[dance-tech] (re)Actor: International Conference on Digital Live Art

  • From: "Sita Popat" <S.Popat@xxxxxxxxxxx>
  • To: <dance-tech@xxxxxxxxxxxxx>
  • Date: Thu, 11 May 2006 16:06:05 +0100

Call for Papers, Presentations and Performances

(re)Actor: The First International Conference on Digital Live Art
September 11, 2006
The Octagon @ Queen Mary, University of London
London, England, UK

In cooperation with HCI 2006: ENGAGE
The 20th British HCI Group conference in co-operation with ACM
11 September - 15 September 2006

Deadline for 2-page proposals May 26, 2006

Digital Live Art is the intersection of human-computer interaction
(HCI), live art and computing. This conference seeks to bring together
practitioners and academics from the varying worlds of live art,
computing and human-computer interaction for a lively debate and event
which will explore this emerging field. Our specific context focuses on
club cultures as a living context for digital live arts practices. Our
expected outcomes are to create a community of digital live artists and
to present strategies for designing, developing and evaluating Digital
Live Art. Such an event provides an opportunity to open up conversations
between digital art and live performance and will allow us to explore
how it is used to increase our understanding of human-computer
interaction in general.

The notion of Digital Live Art is that of a hybrid art form which
focuses on presence and presupposes the digital as a way of making live
engagements. Our particular interest is in exploring the relationship
that develops between performers, participants and observers within
playful contexts and how Digital Live Art may move people to
performative interaction and communal engagement.


The conference will include both day time presentations and evening
ambient after party. The daytime event will include a keynote panel with
Charles Kriel, Philip Auslander, and Jon Dovey. Charles Kriel
http://www.kriel.tv/djvjinfo.htm  is broadly regarded as one of the
world's leading VJs. He VJs regularly for the likes of Pete Tong, Fatboy
Slim, DJ Tiesto, Darren Emerson and Sasha and was recently appointed a
Senior Lecturer at London Metropolitan University. His pioneering work
includes the world's first nationally telecast VJ mix to the UK. Philip
Auslander's http://www.lcc.gatech.edu/~auslander/
<http://www.lcc.gatech.edu/%7Eauslander/> primary discipline is
Performance Studies. He has written on aesthetic and cultural
performances as diverse as theatre, performance art, music, stand-up
comedy, and courtroom procedures. His specific interests include
performance theory, the relationship of performance to media and
technology, and intellectual property. He is the author of four books
and editor or co-editor of two collections. He is currently completing a
book project entitled Performing Glam Rock: Gender and Theatricality in
Popular Music. In addition to his work on performance, Auslander
contributes art criticism regularly to Art Forum, Art Papers, and PAJ.
Jon Dovey http://www.republicof.net/ spent the first 15 years of his
working life in video production, working through the early years of
Channel Four as a researcher, editor and eventually as Producer. He
worked principally in documentary and experimental video, co founding
original scratch artists Gorilla Tapes in 1984. His video projects
gained international distribution and recognition and have now taken
their place in the documented histories of UK Video Art. He also
maintains a creative practice as research; as Executive Producer on a
number of documentary Film & TV projects, in interactive media
production and gallery installations. His current production research
centres on rePublicof an experiment in digital cabaret working at the
intersection of dance music and art practice. His forthcoming
publication is titled Game Cultures.

The schedule includes peer-reviewed paper presentations, interactive
installations and performances, a cross-disciplinary discussion forum
and an ambient after-party. The conference and evening event will take
place in the Octagon at Queen Mary, University London - the recently
refurbished library which was originally built in 1888 and was modeled
on the Reading Room of the British Library (now the British Museum) and
was formerly contained within the famous East End People's Palace.


We are seeking to bring together both working practitioners and
academics from the active world of live art and computing, particularly
(but not limited to):

*       Performers: Live artists, digital artists, DJs, VJs, sonic
artists, dancers, actors, magicians
*       Participants: Computer scientists, technicians, club goers,
designers, new media practitioners, decorators
*       Observers: Cultural theorists, ethnographers, street scientists,
*       Orchestrators: Curators, directors, writers, producers, events
organisers, club  & festival owners/managers and promoters.


We are seeking to create a dynamic, interactive experience for our
delegates. We are soliciting two-page proposals for both the formal
daytime conference and the interactive evening event. To this end your
contribution can be made in the following ways:

*       15 minute paper presentation
*       interactive demonstration/presentation of practice
*       performance/installation
*       DJ/VJ performance

You should indicate on your proposal whether your contribution is best
suited to the more formal daytime proceedings or to the after-party
which will be taking place that evening. 


Proposals are solicited in all areas of Digital Live Art, including but
not limited to:

*       Creative clubbing and the playful arena
*       Space, body, machine
*       Inputs and outputs - co-creation and the dialogic exchange
within digital live arts practice
*       Computing for the experiential and cerebral
*       Performance and the design of interactive interfaces
*       Experimental music technology
*       Creative displays and projections
*       Tools for performers, participants and observers
*       Networking, open-source clubbing and the free party
*       Models and formal methods of interaction
*       Her-story and his-story of computing and clubbing.


Your proposal should be submitted to Alice Bayliss
(a.bayliss@xxxxxxxxxxx) and Jennifer G. Sheridan
(sheridaj@xxxxxxxxxxxxxxxx) and should include:

*       Your name, contact details, organization/institution
*       200-word biography
*       Two-page proposal with title (10 point font)
*       Technical requirements
*       Daytime and/or evening program suitability.


Two-page Proposal for Review Due: 26 May 2006
Notification of Acceptance: 16 June 2006
Early Registration: 23 June 2006

Proceedings of this conference will be published and available at the
conference. Authors may be invited to contribute an extended version of
their paper for a future publication.


Conference Website: http://www.DigitalLiveArt.co.uk/
Venue: http://www.octagon-venue.com/
BCS-HCI 2006 - ENGAGE: http://www.hci2006.org/


Jennifer G. Sheridan
Computing Department
Lancaster University, UK 

Alice Bayliss
School of Performance and Cultural Industries
University of Leeds, UK


Philip Auslander, School of Literature, Communication, and Culture,
Georgia Institute of Technology, USA
Mark Ball, Fierce Earth Festival, UK 
Christopher Baugh, School of Drama, Film and Visual Arts, University of
Kent, UK
Johannes Birringer, AlienNation Co. USA, Brunel University, UK, Schmelz,
Nick Bryan-Kinns, IMC Group, Queen Mary University of London, UK 
Alan Dix, Computing Department, Lancaster University, UK 
Jon Dovey, Drama - Theatre, Film, Television, University of Bristol, UK 
Dan Fox, Welfare State International, UK
Hannah Fox, Welfare State International, UK 
Bill Gaver, Goldsmiths University of London, UK 
Gabriella Giannachi, Centre for Intermedia, University of Exeter, UK 
Deborah Kermode, Ikon Gallery UK 
Charles Kriel, London Met University, UK 
Tom Lloyd, Welfare State International, UK 
Joe Paradiso, MIT Media Lab, USA 
Planet Angel, UK
Sadie Plant, Writer, UK
Sita Popat, School of Performance and Cultural Industries, University of
Leeds, UK 
Mick Wallis, School of Performance and Cultural Industries, University
of Leeds, UK 






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