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!! 2013-04-11 \|hlt [../files/img/201304_cardiffp.jpg\|../files/img/201304_cardiff.jpg]{br}[../files/img/201304_cardiff_2p.jpg\|../files/img/201304_cardiff_2.jpg]\|hl '''SYNEMA''' {br}'''Networked work''' {br} '''http://nocinema.org/synema/ '''{br}[Synema] (wiki page){br}{br}'''International Conference Remote Encounters''' — Cardiff (UK){br}'''Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance'''{br}{br}----{br}Thursday 11th April 2013 - 6:30pm{br}{br}ATRiuM - Cardiff School of Creative & Cultural Industries{br}University of Glamorgan - Cardiff - Wales (UK){br}{br}---- '''organised by Garrett Lynch, Senior Lecturer in New Media and Award Leader for MA Moving Image at Cardiff School of Creative and Cultural Industries, Wales'''{br}{br}{br}----'''http://remote-encounters.tumblr.com/ ''' {br}'''http://remote-encounters.tumblr.com/synema/ ''' {br}'''http://liminalities.net/'''{br}'''http://www.asquare.org/'''{br}'''http://nocinema.org/ ''' {br}----{br}{br}\| \|2 SYNEMA — http://nocinema.org/synema/ — two to four live distant locations in time — live video webcams & live sound webmicrophones — playing the now — live generative & (a)synchronous cinema composed with live selections from various worldwide locations & ambiances — Premiered at International Conference Remote Encounters, University of Glamorgan Cardiff Wales (UK) — Research residency NT2 lab UQAM Montreal / PhD audio art & experimental Music, Laval University Quebec — Live video programming : nocinema.org, Stéphane Cousot, Jérôme Joy — Live sound & webmicrophones programming : Locus Sonus, locusonus.org — Synema programming : Jérôme Joy{br}{br}---- 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 its spectatorship.{br} 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.{br}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.{br}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? {br}{br}We are proud to announce that following the conference in April 2013 there will be a special issue of the journal Liminalities dedicated to Remote Encounters. ''(Garrett Lynch)'' — ''http://remote-encounters.tumblr.com/ ''{br} ---- {br}{br}''« Tout ce qui bouge sur un écran est du cinéma. »'' (Jean Renoir){br}« Everything that moves on a screen is cinema. » ''(Jean Renoir)''{br}''Synema'' is an online app issued from the [nocinema.org\|Nocinema] project. The ''Synema'' process applies generative principles to live video and audio fluxes selected from all around the globe. Thus the system on the server is generating series of live cinema by assembling live video feeds and live sound selections with the help of webcams and 'streaming microphones'. Networked locations and ambiances are creating fortuitous synchronicities based on synchronisations and a-synchronisations resulting from the on-the-fly 'montage' by the app on the server. Sound originates from live streaming microphones located in Germany, Columbia and France, and are maintained by collaborators (''Locustream'' project by Locus Sonus). Streaming video shots are real time fragments of webcam feeds located in various places selected by the app. Video fluxes are slightly treated (framing, magnification, addition of panning shots, crossfades to black, etc.) in real time and are sometimes combined through superimposition and juxtaposation effects involved into the final 'montage'. Filming skies and horizons becomes an opportunity to create a new kind of cinema using webcams and avoiding displaying information related to locations or to security aspects. ''Synema'' interpenetrates and interlaces local and remote spaces, environments and ambiances (near ours and those captured, brought to us, and that propagate towards us), while creating and modifying dynamics of our perceptions.{br}{br}\| [../files/img/201305_synemab.jpg] {br}{br} ----
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