Latent State performance at EDA

In the earlier posts I have presented some of the ideas which motivated so far my work in the context of live audio-visual performances: the development of a customized open source tool to use in such performances,  the creation of liminal spaces between the projected digital image and physical objects, the exploration of the new artistic forms of live cinema and animation. There have been many artists whose previous work informed this project: from the early pioneers of expanded cinema and video performance in the 60’s and 70’s, until contemporary artists who move fluidly between different practices and media, but make the digital performance the focus of their work.

The first performance piece that resulted from this exploration is called “Latent State” and took place in the EDA space on May 14th, in the context of the opening of the DMA MFA 09 show.  An edited video from the performance can be seen below:

This piece posed a significant challenge with regards to the transition from the themes I wanted to address with it to the actual implementation, since the process of its creation run parallel to the development of the instrument used to perform the piece. In one of the first posts in this blog, I commented on the great advantage of being the developer the tool as well as its user. Although I think this remains true (new visual ideas can be tested almost immediately, understanding of the limitations and capabilities of the software and hardware informs the directions ), it is also true that complex software development and artistic creation seem to require different thinking patterns and creative strategies. This poses the following question: can be the creator of a tool become a proficient performer of it? A positive answer is probably contingent on constant practice and the ability of intertwining in a successful manner the technical and artistic creativity.

The piece ended up structured in three parts, each one based on a different technique: real-time animation in the first part, performance in the second, and live film in the third.




I would like to thank Johanna Reed for her feedback during the production of the piece, as well as for ther participation during the performance as the “benign entity”.


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