more telematicinterprovisation, from Amanda S.

Mark Coniglio (
Thu, 3 Apr 1997 13:45:30 -0500

Amanda Steggal is having some problem getting her mail through to the list,
so I am posting for her. -- Mark Coniglio

------ FROM AMANDA STEGGAL -----------

In response to J. Birringer,

Hi there,

I must first explain that my main experience (though this is widening) is
with using video-conferencing and sound exchange systems via the inernet
using a regular modem for connection. The crashes in the technical
situation have to b coped with - losing contact with a prime player is a
very different experience than a malfunctioning cashpoint dispenser for
example. The loss of the player/musician/dancer creates a space to be
filled, or a loss, like a sudden death, rather than an annoying nuisance in
the run of an everyday life.

I get more and more surprised by the continual reference to the body as the
dancers' instrument - to some extent this is true - but a body is a
complicated thing - it usually comes fully equipt with a mind - and a
sensory system which connects us with whatever is outside the body - and
inside, of solid matter - fluid - ethereal - I think the main thang is
about connecting - to a space/s - a concept - time - to life as we live it.
A pianist does play a piano - but without the pianist the piano is silent.
The pianist "plays" the piano as a body extension. How can you compare a
human body with a piano? The dancer uses technology as a body extension.

As arists of all genres learn new skills with regards to technology, so do
programmers and software designers about art - artists from previously
segregrated fields collaborate, finding out where they can use there
different and similiar skills and sensibilities. It is the responsibilty of
the artist to make work accessible to a potential audience or participant
......... maybe the clue lies somewhere between the digitally connected and
the digitally homeless. We, the connected, are too used to technology
either working or not working for us: with the functions of the technology
being pre-defined and restricted. Like the cashpoint that won't deliver,
that we often fail to realise the implications of what is actually going
on, between the space, between the eye and the image, the sound and a
particular movement - and the many combinations, etc, etc. Back to the
artist responsibility of HOW they r presenting their work, in WHAT context,
to WHO .......... it is a massive job.

I participted at the conference mentioned with Susan Kozel - I too was not
satisfied and felt a bit embarresed about the whole set up. Little time to
set up equiptment, etc. And the set-up was not my cup of tea. I did not
know this b4 I TRIED though! Never the less i think it important to
mention that this kind of experimental work should be conducted in a
supportive manner, becoz we r experimenting. Another point to mention is
that curators and events organisers must be v. clear over the fact that
much performance work using technology demands resources of time, skill and
equiptment - if u can't provide the time, skill, or equiptment required -
forget it.

I would love to have the time to attempt to respond to more of JB's mail -
I think I will do so l8er.

With best wishes,


Mark Coniglio, Artistic Co-Director |
Troika Ranch |