ) and auditory language design ,and how to properly apply the dynamic symbol into propaganda of local Corporate Logo and boot animation.

Un altro ordine del tempo

2019 ◽  
Vol 5 (1) ◽  
Author(s):  
Riccardo Fazi
Keyword(s):  
Performing Arts ◽  
Social Perspective ◽  
European Context ◽  
Analysis Tools ◽  
Artistic Works ◽  
The Relationship ◽  
Different Order ◽  
Actual Point ◽  
A Performance

During the last decade there has been a radical rethink, in the European context of both theatre and performing arts, on how a performance or a spectacle is narrated and enjoyed. Artists like Milo Rau, Tino Sehgal, Marten Spangberg, Rabih Mrouè, Amir Reza Koohestani, and Richard Maxwell structure their practices on a reflection about the concept of time and on how it can be returned on stage. A different order of time is the second chapter of a three-parts essay focused on the analysis of the artists' works; the essay aims to create a dialogue between the artistic works and the actual point of the debate about time through a philosophical, scientific and social perspective. How does performing arts design the relationship between time and our evolution as individuals today? In which manner the collective tale configures itself through this artistic, utopian narrative? And what about the analysis tools we might need to effectively enjoy these works?

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