New Directions in Mobile Media and Performance explores various performative projects and forms of expression that have emerged since the onset of the smartphone. It focuses mainly on new concepts and developments that have emerged in mobile media performance. It showcases the intimate and phenomenological mobile aesthetic that has been unfolding within networked performance and media art projects for over a decade and a half. This aesthetic utilises the potential and affordances with each iteration and update of modern smartphones.
Themes of embodiment, presence, liveness and connection through mobile, networked, and remote technology are revisited in the context of HD mobile cameras, selfies and live video streaming from the phone, as well as the impact of peer production, opensource and Maker culture on mobile media performance practices. It explores the surge in development of wearable devices in performance, as well as how the ‘quantified-self movement’ has affected performance works. It deals with concepts and developments in intermedial performance that incorporate mobile and wearable devices, especially from the artist’s, designer’s or dramaturge’s perspective as the creator and their creative process, working with technology as a collaborator, not just a tool or guide.
The book demonstrates how artists have repurposed the device – transforming it from merely a communication device, using voice and text only – to become a new collaborative medium, a full visual, synaesthetic, interactive and performative tool of deeper expression and social change. It discusses seminal works and the evolution of the medium, within intermedial digital art and performance practices as medium for artistic expression, creative process and staged performances. It focuses on projects and artists who have pushed mobile media performance beyond the conventional blackbox. Emerging visual, digital, interactive, tactile, gestural and theatrical or performance projects that incorporate mobile or wearable devices, used as vehicles for more challenging, experimental, experiential and immersive performative artworks are highlighted.
The book also contextualises Baker’s own media research and performance practice within the larger landscape with the field. It is bookended with interviews with the artists themselves on their creative process and intentions.
It is the outcome of three years of research of artistic works around the world, interviews, in-person viewings of performances, as well as incorporating and reflecting on her own ongoing practice and projects in context.
List of figures
Part I – Mobile media affordances
Emotional intimacy, connection and presence
Distance + intimacy: mobile digital presence + connection
Opensource/Maker culture and mobiles
3: Liveness and presence
Liveness and presence in performance
A working definition
Embodying space/absence and the space between
Part II – Mobile performance: evolving practices
Mobile media performance practice
5: Mobile media within evolving performance practices
Participatory performance and intermediality
Mobile video art and performance cinema
Wearable mobile performance
Virtual, augmented and mixed reality: new frontiers in MMP
6: Mobile performance practice and research
MINDtouch: Ephemeral Transference
Hacking the Body and Hacking the Body 2.0
FET-Art/ICT & Art Connect project
e-stitches/Stitch, Bitch, Make/Perform
WEAR: Wearable technologists Engage with Artists for Responsible innovation
Part III – Artist perspectives
7: Artist interviews
Atau Tanaka and Adam Parkinson: 4 Hands iPhone – mobile musical interface
Sander Veenhof: Dutch augmented reality designer/artist
Eunice Gonçalves Duarte: performance artist
Eduardo Duda Valle: sound artist
La Fura del Baus: immersive theatre group – Jürgen Müller, cofounder
Dani Ploeger: performance artist and academic
Fahrudin Nuno Salihbegovic: founder and artistic director of the Studio for Electronic Theatre (SET)
Bushra Burge: artist/designer in VR and wearables, London
Kim-Leigh Ponton: VR/mixed reality performance designer
Digital technologies are increasingly important to arts and humanities research, expanding the horizons of research methods in all aspects of data capture, investigation, analysis, modelling, presentation and dissemination. This series, one of the first and most highly regarded in the field, covers a wide range of disciplines and provides an authoritative reflection of the 'state of the art' in the application of computing and technology. The titles in this peer-reviewed series are critical reading not just for experts in digital humanities and technology issues, but for all scholars working in arts and humanities who need to understand the issues around digital research.