Before publicising event, location booking is ascertained. Special thanks to Prof. Randall Packer and Mr. Lim Pheng Yew.
Facebook event page
Abstract indicates instructions for accessibility.
11th April 2014, 1600hrs to 12th April 2014, 1600hrs
Real space: ADM Building, Lobby
Third space: http://meet47208930.adobeconnect.com/virtually-awkward/
2x long-throw projector, vga cable, mac adapter, power cable
2x short-throw projector, vga cable, mac adapter, power cable
2x speakers, XLR, power cable
2x projector screen
1st RULE: You do not talk about being VIRTUALLY AWKWARD. 2nd RULE: You DO NOT talk about being VIRTUALLY AWKWARD. 3rd RULE: If someone disconnects from the third space or lags, the session is over. 4th RULE: Only two converse at a time. 5th RULE: One speech at a time. 6th RULE: One identity logged in at a time. 7th RULE: Session will go on as long as they want to. 8th RULE: If this is your first time being VIRTUALLY AWKWARD, you HAVE to keep calm and carry on.
My name is Jennifer Ringley, and I am not an actor or dancer or entertainer. I am a computer geek… I don’t sing or dance or do tricks (okay, sometimes I do) but not very well and solely for my own amusement, not yours).
From April 1996 to December 2003, the ‘ordinary’ life of a young Western woman was broadcasted on the Internet. It is stated the reason for closure is PayPal cutting her off. An overview could be found residing on Ashley Lai and Tan Chin Fang’s residencies in the Open Source Studio.
The examination of her immense popularity like any other success phenomena brings upon theories to substantiate. In this investigation, we challenge the notion of setting her private space public with our proposition of Virtual Awkwardness by Diana Toh, established from the grounds of experimental third space labyrinth Open Source Studio helmed by Randall Packer.
The premature adrenaline that pumps through your veins pulsating every single bout of arousal in the entrance towards dark and warm dungeon of Jennifer Ringley. Much to our dismay, her stay was long in human’s linear encounter of hours, minutes and seconds, but insignificant in the longevity of the Internet. The nature of online cameras which take images of themselves is ephemeral, fleeting, and transient — ultimately lost in time is it’s flavor while change is the only constant; embed in this world off mashups and remixes, and idolatry of oneself in virtual presence is very much a socially acceptable insanity.
A voyeur would approve of Jennicam’s camera angle and static establishing show of her room and her bed. A relationship exist only if she is willing to exhibit her assets, her affair, and her possibly humility that is so honest.
‘The media, by and large, adores making a big deal out of the nudity and sexual content on the site. I don’t strip. I don’t even sleep naked much. And since I started dating Geofry ten months ago, I haven’t had sex on camera a single time because Geofry is camera-shy.”
Ringley’s interview on Cybergrrl: Voices of Women, 2001.
Transgressing beyond, academics have avidly discussed upon webcam as a technology that transpose the traditional canvas “window”, now a digital one, into another space-time situation, conjuring the real and the virtual. Jennicam’s 24-hour performance exploits on the lack of formal theatre training, kitsch and banality, bringing forth a “new theatre” dramaturgy from contention of theatre academics to embracement of telematic reality presentation. The pinnacle of mediation after mediation takes on viewership to be critical on seeing and the act of looking.
While largely is there contention in her intention of her gesture, subjected to debate of exhibitionism, the banality of the everyday gives security to mundanity. While fishes (www.fishcam.com) and eagles (http://www.ustream.tv/decoraheagles) are telematically present in 2014, there is once a human biologically identified to be female (www.jennicam.org).
Do you think Jenni was virtually awkward? Was she attempting to overcoming virtual awkwardness? Was she trying to induce it, either for herself or the viewer?
— Randall Packer
“I keep Jennicam alive not because I want to be watched, but because I simply don’t mind being watched”, says Jennifer Ringley. This marks the borderline falling between self-objectification and empowerment.
The transcendental presence of Jennicam has been felt across academia to pornography host. Under Ringley’s management, Jennicam was directed to be originally unedited and uncensored. In the case of camera shy guests, she bears respect for the wishes to be left unidenitified. In essence, Ringley attempts to preserve a “reality” that would captured statically from the placement of the the webcam, archiving the less dramatic and not to give birth on representation. In the light of media, Jennifer Ringley’s portrayal is difficult to discover virtual awkwardness, an assertion of the lack of activities is also a meditation to his gesture.
In Project Virtual Awkwardness, the web session host breaks the fourth wall in direct confrontation with the audience. This is a peculiar situation where awkwardness arise much unlikely to be found in Jennicam. To follow on, this expression the host will investigate such instigation in the notion of troll, NSFW, and across Adobe Connect.
Virtual Awkwardness is a performative multi-media project to be culminated with the support of #ossntu under the supervision of Prof. Randall Packer. Episodic media will be documented and disseminated online. In a live performance, the audio and visual materials will be digitally manipulated, alchemising an appropriated reality shared between the artist and the audience in the third space.
Since the inception of the internet as a tool for communication, albeit broadcast from one to many or many to one in the third space, it induces the spawn of multiple identities or personas and anonymity. Sharing parallels in space-time continuum, the presence of an individual, otherwise collective, has become existentially purposeful. On the other extreme of the spectrum, it is possibly meaningless. Part of our artistic objectives not only to embrace the binary opposite of which, but to also research that finds meaning in the meaningless. As that of transition from modern to post-modern, the conflict is highlighted and also simultaneously celebrated by the contemporary.
Here’s an idea: The contemporary art is one that prepare for the future, and Open Source Studio, contextualised as a virtual classroom, opens for infinite possibilities in artistic expression, facilitation, and liberation. The internet now as an object, and also an medium. While father of video art Nam June Paik’s implicated TV as an object, grandfather Randall Packer prophesies the future of new media art. In his research and propagations, the internet and proposed ‘third space’ not only question, but also revealed challenges with the third space as an object and medium, particularly here in every digital natives’ residencies. The internet and its culture is under scrutiny as an object. The internet is also transgressive as a medium in performance art.
Randall Packer defies conventions and holds discussions and presentations in virtuality via Adobe Connect. Subjects are quickly equipped with a heightened sense of reality and awareness of ourselves and the environment, dissectible in layers. But could we then be seen also as one? The avatars and alter egos romanticised the profane reality in which we live in. In the participation of this classroom exercise, not only does one engages intellectually, but also our mind and body in many different ways contrary to common beliefs. It is emotional and non-tactile, but nonetheless gestural.
In the establishment of the third space, experiences could lay on the borderline between intimacy and isolation. Somewhere in between when one could not decided with the other is a recipe for awkwardness. What is fundamentally existing in the real space has the quality of transference to the third space. With that, I would like to demystify the awkward behaviour of an individual to be consistent of rootedness, in spite of cultural differences — the singularity. Virtual awkwardness is hence an erected shrine to pay tribute in the sublime third space.
The origin of which begins from an honest observation of oneself, contemplative of the affect of an online presence and manipulations that predicative of a certain psyche and characterisation. It is dangerous and aggressive, yet vulnerable and sensitive altogether. Keeping the cookies in the jar, elaborative analysis and suggestions would concurrently be performed in a collaborative act with Mike Tan (http://unpartitioned.net/), a bred visual communicator turned mixed media collector, who dabbles in big data and small polemic.
In the most natural march of time aligning towards technological singularity, there is one who is so aware of the attachment to electronics and held onto the refusal to partake the cyborg movement. However, something change the way she approaches relationships when she finally regains her faith just when she first believed Him. He saved a broken relationship. He is also a lifestyle of choice.
He is technology.
To rebuild a distant human relationship, she finally confronts her intimacy with the technology face on and overcomes the challenge of virtual awkwardness as she attempts to reconnect.
Through a live rare Skype session with a human she calls friend, she uncovers tangible and intangible treasures from which a third space provides.
Life 2.0 is a feature-length documentary recounts the lives of individuals and how their engagement in the third space alters their lives in real time for the better or worse.
Real and Second Life
Asri Falcone asserts that her avatar is not of a separate entity but her very self. In the film sequence, filmmaker Jason Spingarn-Koff consciously decides upon the juxtaposition of Asri Falcone’s successful entrepreneurship in virtual world, and obese black woman who chain-smokes and sleeps till late in the day.
Introduction of Asri Falcone evokes shock and disdain in view of her lifestyle and sense of self. It reminds of the notions of real and virtual life disparity in which Second Life offers this chance for escape. Undeniably it might have been an intention for gameplay, Life 2.0 offers a warm wrap for the depiction of Falcone, which serves as a reference for contemplation of the dilemma in virtuality and reality. Especially since Second Life is based upon realism of human, environment, and propagated interactions.
In Falcone’s relationship with Misty, a fellow playmate in Second Life sharing a dedication in their gameplay, they engage with each other in entertainment and many other bonding activities. It attributes both character’s moments of intimacy to their common ground established in third space.
Asri Falcone’s entrepreneurial spirit was apparent. Her victorious case from the sue of copyright infringement from virtual assets validates beyond the study of identity and extends towards economy. Liken to Bitcoins*, Linden currency in Second Life is not only virtually exchanged but to state currency and vice versa.
What is a Bitcoin?
Tribute to Asri Falcone:
“A maid is trapped in a boy’s room.”
PhilippLimbo is a sub-impersonation* improvised in a condominium room in Singapore. It is suggestive of Singapore’s space constraint however comfortable lifestyle taken for granted.
sub-impersonation* is the derivative of an existing impersonation
Also, check out indie game Limbo.