Object and Identity in a Digital Age
CHArt 25th ANNUAL CONFERENCE
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Object and Identity in a Digital Age
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Mary Oliver, University of Salford
The Screaming Head: Making the Most of the Random Attributes of Sensors in the Construction of a Virtual Performer
Writing on the development of an interactive ‘Screaming Head’ created during the Liminal Screen residency at the Banff Centre New Media Institute (2009), this paper will explore how a co-production between Performance Artist and Computer Programmer introduced Max MSP programming and the use of the Wii controller into the development of a Virtual Performer. This inter-disciplinary experiment was the latest advancement in a decade of creating works which have explored the (mostly) comedic relationship of the actual performer to their on-screen counter-part. The introduction of random programming devices into the development and mechanisms of display of an interactive performer was intended to expand the narrative form and to introduce more spontaneity at the point of presentation.
The interactive ‘screaming televised head’ (hanging upside down) responded to different qualities of movement; the live performer replaced on this occasion by the interactive performing spectator who was encouraged to push, kick and punch the television to trigger a wide range of vocal responses. Although the technology was visible the object was intriguing as the spectator did not know how the affect was achieved. There were also interesting responses from the inter-actor with the television, because they were afforded permission to do something both subversive and potentially dangerous, although there was no real danger present.
The reactions of the virtual performer were also intended to surprise. When static it would cycle through a range of pitiful cries for help to complaints of discomfort. When pushed more violently it would retort with equal aggression and abuse. Some inter-actors waited until they were alone with the television before releasing the full force of their aggression and numerous mentioned how therapeutic this was.
I will explore the making of this work with reference to:-
- The interdisciplinary working methods of artist versus computer programmer: the need to always draw what we mean (with illustrations).
- The combined necessity of good script writing and acting skills of the virtual performer.
- Constructing interactive narratives and the importance of empathy between inter-actor and virtual performer.
- The impact of ‘trigger’ mechanisms on the construction of interactive narratives.
Mary Oliver is Reader in Digital Performance and Associate Head of Research at the University Salford School of Media, Music and Performance. A member of Creative Technology Research Group and Digital Cluster she leads the New Performance Paradigms International Network which focuses on the future of performance through the development of new performance modes. She is leading the research programme for a new performance laboratory due to open at Media City in 2011. A performance artist for twenty five years, she has performed internationally, moving from ensemble performance to her solo digital performance practice in 1998. Over the last decade she has written, directed and performed in seven new digital performance works and has introduced numerous new performative modes to the stage. These include Mother Tongue (2000-2002) in which she performed as her whole family simultaneously in this full length show run by computer. In Almost (2007) she introduced the world’s smallest performer in a three dimensional composite hi-definition post-modern fairytale. Most recently in 2009 she was artist in residence at the Banff New Media Institute, Canada where she worked with computer programmers to introduce sensors into the devising, production and subsequent display of two new interactive performance works.