Please note that this site is no longer maintained. The information was last edited in January 2006. The Sensing Presence Program, and its research section, are no longer functional. This being said, there is still a lot to be found here that can be of use, so it is kept as an archive for those interested.
LiveArt is an umbrella term, a conceptual framework for live arts practice that dynamically slips between the more stratified genres of the performing arts such as dance, theatre, music, and now, games. Its tenet, if one could dare to call it that, is its resistance to representation, to the inscription of meaning, through its embrace of process. Its very liveness and insistence on change and transformation is integral to its practice. The concerns of LiveArt are not about crossing boundaries per se, but favour the dissolution of boundaries into emergent forms.
The Connected! Programme's approach to LiveArt is all about process - transductive process - the changing of one form of energy into another. Various trajects in the project have investigated the relationship between the digital and the analog, between code and affect, between time and space. Transductive processes occur between humans and the technologies they use to connect to other humans and between humans themselves. They are multiple and multi-dimensional, evoking the sensation of the interval, the in-between of the intensive/extensive, inside/outside, in its mobius strip shapeshift. The fuzzy, distributed affect of live and living connection.
The intersecting of cultural networks through transductive processes, through collaborative exchange, has been a key ingredient in the Connected! Programme. In January 2003 we established a local framework whereby international, transdisciplinary artists and public could regularly meet to evolve a performative aesthetic based on shared virtualities; on co-operative making; on open structures; on knowing-how.
Connected! the Making of a LiveArt Exchange
The Connected! Programme spanned a two year period from January 2003 to January 2005. It officially concluded with a celebratory Birthday party for Art in the Theatrum Anatomicum of Waag Society, the local 'home'-base of many Connected! projects. Although most of the people present at that event agreed with Federico Bonelli's assessment "that art could have committed suicide in 1984" - the research and the show goes on.
The Connected! Programme had four nested components: Projects, Artists-in-Residence, Sentient Creatures Lecture Series and Anatomic. This book documents many of the activities in these domains; the lectures, the events, the workshops, the performances, the installations, the discourse. Yet, it's interesting to note that pulling together material for this publication was a bit like trying to capture the wind. Much of the work produced in this two-year period emphasized the real-time process of the making. Documentation of that often fragile, unstable and always already ephemeral process is sketchy at best and marginal to the actualization of the event itself. For many of these artists, documentation is a secondary concern, an afterthought. For others, documenting is an integral process indistinguishable from the event itself.
There are myriad photos in this catalogue of artists behind their laptops. Myriad photos that say little about the levels and layers of codified communication emitted from those unseen screens. These casual, unpretentious shots are images of social networks in progress - the translocal - a feedback loop of the local effecting the global affecting the local affecting the global. Not only does the artwork produced, or better transduced, scramble representational meaning but so too does the process of making. Performance practice that addresses the indeterminate dance-on-the-edge-of-chaos in compositional processes is a felt thing, an experience that doesn't always translate well in laptop snapshots.
Connected! LiveArt is an illustrated Connected publication, describing all projects and events within the programme, published September 2005. It acts as a catalogue at the end of the 2-year running programme. It can be downloaded as a pdf:
Screen resolution (8,5 MB)
Print resolution (19,1 MB)
Title: "The Translocal Event and the Polyrhythmic Diagram"
TheTranslocalEvent.pdf - Final version July 2006 (5,1 MB)
Appendix "The KeyWorx Interviews: Transcripts of Interviews and Conversations with KeyWorx Artists"
TheKeyWorxInterviews.pdf (156 KB)
Affective Powerplay, by Sher Doruff. Draft version, 18 september 2006
LocativeMedia.pdf by Ronald M. Lenz
Is There a There There00.pdf
Collaborative Praxis: The Making of the KeyWorx Platform
Willemijn van Poppel - University of Amsterdam
"Het creëren van inzicht in multi-user applicaties door visualisatie van inzichtsinformatie"
Louise Both - Hogeschool voor de Kunsten Utrecht
"KeyWorx User Interface Onderzoek" (Dutch only, pdf)
Alessandra Blasi - to come