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From Shadow Play Theatre to Media Performance Fields of Interaction: From Shadow Play Theatre to Media Performance Aleksandra Dulic MFA Simon Fraser University 2000 BFA University of Belgrade 1998 DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the School of Interactive Arts and Technology of Faculty of Applied Sciences O Aleksandra Dulic 2006 SIMON FRASER UNIVERSITY Summer 2006 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Aleksandra Dulic Degree: Doctor of Philosophy Title of Dissertation: Fields of Interaction: From Shadow Play Theatre to Media Performance Examining Committee: Chair: Dr. Lyn Bartram, Assistant Professor School of Interactive Arts and Technology Dr. Ron Wakkary, Associate Professor, Senior Supervisor, School of Interactive Arts and Technology Dr. Tom Calvert, Professor Emeritus Supervisor, School of Interactive Arts and Technology Dr. Laura Marks, Associate Professor Supervisor, Contemporary Arts -- - - Dr. Martin Gotfrit, Director and Associate Professor Supervisor, Contemporary Arts Diane Gromala, Associate Professor Internal Examiner, School of Interactive Arts and Technology Dr. Sha Xin Wei, Associate Professor External Examiner, Fine Arts and Computer Science Concordia University Canada Research Chair, Media Arts and Sciences Date Defended: SIMONUNlVEWdibrary FRASER DECLARATION OF PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection, and, without changing the content, to translate the thesislproject or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada STATEMENT OF ETHICS APPROVAL The author, whose name appears on the title page of this work, has obtained, for the research described in this work, either: (a) Human research ethics approval from the Simon Fraser University Office of Research Ethics, (b) Advance approval of the animal care protocol from the University Animal Care Committee of Simon Fraser University; or has conducted the research (c) as a co-investigator, in a research project approved in advance, (d) as a member of a course approved in advance for minimal risk human research, by the Office of Research Ethics. A copy of the approval letter has been filed at the Theses Office of the University Library at the time of submission of this thesis or project. The original application for approval and letter of approval are filed with the relevant offices. Inquiries may be directed to those authorities. Simon Fraser University Library Burnaby, BC, Canada Abstract Fields of interaction: From Shadow PZay Theatre to Media Pevformance examines the emerging contemporary practice of computational media performance and its genealogy through intersections across shadow play, cinema and computational media. One of the ways in whch media performance can be contextualized is by lookmg at contemporary performance forms that emerge from different traditions and cultures. Computational media performance invites us to look at shadow play and reinterpret it, with performative action and locality of place and community in mind. Tlus research connects interactive media art with Balinese community-based performance practices. This research connects interactive media art with Balinese community-based performance practices. The interactive media art, in th~sstudy, is examined with a particular focus on issues that arise from using computational technologies in the context of performance. Ths research is concern with the relationshp between computation and performance as a two elementary axes, using hybrid research methodology that integrates artistic process and outcomes, performance theory and cross-cultural study of shadow theatre. My intellectual concerns centre on the significance of collective performance structured around the work of computational media art. I focus on two particular contexts of interactive media art practice: (1) interactive audiovisual installations and (2) media performances. These foci, through the collaborative research of the Computational Poetics Research group, have provided a variety of artistic outcomes. The composition and presentation of electronic media, using capabilities offered by computation, extend cinema with its ability to braid encoded process with various media, narrative elements and participants' interaction in the real time of the performance. The "interaction"of performers, partakers and the elements of the work form situated media performance as inspired by the study of Balinese shadow play. The concept of braided processes, drawn from Balinese shadow play, is further investigated through a series of artistic studies and productions that employ improvisation and real-time animation of media driven by the interaction among performers, participants and materials of the work. Dedication I dedicate this work to Kenneth Newby, whose tremendous support, encouragement and patience as a partner and collaborator accompanied me on this extended journey. Acknowledgements First of all I would like to offer my grateful thanks to my senior supervisor, Professor Ron Wakkary, and members of the supervisory committee, Professor Martin Gotfrit, Dr Laura Marks and Dr Tom Calvert, for their guidance, advice and support in the preparation of ths thesis. I would like to thank my collaborators, who contnbuted to the productions that form an integral part of this research, namely the Computational Poetics research group, with Kenneth Newby, Martin Gorfrit ,choreographers Henry Daniel, Margo Kane and others. I wish to extend my sincere gratitude to my teacher I Wayan Mardika, who generously shared with me the theory and practice of Balinese Shadow Play; my informants: contemporary Shadow Play Masters I Wayan Wija for sharing the Balinese performance phdosophes; Hank Bull, Larry Reed and Pierre Hebert whose willingness to share their insights into performance techniques and philosophies form the backbone of ths research. I would also like to express my thanks to Michael Kenyon and Carol Sill for their contribution in the preparation of this manuscript. Due to the support of the Social Sciences and Humanities Research Council for the Computational Poetics group ths dissertation and much of the artwork integral to ths study was made possible, for which I am most thankful. I gratefully acknowledge the permissions granted for use of images as illustrations, from the following artists, collectors and publishers: Kenneth Newby, Martin Gotfrit, Computational Poetics Group, Henry Daniel, Courtney Bannon, Larry Reed, Tony Oursler, Char Davies, David Rokeby, Hank Bull, Pierre Hebert, Bob Ostertag, Scott Snibbe, Walter Bender, Joanna Maria Berzowska, Laurent Mannoni, Lisa Naugle, Werner Nekes, Christian Boltanslu, Maria Bodmann, Daniel Rozin, Rafael Lozano-Hemmer, I Wayan Wija, I Wayan Mardika, Christian MoIler, Jim Campbell, Myron Krueger, Golan Levin, Zach Lieberman, Zack Booth Simpson, UCLA Fowler Museum, Museo Nazionale del Sinema (Torino), Zimmerli Art Museum (Rutgers, New Jersey), National Film Board of Canada, Morning Glory Publishers (Beijing), Pepin Press (Amsterdam), Scientific American, MIT Press. vii Table of Contents Approval Abstract iii Dedication Acknowledgements vi Table of Contents viii List of Figures Introduction I. Intersection of Theory and Practice 11. Theoretical Framework 111. Computational Poetics Collaborative Research IV. Performance and Media Chapter 1: Intersections: Media - Action - Place 1.1 Interaction, Media and Performance 1.2 Performance Studies 1.3 Social Transformation and Ritual Performance 1.4 The Contemporary Condition 1.5 Shadow Play 1.5 Ritual Interface Chapter 2: Interactive Media Art 2.1 Interaction 2.2 Media 2.3 Art 2.4 Interactive as Technical 2.5 Immersion 2.6 Emergent Practices and Collaborative Research and Development 2.7 Conclusion Chapter 3: Computational Processes for Media Performance 3.1 Encoding Practice 3.2 Performance Systems 3.3 Electronic Drawings 3.3.1 Illumination Machine 3.3.2 Electronic Sphere 3.4 Videojoiners 3.5 Metro 3.6 Conclusion Chapter 4: Cultural Crossings 116 5.1 Wayang Kulit
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