Panel: Intimate TV: Webcamming & Social Life-logging In the Surveillant-Sousveillant Space
A year ago, I wrote a blog post entitled “why web-casting is not cyberformance”, inspired by a number of proposals to the UpStage festival that assumed this was a platform for web-casting. I argued that, in its simplest form, web-casting uses the internet as a broadcast medium, to make something that exists offline accessible to a wider audience; whereas with cyberformance, the site of the performance is the internet, the performance is significantly shaped by this, and does not exist without the internet. In this paper I will further explore these ideas by discussing examples from my own cyberformance work that include web-cast elements. In particular I will address questions posed by this panel relating to the separation of performance art from the performative stream of daily lives, and the aesthetics and spectatorial positions that inform networked performance practices.
- Helen Varley Jamieson is a writer, theatre practitioner and digital artist from New Zealand. In 2008 she completed a Master of Arts (research) at Queensland University of Technology (Australia) investigating her practice of cyberformance – live performance on the internet – which she has been developing for over a decade. She is a founding member of the globally-dispersed cyberformance troupe Avatar Body Collision, and the project manager of UpStage, an open source web-based platform for cyberformance. Using UpStage, she has co-curated online festivals involving artists and audiences around the world. Helen is also the “web queen” of the Magdalena Project, an international network of women in contemporary theatre. creative-catalyst.com upstage.org.nz avatarbodycollision.org themagdalenaproject.org