Feedback

Firstly, I think it's a bloody good project. Exciting. I love the idea of transparent creative developments.Site fulfils its function really well and is easy to use once you find your way around...on first visit though it's a bit confusing, all the options on the menu are quite logical once you already know your way around and what the function of the site is, but I think that it would be especially confusing for someone who simply stumbles on it.

Keep up the good work.

We need some kind of first and second level experience for the audience/browser to enjoy and be engaged and entertained by the Senseless project online - I am hoping that the coming flash multimedia thing with the performance and stuff will do that - providing it can be redone to be more user friendly. Good images are also a way of getting people interested and engaged.

There are always going to be a group of people that finds the net, theatre and/or art in general dull. These people are worth trying to persuade, but ultimately this site should be interesting to people who have a general interest in this field anyway.

I also think the site needs a third and forth level of experience that is technical and demanding on people who are intimately involved in the net, theatre and/or art. This then becomes a more hardcore area for creating and producing work. The site as it stands functions more in this way. I am hoping that we can grow from the inside - out, to appeal to artists and audiences equally. I am doing my best to make the site accessible and interesting to a wide audience, any feedback on how I/we could do this better will be greatly appreciated.

To get us started here are some suggested areas for feedback:

- the integration of the each writer’s texts to form a cohesive story world
- the integration of performance with the digital media; sound, film, the user interface and online development
- ability to insight audience interaction
- presence of a through line - Mitnick's character development
- whether the range of characters and modes of delivery come together effectively to create an interesting piece of theatre

And anything else...?

Thanks.

We have done our first showing and we have received torrents of feedback... none of which has yet hit this forum however, I hope this is temporary. Tonight is our last night.

Here are some ideas put forward by various people. Many of these ideas we have canvased in our pre-showing development, but these reiterate our thinking and need for further resolution.

- to have a summary blog for the site so that we can see at a glance a progressive whole for the development
- the technology of the time (2027) to mediate the display aesthetically
- Mitnick's motivation needs clarification. Mitnicks role in the performance and her character progression during the narrative needs to be exploited further.
- the audience interaction needs meaningful outcomes and affects on the performance
- the formal arrangements within the design and structure are exciting and interesting paths of development

I loved it. The performance was amazing - Olivia is a real talent! The space was perfect for the work and the process of collaboration is facinating. I am having alot of fun looking around the website learning about how the project was sewn together. 5 stars. Thank you.

Hi Guys,
Unfortunatelly i missed what sounded from friends and family to be the best performance to date which is pretty impressive considering the numerous amounts of shows and perfromances you have appeared in, not to mention directed, produced and funded.
I look forward to an oppotunity to see more of your work. I will be in Melbourne from Sydney from the 14th of August till the 18th 2006 if you have anything showing then i would love to come a long!
Lots of love and thanks for the advice while i was down last week! xxx PS Alex, great website - might need to talk to you as i am starting an online business in the coming week! xx

It seems that it would be valid to say that the problem of crowd-sourcing or motivating the audience into action is a valid and on-going artistic exploration, as it continues to be a fragile and untouched area, especially in relation to performance and digital technology. Technological interaction and the visual/digital arts is another story.

Admittedly a minor part of the 'Senseless' rehearsal process was dedicated to experimenting with the different ways of engaging an audience in the piece. The main reason being that these kinds of experiments are best done with an audience. Fortunately the 'Senseless' showings ran over two nights, which meant that we could test out varying ways of allowing the audience to play a role in the untangling of the web of 'Senseless'.

On the first night the direction in which this untangling would occur was quite heavily dictated to begin with. The factors in this decision included reaching narrative peaks, not wanting to exhibit two film or sound pieces together and a general feeling that we needed some sort of control over the way in which the audience received the texts, especially as this structure fed into and effected Mitnick's character arch. After the first night it was apparent though that this contrived democracy did not fool the audience.

Therefore, on the second night we decided to let go of control all together. To put all the stories out there and see what would happen. Surprisingly enough, this chaos within the performance structure allowed the audience to feel that they truly were in control.

To heighten this we cut the total of seven stories down to five, leaving the audience wanting more, and as a hopeful act which would insight the audience to go online and view the missing parts of the puzzle.

Now we get to the more complicated problems associated with interaction...Basically to my knowledge, a minimal amount of people went online and a minimal amount of people made comment on the project - online. I can only put out the question as to why and hope someone may be brave enough to have an attempt at answering this. The other thing I can do is to begin to think of ways in which to make the audience can feel more comfortable with interaction.

- Does this involve having a p.c in the foyer so that people can make comment online, and view the other texts straight after the performance?
- Does it also involve changing the ways in which the audience interact with 'Senseless' in the performance space, such as introducing stations in the audience that allow the audience to navigate the program?

There are countless questions or ideas that I could throw into the mix, but ideally I would like to open this out to the public.

- How does one make an 'audience' complicit?
- How does one go beyond artificiality so as to take the audience to the next realm of interaction?
- What would it take for you?

This has taken me a while and having read through all of the other feedback so far I will post a combination of my own reflections on the project and responses to some of the above.

In relation to the showings:
1. The main obvious question 'why does this piece need to be in the theatre? '(as opposed to any other medium available to its communication - such as a net interactive piece, or a film). This question kept coming up for us during development but it was one that we didnt sufficiently answer, especially in terms of audience interaction and reception of the material.

2. As discussed above, one of the main tasks of the development showings was to test different modes of audience interaction, and we made interesting discoveries as Olivia has pointed out above. I think the extent of audience interaction can be pushed much further. having a laptop in the space is probably a good idea, especially for immediate response, but also as another tool for interaction during the performance. For me so far, the potential of this piece lies somewhere in the territory of 'installation' where poeple may come and go as they please, witness as much as they want or not, and chose various ways to interact with the material or the story/ies or the performer. (Maybe even 'the world').

3. Each of the stories felt rhtyhmically pretty similar. I know we worked a little on trying to find individual rhythms for the characters, however the distinction between them was minor in performance. (Possibly too influenced by Mitnik and her physical needs). However, this is something that we may choose to exploit further - Mitnik's limitations.

4. Olivia's strength as a performer comes from her skills and facinations with the 'grotesque'. I think to a degree we did not embrace and exploit these strengths as much as we can in the future.

5. One of the most exciting elements of the work as proposed to me at the beginning of the development was the aspect of live survellience which was missing from the development and something to work further for the future. Also, the notions of survellience in our modern sociatey is incredibly pertinent to our experiences of life at this moment in time. What happens when this gets out of control in the future? Is it already at a level that is injurous to personal liberties and human rights? There was the intention to use a webcam in the performance but that was taken away in the eleventh hour.

6. Alex's drawing program that he has developed and exhibited as part of other work is something of a facination for me and feels appropriate for this piece. We weren't able to develop the technology sufficiently for the showings, but it is a tool for the work that should be explored further.

7. The sound material, that is the stories that were communicated through sound technology alone were on a simple technical level very hard to hear and therefore understand. There was some feedback about the potential for this use of sound to go as far as being 'supersonic' in the traditional (rather than slang) sense of the word. I think this could be very exciting to explore.

8. Costume I thought was a great starting point, however it could afford to be even more limiting to the performer, more restricting, something the performer has to work harder against. The totality of her covering was right on the money.

9. Is there moments where control is taken away from Miknik, not merely by surrending story and the playing out and discovery of narractive to the audience, but by introducing a 'big brother' voice. An all seeing presence that even the audience are subject to?

10. Another major structural element to be attended to is the difficulty of creating work when the performer is also the visionary. I think it is absoultely admirable and I support this task fully, but if I'm harsh, the showings suffered on a structural and visionary level because of the focus in development on performance. Unfortunately I was also blind to this problem until the showings. God bless them, they tell us alot! So my main and most important task to outline for the continued development of the show is to wrestle the vision out as much as possible before working any further on the actual detail of performance, which ironically means little if not contextualised solidly.

11. I'm very proud of the work so far, and look forward to its continued life.

12. In relation to the problem of interaction on line...well I know I come from the hethen crowd of being slightly scared of technology...but I really do believe that at the end of the day, humans prefer direct contact with one another. That's why feedback was given face to face, and why people are less inclined to then lof onto something and some some part in a dialogue with people they cant see. I find it weird, and I can see why others might hesitate or couldn't be bothered. Apart from my own investment in this project, I probably wouldn't bother looking up the website either. Not becasue it aint great, but because I'm just not geared that way. I like flesh, andbeing able to touch and smell (most of the time!) and see and hear what I'm interacting with...that's also probably why I'm in theatre too.

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I like flesh, andbeing able to touch and smell (most of the time!) and see and hear what I'm interacting with...that's also probably why I'm in theatre too.interacting

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