This project investigates how audience’s process of perception affects their experience of connection with a performer in a mixed reality environment. The audience’s own kinesthetic perception may be viewed as an integral part of their communication with the performer. The increased use of media on stage has challenged the audience’s positioning in relation to the performer, both physically and conceptually but requires further refinement . We believe that an understanding of the audience-performer connection can support the development of a poetics of reception for the use of media on stage. We present a performance-based study designed to give audience members a heightened awareness of their perception with an emphasis on the motion happening in the space behind them: their ‘back-space’. Through this study we bring insight into the relationship between the audience’s experience of perception and their perceived connection to a performer.
Corness, G., Carlson, K., Schiphorst, T. (2011) ‘Audience Empathy: A Phenomenological Method for Mediated Performance’, The 8th ACM Conference on Creativity and Cognition, In Press. Nominated for an Emma Award for Best Contribution to Creative Communication.
Distancing is an installation by Erin Ashenhurst and Kristin Carlson that plays with the themes of memory and narrative. To remember is to give meaning to personal experience. Over time, the nature of memories change as they fall subject to the filter of perspective, new information, and the process of forgetting. Photographs become documentation, creating a sense that the details of an experience are fixed and knowable.
In Distancing (2009), the viewer is presented with the projection of an image that could be read as a family photograph. By entering into close proximity with the projection, the viewer triggers the animation of the image and becomes a participant in the installation. As the image reveals itself to be a video, subtle changes in content begin to occur. Expressions fade and shift, forcing the participant to rebuild any speculative narrative they’ve developed to explain the visual content. By changing their distance from the screen, the participant can move through the series of images, exploring alternate truths and constructions.
This project explores the conceptual and implementation shift from a creative research-based evolutionary system to a real-world evolutionary system for professional designers. In an effort to improve an existing autonomously creative system, DarwinsGaze, for use with real-world designers, and with multi-person creativity in mind, we began working with a noted design firm exploring potential uses of our technology to support multi-variant creative design iteration. This second generation system, titled Evolver, provides designers with fast, unique creative options that expand beyond their habitual selections that can be inserted/extracted from the system process at any time for modular use at varying stages of the creative design process. This work has been published by the International Conference on Computational Creativity.
Movement feels sharp and angular yet tentative and about reaching out as far as possible away from my weight/ base.
Fight or flight and testing
I want to get really squirmy and circular
This feels very geometrically correct/ ballet anatomy and is relying on turn out and forced opening/ arching.
Explore reaching and distance- always comes back to internal twitches
Trying to figure out wedge and split – deep 5th pile with arms twisting to push up and down and over