HEADROOM - A space between presence and absence

This paper represents the first theoretical account of 'HEADROOM', a site-specific interactive art installation produced by Paul Sermon in Taipei as the successful recipient of the 2006 Taiwan Visiting Arts Fellowship. This residency programme was a joint initiative between Visiting Arts, the Council for Cultural Affairs Taiwan, British Council Taipei and Arts Council England. The development of this interactive art installation has been extensively documented as part of the AHRC Performing-Presence project [1] led by Prof. Nick Kaye from Exeter University in partnership with Stanford University. HEADROOM was exhibited at Xinyi Assembly Hall Taipei, April 2006

The emergence of a user determined narrative in telematic environments

My work in the field of telematic arts explores the emergence of a user-determined narrative by bringing remote participants together in a shared telepresent environment. Through the use of live chroma-keying and videoconferencing technology, two public rooms or installations and their audiences are joined in a virtual duplicate that turns into a mutual, visual space of activity. Linked via an H.323 Internet videoconference connection, this form of immersive interactive exchange can be established between almost any two locations in the world. The audiences form an integral part within these telematic experiments, which simply wouldn’t function without their presence and participation. Initially the viewers seem to enter a passive space, but they are instantly thrown into the performer role by discovering their own body-double in communication with another physically remote user on video monitors in front of them. They usually adapt to the situation quickly and start controlling and choreographing their human avatar. Nevertheless, the installation set up in the form of an open accessible platform offers a second choice of engagement: the passive mode of just observing the public action, which often appears to be a well-rehearsed piece of drama confidently played out by actors. Compelling to watch, it can be a complex issue to discover that the performers are also part of the audience and are merely engaging in a role. The entire installation space then represents two dynamic dramatic functions: the players, controllers, or puppeteers of their own avatar, absorbed by the performing role; and the off-camera members of the audience, who are themselves awaiting the next available slot on the telematic stage, soon to be sharing this split dynamic. However, the episodes that unfold are not only determined by the participants, but by the given dramatic context. As an artist I am both designer of the environment and therefore ‘director’ of the narrative, which I determine through the social and political milieu that I choose to play out in these telepresent encounters

Liberate your avatar; the revolution will be social networked

This paper brings together the practice-based creative research of artists Charlotte Gould and Paul Sermon, culminating in a collaborative interactive installation that investigates new forms of social and political narrative in multi-user virtual environments. The authors' artistic projects deal with the ironies and stereotypes that are found within Second Life in particular. Paul Sermon’s current creative practice looks specifically at the concepts of presence and performance within Second Life and 'first life', and attempts to bridge these two spaces through mixed reality techniques and interfaces. Charlotte Gould’s Ludic Second Life Narrative radically questions the way that users embody themselves in on-line virtual environments and identifies a counter-aesthetic that challenges the conventions of digital realism and consumerism. These research activities and outcomes come together within a collaborative site-specific public installation entitled Urban Intersections for ISEA09, focusing on contested virtual spaces that mirror the social and political history of Belfast. The authors' current collaborative practice critically investigates social, cultural and creative interactions in Second Life. Through these practice-based experiments the authors' argue that an enhanced social and cultural discourse within multi-user virtual environments will inevitably lead to growth, cohesion and public empowerment, and like all social networking platforms, contribute to greater social and political change in first life