Since the internet entered the public domain in the early 90’s there
has been an explosion in artistic interest in its use as a means, site
and context for creative practice. Much of this practice is
performative in nature; ether originating from a performance
background and using the internet as a new site and/or augmenting
aspect of that practice or is a form of practice developed as direct
response to the internet and becomes performative to some degree in
It has been well established that the internet is not the first or
only example of the use of a networked technology repurposed for
creative practice. There is a clear time line that can be traced back
through the practice of Roy Ascott and his coining of the term
Telematic Art in the 1980’s to artist’s use of satellite networks,
telephone and other telecommunication devices as each were invented.
Seen in this respect the internet can be considered as one of many
networked technologies that has enabled networked performance.
The internet is unique however in that it is not a singular network
type that favours a particular form of media, broadcast or
spectatorship. Most famously known as the network of networks it
enables multiple protocols of which the world wide web’s http is just
one, is multimedia in nature and encourages intertextual folding and
layering of media, is multi-directional not simply a broadcast
communication form, de-centralised in ownership and the majority of
its technologies are openly accessible.
Remote Encounters, a two-day international conference with performance
evening, aims to explore the use of networks as a means to enhance or
create a wide variety of performance arts. How do networks as a site
for performance provide opportunities for us as artists and
performers? In particular how can we remotely collaborate, merge
geographically separate places and times, reconfigure the space of
performance and the relationship between artist and audience?
:: Call for papers and performances ::
Contributions are invited from practitioners and academics for papers
and performances that contextualise current networked performance
themes and issues both historically and across the spectrum of
different types of networks, explore the wealth of performance
opportunities offered by the internet and give a sample of future
directions for networked performance.
Topics may include, but will not be limited to, the following:
Bodies and identity:
– Virtual identities and real bodies;
– Self projection as other;
– Hardware, software and wetware – networked bodies;
– The female body and the remote gaze;
– Gender and role play;
– Robots and cyborgs.
New sites, new narratives, new genre:
– Networks as new sites of opportunism;
– Networked spaces as new territories;
– Transmedia storytelling, new narratives;
– Mixed reality narratives;
– Personal and private spaces as public venue;
– First, second and third person narratives;
The relationship between artist and audience:
– Primary and secondary audiences, local and global;
– Audience as performer;
– Interactive performances and breaking down the fourth wall;
– The transformation of audience to user;
– Strategies and levels of engagement;
– The network as a means for converging and collaborative practice.
Tools and technologies:
– Democratisation of form and presentation;
– Subverting networked communication media;
– Alternative and community based networks;
– Tubes and streams, from public access television to webcasting;
– Virtual worlds and video gaming;
– Social networking as performance;
– Pervasive and locative performance;
– Physical interfaces and feedback;
– Telephony and SMS messaging.
We are particularly interested in live performance proposals, existing
or new, that employ OpenSim and as such could take advantage of a
large space provided by the organisers.
For further details and an informal chat contact Garrett Lynch
(glynch[at]glam[dot]ac[dot]uk) or Inga Burrows
:: Submissions ::
Deadline: 4pm (GMT), Friday 31/08/12
Proposals are now being accepted for paper presentations and live
performances delivered both at the venue and remotely. Your proposal
should take the form of an OpenOffice (.odf), Word (.doc), .pdf
or .rtf document only.
Proposals for papers should include the following:
– An abstract (500 words maximum including bibliography);
– A short bio (200 words maximum);
– Full name and full contact details;
– State whether your proposal is for participation on site or remotely.
Proposal for performances should include the following:
– A description of the work (500 words maximum);
– Accompanying media that may include video, images or sound to give
us an idea of the proposed work provided online or on CD/DVD;
– A short bio (200 words maximum) with examples of previous works
provided online or on CD/DVD;
– Artist(s) / group / performer(s) name and full contact details;
– A full list of required equipment. Note that where possible we will
provide equipment however the event will host several performances so
highly complex configurations and lengthy set-up times cannot be
catered for. Please contact us before making a proposal to discuss
– State whether your proposal is for participation on site or
remotely. If remotely performing please also state your networked
environment of choice.
Send proposals to Garrett Lynch:
Email: glynch[at]glam[dot]ac[dot]uk (proposals as zipped attachments
less than 10mb).
Dropbox: https://www.dropbox.com/ (account –
Post: Garrett Lynch, ATRiuM, Cardiff School of Creative & Cultural
Industries, University of Glamorgan, Adam Street, Cardiff, Wales, CF24
:: Conference information ::
Early bird fee – academic affiliated £80, non-affiliated £40
Late fee – academic affiliated £100, non-affiliated £50
Full registration details will be announced at a later date.
Attending conference participants will be required to cover their own
travel and if required, accommodation expenses. Travel information as
well as a list of affordable hotels will be posted on the conference