Since I did not have enough time in Linz to get involved with the participants
I want to make a brief review now:
Personal positioning:
* There are two reasons I made a step back to take care of the technical
project mgmt.
First: It is impossible for me to spend much time on a project where
there is no money.
(I am working on a development project and do not earn any money
for living
since months).
Second: We (net.lab) tried to clearify possible concepts in several
timeconsuming meetings,
but I got the impression that nobody is really interested in the
basics...
OUDEIS critique:
* I have been at the ARS the last 6 or 7 years and know the environment
quite well.
I find it disappointing that nobody of OUDEIS seems to be interested in
what is happening at the ARS...
At least I have not seen anybody of the OUDEIS crew at the Symposium, at
the installations, at the performances...
Looking at the Prix Ars Electronica and participating in discussions
about it, a lot can be learned
about good and bad installations/performances.
Although I feel mainly as a technician I would like to make some
statements to the semantic issues:
* It seems to be trendy to connect everything to the internet. From
coffee machines to a autodrom...
I think this is not enough to be art or entertainment.
* It seems to be trendy to produce some undifferentiable noise by
BROADCASTING audiostreams from several sources.
The Clone party in the design center was a good example of a very
tedious performance.
It looks that nobody of OUDEIS wants to hear that Real Audio might not
be the right tool
for an interactive performance...
Real Audio is good old Pushmedia, bad developed and bad integrated.
As already mentioned several times before, there is no way to
synchronize the graphic with
RA streams. Therefore RA is NOT usable for the final performance if you
do not want to make
(bad) BROADCASTING which has nothing todo with the character of the net.
One of the criterias of the jury in the .net category is webbness. That
means if it is
stuff which would also work on a CD it will not win a price.
I think this criteria should also be true for OUDEIS.
* The Sakamoto/Iwai Concert and the *OR* Dumb Type dance performance
where good examples
for an exciting interesting integration of new technologies with
classical environments.
Only the Remote Piano (MIDI Piano controled via internet) of Toshio
Iwai showed very good
the limits in practice.
* I think it is very common but also a bad practice that a lot of
installations are bad
described and very unclear in what is really happening.
Unfortunately this is also true for OUDEIS. If somebody is not
envolved, the performance
looks like playing some shockwaves and audiostreams from somewhere
combined with scrambled telnet sessions...
* Instead of sticking with stoneedge tools like telnetsessions which are
mainly used by computerfreaks
it would be more interesting to look for other possibilities.
Textoriented collaboration might be something new for theater people
but for sure does not excite
ARS visitors...
The times at which one could impress with an e-mail address on once
card are long gone...
Developments of Avatars, PRoPs (personal robotic presence) or the
research in software agents of Pettie Maes
might give some ideas for creating less boreing frameworks.
* finally I think that OUDEIS is still missing a dramaturgy which is more
than the prove of fesibility
to broadcast some classical contents by the internet.
greetings, L.Zyka
parallel(task);
Praterstr. 49/13
A-1020 Vienna
Tel+Fax: +43-1-216 32 09