The 'authentic dancer' as a tool for audience engagement

An engagement with performance is an experiential event. To have a lived experience within a performance construct infers that the experience is somehow ‘more live’. This paper situates the body of the audience member as a site of understanding and meaning making, and challenges the role of the traditional ‘passive’ presentation format and ensuing ethical considerations within that assertion. It looks at the relationships between audience experience and a series of creative tools that facilitate subtle shifts in this traditional dance paradigm. Along with the tools of audience agency, liminality, variations of site and proximity – tools that create engagement via physical interactions with the audience – can ‘performer authenticity’ also become a tool of connection with the audience? This paper looks at the overarching field of contemporary dance, with a primary focus on Western contemporary dance and the traditional dance paradigms prevalent in the construction and presentation of that form. It outlines the role of the experiential within this form and highlights established research and creation tools that encourage audience connection via audience interaction. It also looks at the role of the dancer within this construct, citing both current qualitative research into audience responses, as well as current theory and creative practice from an international field of artists creating work with the ‘authentic dancer’.

PIPP #2 : Pedestrian Interaction Patch Project

Presented as part of the Sampled Festival at Sadlers Wells UK in January 2009, PIPP #2 continues the exploration of the first installation (PIPP #1 Leeds) and asks audiences to connect with an interactive work presented in the foyer of a major dance festival. Literally choreographing their own dances on the walls of the venue, pedestrians re-connect with the architectural surrounds generating unique memories of self.

Development of Mobile Web App "ESP" for DeepBlue to interrogate how an audience is thinking

DeepBlue is much more than just an orchestra. Their innovative approach to audience engagement led it to develop ESP, their Electronic Show Programme web app which allows for real-time (synchronous) and delayed (asynchronous) audience interaction, customer feedback and research. The show itself is driven invisibly by a music technology operating system (currently QUT's Yodel) that allows them to adapt to a wide range of performance venues and varied types of presentation. DeepBlue's community engagement program has enabled over 5,500 young musicians and community choristers to participate in professional productions, it is also a cornerstone of DeepBlue's successful business model. You can view the ESP mobile web app at m.deepblue.net.au if you view this and only the landing page is active, there is not a show taking place or imminent. ESP prototype has already been used for 18 months. Imagine knowing what your audience really thinks – in real time so you can track their feelings and thoughts through the show. This tool has been developed and used by the performing group DeepBlue since late 2012 in Australia and Asia (even translated into Vietnamese). It has mostly superseded DeepBlue's SMS realtime communication during a show. It enables an event presenter or performance group to take the pulse of an audience through a series of targeted questions that can be anonymous or attributed. This will help build better, long-lasting, and more meaningful relationships with groups and individuals in the community. This can take place on a tablet, mobile phone or future platforms. There are three organisations trialling it so far.

Performing the unutterable : mapping the experiential in contemporary dance

This research project looks to engage audiences in a variety of experiential ways by reexamining and manipulating the traditional presentation paradigm for viewing Western contemporary dance. It considers how the audience may be situated in the creation and presentation of contemporary dance generally, and specifically in the work The Voyeur, which researched these issues in action. By situating the body of the audience member as a site of understanding and meaning making, this practice-based research considers the audience within the artists’ creative process from the inception of a creative work, rather than after the work has been created. The research questions how a ‘lived experience’ of contemporary dance could be deepened for the audience. It presents a series of ‘tools’ to create alternative frameworks of presentation that challenge the dominant modes of creation, presentation and meaning making in contemporary dance. The five tools established and applied in this research are: site, liminality, agency, proximity and performer authenticity. These tools are framed as a series of calibrated scales that allow choreographers to map decisions made in the studio in relation to potential audience engagement. These scales have the ability to house multiple presentation formats from the traditional to the avant garde and open up possibilities for broad analysis of a wide range of artistic dance works.

The business case for transmedia

For transmedia to be acknowledged as worthy of investment by the business world, and even by those considering a career in development of transmedia creative products, there first needs to be established a business case for the concept. This chapter seeks to inform transmedia advocates about the concept of value and the ROI of transmedia more generally. While it is by no means a template or formula for measurement of value, it is a reminder to transmedia professionals and theorists, that intangible benefits are neither valueless nor unquantifiable. The chapter is divided into four sections: 1. Definitions of transmedia – concept and scope of transmedia, expressed in a manner that is intelligible for a business audience. 2. Value and cost – discussion of the terms from an economic perspective. 3. Audience interaction and collaborative content development – discussion of how feedback and engagement systems of transmedia have facilitated rich experiences which offer more than mere content and audience reach outputs. 4. ROI metrics for transmedia – measurable criteria for articulation of value to business investors.

Students’ well-being and social connections

Description of Workshop/Poster Presentation This presentation will showcase CORE Connections – ‘Creating Opportunities for Resilience and Engagement’ – which is a whole-school approach to mental health promotion. While initially designed to prevent adolescent depression and substance abuse, current thinking suggests that competency enhancement (e.g., autonomy, competence, supportive networks) more widely improves students’ well-being, educational engagement, and learning outcomes. In the presentation, we will provide an overview of the CORE project, describe the CORE intervention, which is conceptualized as a dynamic and penetrating process of social practices, present some preliminary findings from the pilot phase of CORE, and conclude our presentation with an interactive section with the participants. This project will highlight a wellness focus that addresses social engagement within whole school cultures. Purpose of the Presentation Student mental and physical well-being has gained increasing attention. Our presentation will introduce the CORE project, which has a potential to decrease student depression, anxiety, and substance use, and to increase student self-esteem and learning outcomes. In this vein, our presentation will raise the public awareness of the salient role of social connection in student well-being. Specifically, a group of presenters will discuss the impact of social connection on students’ anxiety, mathematics achievement, and perceived racial discrimination. • We will present participants with an alternative way to conceptualize and approach mental health promotion within a school context. In contrast to prescribed programs that are commonly used in today’s schools, CORE is a whole-school approach that is flexibly integrated into all aspects of the classroom and school environment. Our aim is to illustrate the intervention principles of CORE while highlighting examples of mental health outcomes/transformation. • Underutilized in mental health promotion research, social network analysis provides critical information in understanding relationships between social cohesion (e.g., a student’s connectedness to others) and mental health outcomes. This session will showcase how focusing on and strengthening social connections in and out of school can contribute to student well-being, achievement, and mental health. Educational Objectives By the end of the presentation, participants will • obtain a general overview of the CORE program, • understand how psychological health and school performance relate to student well-being, • and understand how social connections in and out of school can contribute to student well-being. Interactive / Participatory Component We will invite audience members to discuss inhibitors and contributors to student well-being and the best ways for schools to help students feel safe, connected, and valued. Presentation Key Points • Overview of the CORE project • Theorization of social connection • Some empirical studies emerging from CORE • Presenter-audience interaction Evidence of Relevance and Utility to Participants Potential participants are adults with significant relationships with students, either as family members, community neighbors, educators, scholars, service providers, or policy makers. Our presentation will inspire these significant adults to construct a welcoming society to help improve student well-being.

Lecture pragmatique de trois contes québécois contemporains : Jos Gallant d’André Lemelin, Ti Pinge de Joujou Turenne, L’entrain à vapeur de Fred Pellerin

Dans ce mémoire, les contes de trois conteurs contemporains du Québec – Jos Gallant d’André Lemelin, Ti Pinge de Joujou Turenne et L’entrain à vapeur, de Fred Pellerin – font avant tout l’objet d’une lecture pragmatique afin de mieux comprendre comment le conteur, qui emploie le canevas en spectacle, transmet une fiction à un auditoire ou à un lectorat. L’étude présente d’abord une analyse comparative de chacune des prestations avec la version publiée d’un même récit et met ainsi en relief leurs points de convergence et de divergence. Selon l’hypothèse avancée, l’analyse de la prestation des conteurs qui suivent un canevas révèlerait comment s’y manifestent les dimensions performatives et les articulations du discours fictionnel. Corrélativement, l’examen des rapports entre le conteur et son public permet ensuite de s’interroger sur le statut du narrateur et de voir en quoi et comment, durant la performance, la fiction est partagée avec l’auditoire. L’analyse des énoncés performatifs, inspirés des travaux de Kerbrat-Orechionni et la dynamique de vectorisation proposée par Pavis pour l’étude de la gestuelle, des mimiques et de la voix, sont mises à contribution et visent également à dégager les outils pouvant servir à l’analyse des spectacles de contes. Au terme de cette recherche, l’auteure démontre les avantages liés au canevas, notamment en ce qui concerne les interactions qu’il favorise avec le public et dans la liberté qu’il procure, en permettant de modifier ou d’adapter le discours et les ressources expressives du conteur à chacune de ses représentations.

Entenda RP: campanha de difusão da profissão de Relações Públicas

The profession of public relations presents itself in Brazil currently as a profession in expansion. However, by it’s time of performance, it should already be instated and legitimatized by society like other areas that even though appeared later, are already known and understood. Therefore, this project intends to seek for answers about the current situation, analyzing since it’s appearance in Brazil until now a days. With this analysis of the whole historic trajectory it is possible to understand the many movements that occur today in the area of public relations that are constantly searching for a legitimating and valued profession. However in this context surfaces a paradox: How to value something that is not known? So this project starts up again a campaign of divulgation of public relations promoted by the ABRP (Brazilian Association of Public Relations), now on the internet using the social networks, seeking to have a wider audience, interaction and reach. By this campaign it is possible to show to different publics the existence and relevance of the profession in the Brazilian context in objective and practice way making it more comprehensible in Brazil

Temor, silencio y deliberación: la inhibición de la opinión en Tucídides

Tucídides es una de nuestras mejores fuentes de información para conocer la práctica argumentativa de la deliberación democrática. En este trabajo se analiza uno de los vicios que, según el historiador, haría su aparición en la escena política ateniense a la muerte de Pericles: la instrumentalización del miedo para obtener la victoria momentánea en la asamblea. El temor prudente, que fuera una arma periclea para conducir la deliberación racional en aras del bien común, habría desaparecido siendo sustituido por el amedrentamiento del rival, la calumnia, el obstruccionismo y la parálisis de la confrontación dialéctica. Instauradas en la ciudad la desconfianza y la sospecha de ocultación, los golpistas del 411 hallaron el terreno abonado para callar las voces contrarias y, gracias al silencio, instaurar el terror.

Artists, audience and participations

We spent a fare amount of time thinking and debating where to draw the line between what is and what is not single-screen-based interactive media. This really is a tricky category. I would like to use this opportunity to raise certain issues about this very new category introduced this year to ifva. First of all, what do we mean by "interactive" media? If we conceptually or philosophically try to describe it, almost every artifact (not only those who are intended as a piece of art) can be perceived as "interactive" media as soon as one sees/ recognises it and begins interacting with it physically and/or mentally. What about when we limit this to computer related media? This certainly limits the scope, but well, it is becoming increasinly difficult to find art and design that are considered innovative without the use of computer. the term "single-screen" certainly makes it more specific, but as we saw from a range of works submitted to this category, people do come up with various interpretations to it. Some simply submitted work that can be viewed with computer screen, which didn't allow much user participation, while others provided various degrees of user/audience participation. What does "singel-screen-based interactive media" mean?

PIPP #1 - Pedestrian Interaction Patch Project

The Pedestrian Interaction Patch Project (PIPP) seeks to exert influence over and encourage abnormal pedestrian behavior. By placing an unadvertised (and non recording) interactive video manipulation system and projection source in a high traffic public area, the PIPP allows pedestrians to privately (and publically) re-engage with a previously inactive physical environment, like a commonly used walkway or corridor. This system, the results of which are projected in real time on the architectural surface, inadvertently provides pedestrians with questions around preconceived notions of self and space. In an attempt to re-activate our relationship with the physical surrounds we occupy each day the PIPP creates a new set of memories to be recalled as we re-enter known environments once PIPP has moved on and as such re-enlivens our relationship with the everyday architecture we stroll past everyday. The PIPP environment is controlled using the software program Isadora, devised by Mark Coniglio at Troika Ranch, and contains a series of video manipulation patches that are designed to not only grab the pedestrians attention but to also encourage a sense of play and interaction between the architecture, the digital environment, the initially unsuspecting participant(s) and the pedestrian audience. The PIPP was included as part of the planned walking tour for the “Playing in Urban Spaces” seminar day, and was an installation that ran for the length of the symposium in a reclaimed pedestrian space that was encountered by both the participants and general public during the course of the day long event. Ideally once discovered PIPP encouraged pedestrians to return through the course of the seminar day to see if the environmental patches had changed or altered, and changed their standard route to include the PIPP installation or to avoid it, either way, encouraging an active response to the pathways normally traveled or newly discovered each day.

Multi-cursor multi-user mobile interaction with a large shared display

When using a mobile device to control a cursor on a large shared display, the interaction must be carefully planned to match the environment and purpose of the systems use. We describe a ‘democratic jukebox’ system that revealed five recommendations that should be considered when designing this type of interaction relating to providing feedback to the user; how to represent users in a multi-cursor based system; where people tend to look and their expectation of how to move their cursor; the orientation of screens and the social context; and, the use of simulated users to give the real users a sense that they are engaging with a greater audience.

The sphynx's new riddle : how to relate the canonical formula of myth to quantum interaction

We introduce Claude Lévi Strauss' canonical formula (CF), an attempt to rigorously formalise the general narrative structure of myth. This formula utilises the Klein group as its basis, but a recent work draws attention to its natural quaternion form, which opens up the possibility that it may require a quantum inspired interpretation. We present the CF in a form that can be understood by a non-anthropological audience, using the formalisation of a key myth (that of Adonis) to draw attention to its mathematical structure. The future potential formalisation of mythological structure within a quantum inspired framework is proposed and discussed, with a probabilistic interpretation further generalising the formula

Les effets de la présence d’une audience et de la condition sur les préférences d’appariement des femelles diamant mandarin (Taeniopygia guttata)

Le choix de partenaire est souvent considéré comme étant le résultat d’une simple interaction, mais, en nature, l’environnement social dans lequel les animaux communiquent correspond généralement à un réseau d’émetteurs et de récepteurs. La présence de congénères, de rivaux, et même de prédateurs durant le choix de partenaire peut avoir plusieurs répercussions sur ce choix. Être observé par une audience composée de congénères de même sexe peut pousser certaines espèces à modifier le niveau d’expression de leurs préférences, et même à modifier ces préférences pour réduire la compétition ou éviter d’être imitées. La préférence de plusieurs femelles diamant mandarin pour deux mâles a été mesurée en absence et en présence d’une audience femelle pour déterminer si la présence de rivales a des effets sur le choix de partenaire des femelles. De plus, afin de déterminer si ces effets varient en fonction de la qualité des femelles focales et audience, la condition de plusieurs femelles a été altérée en diminuant leur capacité à voler. Selon les résultats, les femelles diminuent leur niveau de sélectivité suite à l’ajout d’une audience femelle, et l’intensité des interactions mâle-femelle dépend de la condition des femelles focales. Les femelles ajustent leur comportement surtout pour éviter d’être imitées et non en fonction de leur condition. Cependant, ces deux mécanismes peuvent affecter les femelles simultanément.