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Waterdonkey's Zita Monahan visits Bealach Oisín, in the Ring of Kerry

'On his return to Lough Leane, Oisin came across a group of men trying to clear a boulder from the path, along what is known locally as the Bealach Oisin Pass (Oisin's Path) in the mountains close to Killarney. As one of the mighty Fianna, Oisin claimed he could move it with one hand and took up the challenge from the men. Oisin remained on his horse and to the wonder of the mortals began moving the huge rock with one hand. But as he did so, the stirrup on Oisin's horse broke sending Oisin falling to the ground and the mighty warrior was instantly transformed into an old man'.

(from http://www.myguideireland.com/irish-mythology)

Do not imagine, because I am silent that I am not present

Samuel Beckett

Questions III

Q. What ways do we have of escaping from here and now, and from the self?

Q. When are we really where we are?

Q. Where are you now?

Mícheál Ó'Suilleabháin, 'Turas go dTír na nÓg'

Send A Kiss Over The Internet With The Kiss Transmission Device

Contemporary forms of multimedia performance are both the direct result of the new media they utilise and reflect and part of an experimental performance lineage that has a particular historical process of development. Theatre has always experimented with new technologies in performance and explored the creative potential of the interaction between the live and the mediated. [...] ...movement away from matrixed codes of performance (complex acting in narrative and character-based productions) in favour of the styles more pertinent to screen acting in which action is broken up into gesture and the meaning to any gesture is attributed by means of post-production.

Klich & Scheer, 2012

The meaning of work or image presents itself in the processual interaction of video and speech, and the real location where that performance takes place is in the viewer's mind

Quasha & Stein, Performance Itself (2002), as cited by Klich & Scheer (2012)

They are 'open' works; the experience of the process is emphasised and the works demand a high level of audience interpretation. ... The audience receive these two elements simultaneously and inevitably interrelate the image with the content of the text.

Klich & Scheer (2012) on multimedia performative installations

...not only focused on developing the use of technology in art, and technology as art, but also in using such art to question societal norms. [...] ...probes definitions of liveness, blurring the line between the live and the mediated, as the spectators in these works were asked to negotiate two modes of viewing: the experience of the live presence of the artist and the tele-presence or imaged body

Klich & Scheer (2012) on work of Nam Jun Paik

Hide and Go Seek Piece: Hide until everyone forgets about you. Hide until everyone dies.

Yoko Ono, Grapefruit (1964) - a book of performance instructions, which includes instructions that are to be completed in the mind of the reader

In his essay, 'Untitled Guidelines for Happenings', Kaprow portrays art as a means for enhancing our awareness of life through UNEXPECTED MEANINGFUL INTERACTION, and calls for the border between art and life to be as fluid as possible, even perhaps indistinct.

Klich & Scheer, Multimedia Performance (2012)

...the spectators did not need to search for given meanings or struggle to decipher possible messages formulated in the performance [...] Thus looking on was redefined as an activity, a doing, according to their particular patterns of perception, their associations and memories as well as on the discourses in which they participated.

Fischer-Lichte, Performance Art and Ritual: Bodies in Performance (1997), as cited by Klich & Scheer Multimedia Performance (2012)

In the studio, things happen by chance. A mouse runs by. A moth flitters through space. These 'chance events' are random and filled with non-intention - the buzz of small creatures, caught on film, in the midst of their busy eventful lives. As far as a mouse is concerned, its life is the centre of the universe. By watching through the neutral eye of the camera, we are able to see what we might not glimpse otherwise: that a 'silent' space is an invisible game of billiards played by beings, each at its own centre, each responding to all other beings. The mice, dashing here and there, are playing out their expectations about the cat. Life fills the gaps. There are absolutely no metaphors, just observations. [...] The artist maps reality. That's the cat-and-mouse game between the artist and the world. And it's not just the artist who plays it. Each of us is in a cat-and-mouse game with our perceptual life. Do we really see ourselves? Or do we see only what obtrudes in daylight? Do we crash through our nightlife, scattering the subtle things that abide there? Or do we simply watch without judgement, in the expectation of learning something?

Kay Larson ( Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists)

The impersonal sensation is always ripening into a subjective experience, and that experience is always flowing into the next one. And yet, from this incessant change, the character emerges.

Jonah Lehler, Proust Was a Neuroscientist

You say: the real, the world as it is. But it is not, it becomes! It moves, it changes! It doesn't wait for us to change. [...] It is more mobile than you can imagine. You are getting closer to this reality when you say it 'presents itself': that means that it is not there, existing as an object. The world, the real, is not an object. It is a process.

John Cage

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