Tag: dance and technology

In-Finite Incarnates In Switzerland

In-Finite Incarnates In Switzerland

It’s easy when you sell out a show to think that you’ve done everything right. However, as ever, we like to set the bar a little higher. We like to think we’re more concerned with the way you, our audience, experienced the performance. We did something brand new.

On March 8th we had three different audiences:

– A live audience in London (did we mention we sold out?)
– An online audience – watching from 11 confirmed countries
– A twitter audience – from the 20% of people tweeting (in the auditorium, and many more of you from home), over 400 people had an experience of the show through a twitter feed

After a month of research collecting feedback and opinion from you (please continue to let us know what you thought) we’ve noticed some interesting things.

One recurring piece of feedback is that the latter part of the performance was so engaging all the way through and changed quite rapidly that you felt you were missing things if you stopped to tweet or take a picture. Also, there was little time to absorb what was going on, decide what you think till after the show.

We’re very happy to announce that ArtCorps who run the Antilope Festival in Switzerland was so intruiged with what we did on the 8th that they have invited us to perform as part of their 2013 Festival. On the 24th April In-Finite with incarnate as a twitter performance and live showing. We wont be streaming it – but, you will be able to watch the performance through the eyes of those gathered. To get the most enriching experience possible we’re breaking up the performance in to three parts. This will give 4 scheduled opportunities (one before, two intervals and after the show) for the viewers to watch, digest, interpret and share their ideas over twitter.

Antilope are very excited about the way we’re integrating social media with dance to the point where our very own Joumana Mourad has been anointed their Twitter Ambassador for the festival and will be spreading the exciting opportunities Twitter has to performers and audiences who attend the festival from the 22nd April.

Be prepared to watch #infinite13 as we think you’ll find some delightfully creative thoughts appearing as well as a never before seen insight into what’s happening at the festival and in the minds of the creatives involved.

The performance is at 8.30pm CEST (7.30pm BST) so if you can’t make it in the flesh (book here if you can) you can experience for the very first time a twitter only dance performance. We’d love to hear what you think as well – so, follow @IJADdance and we’ll let you know all about it as it fast approaches!

Live Streaming

Live Streaming

Streaming in performance is a loaded area. While the obvious access opportunities are great, there are lots of issues around what, where, how much and what we even call this digital addition that is becoming so important to live art.

First the practical, what exactly do we mean by live streaming? Options include the use of static cameras on tripods versus using a live camera crew. Besides the relative costing differences, there are hundreds of reasons why we might choose one method over another, each one with even more alternatives. How and where should static cameras be placed? How many cameras should be used? Do the camera crew become part of the performance itself?

Many of these issues come down to whether we should be treating an online audience as equal to the physical audience. If so are we not obliged to strive to provide the same experience? And then how does the streaming impact on the expeience of the physical audience? When does streaming equipment begin to change what the present audience experience? With online audiences potentailly outnumbering the physical audience might we lose something of the feel of a live performance, as if we’re inviting them to a filmset?

So does the thought of a less committed audience offend us? An online audience will inevitably watch differently. The experience of a recorded or streamed performance can arguably never be as powerful as the live version. There are aspects of a performance beyond the visual and as technology develops, we’re seeing ever more innovative and performance practice… – sensography. Are we therefore offering our online audiences a reduced performance? Does live streaming cut people off even further? What about those with no internet connection or a generation that are not ‘digital natives’? Are we doing enough to introduce new audiences to the possibility?
At the same time, it could be said that live streaming is in fact more powerful. As we’ve said before, digital interaction may well be the answer to audience participation that performance art needs.

If we can achieve more online, or at least achieve something different, are we talking about the emergence of a new artform? Possibly, who are the curators of this new space? Working with a venue is one thing but what about curating a space where your viewers can adjust the volume, dim the lights, switch cameras or get up and go and make a cup of tea?

The implications on the more traditional audience are huge! Does an online audience encourage people to come and see a live show or make them feel like they’ve seen it? People who buy a DVD won’t then go see it in the cinema (usually). People who buy an album will go and see a band live. What role does mystery have in the arts? The industry is scared of losing business and artistis are scared of giving everything away…

But, we do know that live streaming promotes more access to the arts…Undoubtedly, streaming allows access to performances to those that might have had none but is potential the key word here? Certainly the possibility of access is there but are we really seeing larger audiences from around the world, disadvantaged people and the less able taking a new interest in dance and performance or are we just transferring our current audiences?

In-Finite is being live streamed on Friday from 8pm (http://bit.ly/ZkfEEe). Or attend in person at Rich Mix from 7.30pm (http://bit.ly/XUjRfI)