Audience members as observers in
artist-defined locations:
Audience as spectators and listeners, immediacy of experience
(emphasis on here and now), emphasis of spatial and sensual
experience, "active" interaction only by proxy,
"passive" interaction, responses internalised, stillness,
contemplation, less potential for improvisation.
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| Open and closed systems in action, accessed in galleries and museums,
not responding to the viewer |
Live performances with traditional division between audience group and performers,
audience often seated in rows, facing the performers. Performance
might include elements of improvisation or chance: |
Live performance but with strong
emphasis on non-active audience involvement in the work:
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Video and/or audio
installation of generative prcesses completed earlier and/or
elsewhere; also audience members encountering previously composed
site-specific work i the location: |
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'Blow',
'Condensation Cube',
'Harmonic Bridge'
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'16 [R]evolutions',
'Apparition',
Toplap,
'Flesh Protocol',
'Braindance',
'Brain Opera' performance,
'On Being Invisible II',
'Cyberprint',
'test patches',
'Memory Release',
'Space',
'Imaginary Landscape No. 4',
'Third Hand',
'I am sitting in a room' (live version),
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'Mnemonic present, Unfolding#7',
'Performer/ Audience/ Mirror'
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'Deserter',
'Guards',
'Vital Statistics of a Citizen, Simply Obtained',
'The Garden';,
'40 Part Motet',
David Byrne,
‘Oase 2000’
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Audience members as
participants in artist-defined locations:
Audience as participants in a live session
in an artist defined location, "active" interaction,
communication, collaborative ownership of work, responses can
be externalised, immediacy of experience (emphasis on here and
now), direct experience through the senses, high potential for
improvisation, but also contemplation. |
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| Individual participants
experiencing a responsive environment or generative system: |
One or several participants experiencing a responsive or generative environment: |
Live audience interaction involving
two or more spatially remote partners: |
Responsive environments particularly designed for multiple players : |
| ‘Affective Cinema’,
'Camera Silens',
‘Gastarbyter’,
‘Cardiomorphologies’,
'Osmose',
‘The Thing Growing’,
'World, membrane and the dismembered body',
‘Light blaster’,
‘Bio mapping’,
'Repossessed'
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'Autopoiesis',
‘Life pulse’,
'Maelstrom',
'Re-collections',
'Videoplace',
‘Brain Opera’ open session,
'The Layer',
'The Dark',
‘Wave UFO’
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‘Web séance’,
‘Intimate transactions’,
'Ere be Dragons'
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‘Sensuous Geographies’,
‘Whisper’,
‘Audible distance’,
’Placeholder’ |
Audience temporarily and spatially remote:
"active" interaction but temporally
or spatially removed from location, remote or delayed experience,
contemplation, low potential for improvisation. |
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| A software
application that simulates a live process after a remote visitor
initiates a process, the visitor can see traces of other users'
presence. |
A software
application on a local machine that simulates a live process
after a user initiates a process, no traces of other users'
presence. |
Online applications
simulating live processes in their own timeframe, different
from real time. |
Audio documentation of generative prcesses
completed earlier and/or elsewhere;
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'Technosphere',
'Spore' (multi-player),
'Electric sheep'
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'Life spacies II',
'Spore' (single player),
'fLOW',
'The game of life'
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'Bio mapping' (the map),
'Weathersongs' (live online version) |
'The Layer' (recording),
'C7:: continuum',
'It's gonna rain',
'Music for airports',
'I am sitting in a room' (recorded),
‘Oase 2000’ (recorded),
‘Weathersongs' (recorded); |
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