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Distributed creativity is not one artist working on one object but rather a group of authors contributing to an artwork. In media art, one can trace a movement from artwork to network. The obsession with objects as described by Walter Benjamin is replaced with an enthusiasm for the process of interaction. Bill Nichols describes the latter in his essay "The Work of Culture in the Age of Cybernetic Systems."
Walter Bendix Schönflies Benjamin was a German Jewish philosopher, cultural critic and essayist. An eclectic thinker, combining elements of German idealism, Romanticism, Western Marxism, and Jewish mysticism, Benjamin made enduring and influential contributions to aesthetic theory, literary criticism, and historical materialism. He was associated with the Frankfurt School, and also maintained formative friendships with thinkers such as playwright Bertolt Brecht and Kabbalah scholar Gershom Scholem. He was also related by law to German political theorist and philosopher Hannah Arendt through her first marriage to Benjamin's cousin, Günther Anders.
Bill Nichols is an American film critic and theoretician best known for his pioneering work as founder of the contemporary study of documentary film. His 1991 book, Representing Reality: Issues and Concepts in Documentary, applied modern film theory to the study of documentary film for the first time. It has been followed by scores of books by others and by additional books and essays by Nichols. The first volume of his two-volume anthology Movies and Methods helped to establish film studies as an academic discipline. Bill Nichols is Professor Emeritus in the Cinema Department at San Francisco State University and Chair of the Documentary Film Institute advisory board.
Distributed Creativity has recently been used to describe network performance practices, especially by composers and performers working in the area of network music performance. With the idea of distributing performers across the globe, also come considerations of how people listen when in different spaces, which has been explored under the theme of networked listening. A special issue in the 2009 publication of Contemporary Music Review on network performance investigated the topic of network music.
A networked music performance or network musical performance is a real-time interaction over a computer network that enables musicians in different locations to perform as if they were in the same room. These interactions can include performances, rehearsals, improvisation or jamming sessions, and situations for learning such as master classes. Participants may be connected by "high fidelity multichannel audio and video links" as well as MIDI data connections and specialized collaborative software tools. While not intended to be a replacement for traditional live stage performance, networked music performance supports musical interaction when co-presence is not possible and allows for novel forms of music expression. Remote audience members and possibly a conductor may also participate.
Theorists are considering how distributing performers and audiences in a performance space impacts on the experience of music making on behalf of the performers but also on the audience. Discussions on how each performance or concert space is built or set up are discussed under the theme of network dramaturgy.
There are several centres around the world that have dedicated network performance spaces and teams researching how to make music with people in distributed environments, for instance SoundWIRE Research Group at CCRMA, Stanford University and the Sonic Arts Research Centre in Belfast.
Performance poetry is poetry that is specifically composed for or during a performance before an audience. During the 1980s, the term came into popular usage to describe poetry written or composed for performance rather than print distribution, mostly open to improvisation.
Performance is completion of a task with application of knowledge, skills and abilities.
Live coding makes programming an integral part of the running program.
A podcast is an episodic series of digital audio or video files which a user can download to listen. Alternatively, the word "podcast" may refer to the individual component of such a series or to an individual media file.
Dramaturgy is a sociological perspective commonly used in microsociological accounts of social interaction in everyday life. The term was first adapted into sociology from the theatre by Erving Goffman, who developed most of the related terminology and ideas in his 1959 book, The Presentation of Self in Everyday Life. Kenneth Burke, whom Goffman would later acknowledge as an influence, had earlier presented his notions of dramatism in 1945, which in turn derives from Shakespeare. However, the fundamental difference between Burke's and Goffman's view is that Burke believed that life was in fact theatre, whereas Goffman viewed theatre as a metaphor. If we imagine ourselves as directors observing what goes on in the theatre of everyday life, we are doing what Goffman called dramaturgical analysis, the study of social interaction in terms of theatrical performance.
Podcasting, previously known as "audioblogging", has its roots dating back to the 1980s. With the advent of broadband Internet access and portable digital audio playback devices such as the iPod, podcasting began to catch hold in late 2004. Today there are more than 115,000 English-language podcasts available on the Internet, and dozens of websites available for distribution at little or no cost to the producer or listener. According to one survey in 2017, 42 million Americans above the age of twelve listen to podcasts at least on a weekly basis.
The Center for New Music and Audio Technologies is a multidisciplinary research center within University of California, Berkeley Department of Music. The Center's goal is to provide a common ground where music, cognitive science, computer science, and other disciplines meet to investigate, invent, and implement creative tools for composition, performance, and research. It was founded in the 1980s by composer Richard Felciano.
Podcasting refers to the creation and regular distribution of podcasts through the Internet. Podcasts, which can include audio, video, PDF, and ePub files, are subscribed to and downloaded through web syndication or streamed online to a computer or mobile device. Subscribers are then able to view, listen to, and transfer the episodes to a variety of media players, or podcatchers. Though similar to radio, there is no larger regulatory group or oversight with podcasts. Instead, podcasts simply consist of the creators and their listeners.
Tino Sehgal is an artist of German and Indian descent, based in Berlin, who describes his work as "constructed situations". He is also thought of as a choreographer who makes dance for the museum setting.
The conservation and restoration of new media art is the study and practice of techniques for sustaining new media art created using from materials such as digital, biological, performative, and other variable media.
Computational creativity is a multidisciplinary endeavour that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, and the arts.
LARES is an electronic sound enhancement system that uses microprocessors to control multiple loudspeakers and microphones placed around a performance space for the purpose of providing active acoustic treatment. LARES was invented in Massachusetts in 1988, by engineers working at Lexicon, Inc.
The psychology of music preference refers to the psychological factors behind peoples' different music preferences. Music is heard by people daily in many parts of the world, and affects people in various ways from emotion regulation to cognitive development, along with providing a means for self-expression. Music training has been shown to help improve intellectual development and ability, though no connection has been found as to how it affects emotion regulation. Numerous studies have been conducted to show that individual personality can have an effect on music preference, mostly using personality, though a recent meta-analysis has shown that personality in itself explains little variance in music preferences. These studies are not limited to American culture, as they have been conducted with significant results in countries all over the world, including Japan, Germany, and Spain.
The effect of cannabis on time perception has been studied with inconclusive results. Studies show consistently throughout the literature that most cannabis users self-report the experience of a slowed perception of time. In the laboratory, researchers have confirmed the effect of cannabis on the perception of time in both humans and animals. Studies have sought to explain how cannabis changes the internal clock. Matthew et al. (1998) looked at the cerebellum, positing a relationship between cerebellar blood flow and the distortion of time perception.
Platform 4 is a National performance and visual arts company based in Winchester, Hampshire, in the UK.
Deirdre Heddon, is Professor of Contemporary Performance at the University of Glasgow (UK). She is a practice-based researcher and has published articles in peer-reviewed journals, as well as academic monographs and book-chapters. She is well known for her interest in autobiographical performance, site-specific performance and walking art.
Cathy Turner is a British artist and researcher, specialising in dramaturgy, site-specific performance and walking art. She is a founder member of Wrights & Sites, and a Senior Lecturer in Drama at the University of Exeter. Turner's practice and research explore how one's life experience can influence one's perception of their environment.
The conservation and restoration of performance art is the process of documenting, collecting, and prolonging the life of Performance Art. Performance Art often features a live presentation initially documented by an artist, cultural institution, or host location. This genre of art can take place in a wide range of mediums, and is usually based on four core elements: Time, Space, the Performer's body, and the relationship between viewers and performer. These variables determine how it can be collected and conserved within museums or cultural institutions.
