nach oben

Erschienen in:

2018 | OriginalPaper | Buchkapitel

14. Welcome to the World of Wandercast: Podcast as Participatory Performance and Environmental Exploration

verfasst von : Robbie Z. Wilson

Erschienen in: Podcasting

Verlag: Springer International Publishing

Einloggen

Aktivieren Sie unsere intelligente Suche, um passende Fachinhalte oder Patente zu finden.

search-config

KI-gestützte Suche

Aus

Abstract

Wilson reveals the value of the podcast medium when rendered both as a mode of participatory performance, or performative audio, and as a research tool. The chapter shines new light on traditional podcast forms by considering examples that operate at the fringes of the medium. Using his own creation, Wandercast, as a model—in comparison with other notable examples—Wilson explores how performative podcasts employ the portability and aural intimacy of the medium to invite dynamic interaction between listener and environment. When listeners engage with these artworks, Wilson argues, new modes of perceiving, performing, and being can result. Wilson’s analysis uses ecological and phenomenological lenses in combination. Together, they foreground performative podcasts’ capacity to both exemplify perceptual processes and recalibrate listeners’ relationships with their environments.

Sie haben noch keine Lizenz? Dann Informieren Sie sich jetzt über unsere Produkte:

Springer Professional "Wirtschaft+Technik"

Online-Abonnement

Mit Springer Professional "Wirtschaft+Technik" erhalten Sie Zugriff auf:

über 102.000 Bücher
über 537 Zeitschriften

aus folgenden Fachgebieten:

Automobil + Motoren
Bauwesen + Immobilien
Business IT + Informatik
Elektrotechnik + Elektronik
Energie + Nachhaltigkeit
Finance + Banking
Management + Führung
Marketing + Vertrieb
Maschinenbau + Werkstoffe
Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

Jetzt informieren

Springer Professional "Wirtschaft"

Online-Abonnement

Mit Springer Professional "Wirtschaft" erhalten Sie Zugriff auf:

über 67.000 Bücher
über 340 Zeitschriften

aus folgenden Fachgebieten:

Bauwesen + Immobilien
Business IT + Informatik
Finance + Banking
Management + Führung
Marketing + Vertrieb
Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

Jetzt informieren

Vorheriges Kapitel Using a Humour Podcast to Break Down Stigma Around Illness

Nächstes Kapitel An Interview with Richard Herring

Nur mit Berechtigung zugänglich

Affordance is a technical term coined by James J. Gibson (1966) to denote the range of actions permitted by environmental elements relative to a particular organism.

An example of a playful affordance would be that a bollard affords vaulting:Photo 1: Dad vaults bollard.

Specifically, Wandercast constitutes practice-as-research (PaR). PaR refers to research whereby (predominantly artistic) practice is the chief methodology. See Nelson (2013) for a key reference text.

Before reading this chapter, you might want to undertake a Wandercast (or more than one) for yourself, as there are significant aspects of any fundamentally embodied, kinetic experience which cannot be put into words. You will find more details and download information here http://ludicrouspilgrim.co.uk/wandercast-2/, or search ‘Ludicrous Pilgrim’ on iTunes.

Headphone Adventure Playground is more or less self-explanatory. I guide listeners through various tactics for playful environmental interaction whilst conducting those same tactics myself and recording my endeavours. The tactics have ludicrous names such as ‘The Kerb-Hop’ and ‘The Swing-King.’ There are also interjections from me ‘in the studio,’ which give extra information and context.

In Attenborough’s Imaginarium, I accompany listeners on a journey through three environments within David Attenborough’s imagination, inviting imaginative and physical interaction between: listeners, the sonic environment (created through soundscape), and the environment through which listeners wander.

The concept of performativity is a mutable and vexed one (see Shepherd and Wallis 2004: 220–224). Here, I use the term performative in its general sense of instigating action or performance. There is also the sense, with which listeners might identify, of engaging in action which connotes performance. Whether or not any action associated with Wandercast can be objectively categorised as performance is less important than whether it bears some of the hallmarks of performance.

For a discussion of the oppositional forces at work in digital media ecologies, see Jenkins and Deuze (2008); for a view on the implications of social media for professional artists, see Manovich (2009); and for an analysis of prosumer capitalism, see Ritzer and Jurgenson (2010). I propose that an investigation into factors limiting the uptake of the podcast form by participatory performance artists would make a valuable research project.

This was at a ResCen Research Seminar at the University of Middlesex, 3 February 2015. Miller presented on the life of Linked since 2003.

For more detail on this expansive epistemology, see Bateson ([1972] 2000, 1979, 1991) and Bateson and Bateson (1987).

I am being a little playful here; just to be clear, I am not suggesting that performative podcasts constitute therapy, only that they may be viewed as therapeutic within the specific context that Kershaw (2007) outlines.

For a more lyrical account of the mingling of the senses, see Serres (2008).

Though not mentioned by Cazeaux (2005), this links also to the ‘centering’ and ‘unifying’ nature of sound, as described by Ong ([1982] 2002: 69–72).

For the avoidance of doubt, I reject the drawing of a distinction between any event and ‘real life,’ since reality encompasses all events. Therefore, I do not describe Wandercast as taking place in the real world, whilst staged theatre takes place somehow outside of it.

Ironically, this could include ‘traditional’ podcasts, as well as music mp3s or streaming services.

Many more listeners fed back on Ep. 3 than either other episode, since Ep. 3 was included as an independent performance task in a first-year core module on which I taught within the Drama and Theatre Studies BA at the University of Kent. As previously argued, all listeners have dispositions that affect the degree to which they engage with performative podcasts; in the first-years’ case, perceiving Wandercast as ‘work’ may well have negatively affected their engagement. It is also worth mentioning that the relative foci of the episodes (Ep. 3’s focus being imagination), entails that, overall, more feedback addresses themes pertaining to imaginative than to physical interaction, yet this does not mean that Wandercast as a whole bears this orientation.

Banes, S., & Lepecki, A. ([2007] 2012). The senses in performance. Hoboken: Taylor and Francis.

Bateson, G. ([1972] 2000). Steps to an ecology of mind. Chicago: University of Chicago Press.

Bateson, G. (1979). Mind and nature: A necessary unity. New York: Dutton.

Bateson, G. (1991). In R. E. Donaldson (Ed.), A sacred unity: Further steps to an ecology of mind. New York: HarperCollins.

Bateson, G., & Bateson, M. C. (1987). ANGELS FEAR: Towards an epistemology of the sacred. New York: Macmillan.

Bateson, P. (2010). Theories of play. In P. Nathan & A. D. Pellegrini (Eds.), The Oxford handbook of the development of play. Oxford: Oxford University Press.

Bateson, P. (2015). Playfulness and creativity. Current Biology, 25(1), R12–R16.CrossRef

Berry, R. (2006). Will the iPod kill the radio star? Profiling podcasting as radio. Convergence, 12(2), 143–162.CrossRef

Bishop, C. (2006). Participation (documents of contemporary art). London/Cambridge, MA: Whitechapel Gallery/MIT.

Bishop, C. (2012). Artificial hells: Participatory art and the politics of spectatorship. London: Verso.

Bishop, S. R., et al. (2004). Mindfulness: A proposed operational definition. Clinical Psychology: Science and Practice, 11(3), 230–241.

Bogost, I. (2016). Play anything: The pleasure of limits, the uses of boredom, and the secret of games. New York: Basic Books.

Bottomley, A. J. (2015). Podcasting, Welcome to Night Vale, and the revival of radio drama. Journal of Radio & Audio Media, 22(2), 179–189.CrossRef

Cazeaux, C. (2005). Phenomenology and radio drama. The British Journal of Aesthetics, 45(2), 157–174.CrossRef

Double, O. (2017). Introduction: What is popular performance? In A. Ainsworth, O. Double, & L. Peacock (Eds.), Popular performance (pp. 1–30). London: Bloomsbury Methuen Drama.

Gibson, J. J. (1966). The senses considered as perceptual systems. Boston: Houghton Mifflin.

Hanh, T. N. (1976). The miracle of mindfulness: A manual on meditation. Boston: Beacon Press.

Home-Cook, G. (2015). Theatre and aural attention: Stretching ourselves. Basingstoke: Palgrave Macmillan.CrossRef

Jenkins, H., & Deuze, M. (2008). Convergence culture. Convergence: The International Journal of Research into New Media Technologies, 14(1), 5–12.CrossRef

Kaye, N. (2000). Site-specific art: Performance, place and documentation. London: Routledge.

Kershaw, B. (2015). Performed by ecologies: How Homo sapiens could subvert present-day futures. Performing Ethos: International Journal of Ethics in Theatre & Performance, 4(2), 113–134.CrossRef

Kershaw, B. (2007). Theatre ecology: Environments and performance events. Cambridge: Cambridge University Press.

Lester, S., & Russell, W. (2008). Play for a change summary report. London: National Children’s Bureau.

Linked. (n.d.). Available from: http://www.linkedm11.net/index2.html. Accessed 24 Mar 2017.

Manovich, L. (2009). The practice of everyday (media) life: From mass consumption to mass cultural production? Critical Inquiry, 35(2), 319–331.CrossRef

Markman, K. M. (2015). Considerations – Reflections and future research. Everything old is new again: Podcasting as radio’s revival. Journal of Radio & Audio Media, 22(2), 240–243.CrossRef

McHugh, S. (2016). How podcasting is changing the audio storytelling genre. Radio Journal: International Studies in Broadcast & Audio Media, 14(1), 65–82.

Merleau-Ponty, M. ([1945] 2012). The Phenomenology of Perception (trans: Landes, D. A.). Abingdon: Routledge.

Miller, G. (2005). Walking the walk, talking the talk: Re-imagining the urban landscape. New Theatre Quarterly, 21(2), 161–165.CrossRef

Mowlah, Andrew, et al. (2014). The value of arts and culture to people and society: An evidence review. Arts Council England [Online], Available from: http://www.artscouncil.org.uk/sites/default/files/download-file/Value_arts_culture_evidence_review.pdf. Accessed 20 Mar 2017.

Museum of Walking. (n.d.). Sound Walk Sunday. Available from: http://www.museumofwalking.org.uk/events/sound-walk-sunday/. Accessed 14 Aug 2017.

Myers, M. (2011). Vocal landscaping: The theatre of sound in audiowalks. In L. Kendrick & D. Roesner (Eds.), Theatre noise: The sound of performance (pp. 70–81). Newcastle Upon Tyne, Cambridge Scholars.

Nelson, R. (2013). Practice as research in the arts principles, protocols, pedagogies, resistances. Basingstoke: Palgrave Macmillan.CrossRef

Noë, A. (2004). Action in perception. Cambridge, MA: MIT Press.

Ong, W. J. ([1982] 2002). Orality and literacy. New York: Routledge.

Pearson, M. (2010). Site-specific performance. Basingstoke: Palgrave Macmillan.CrossRef

Reason, M. (2017). Intrinsic and instrumental impacts in participatory arts. In N. Rowe & M. Reason (Eds.), Applied practice: evidence and impact in theatre, music and art (pp. 37–47). London: Bloomsbury Publishing.

Ritzer, G., & Jurgenson, N. (2010). Production, consumption, prosumption: The nature of capitalism in the age of the digital “prosumer”. Journal of consumer culture, 10(1), 13–36.CrossRef

Runco, M. A. (1996). Personal creativity: Definition and developmental issues. New Directions for Child and Adolescent Development, 72, 3–30.CrossRef

Runco, M. A., & Jaeger, G. J. (2012). The standard definition of creativity. Creativity Research Journal, 24(1), 92–96.CrossRef

Savage, J. (n.d.). A guide to getting lost. http://www.jenniesavage.co.uk/Guide to getting lost/guide to getting lost.html. Accessed 16 Feb 2015.

Schechner, R., & Brady, S. (2013). Performance studies an introduction (3rd ed.). London: Routledge.

Serres, M. (2008). The five senses: A philosophy of mingled bodies (trans: M. Sankey & P. Cowley). London: Continuum.

Shepherd, S., & Wallis, M. (2004). Drama/theatre/performance. London: Routledge.

Toffler, A. (1980). The third wave. New York: Bantam Books.

White, G. (2013). Audience participation in theatre aesthetics of the invitation. Basingstoke: Palgrave Macmillan.CrossRef

Wilkie, F. (2008). The production of “Site”: Site-specific theatre. In N. Holdsworth & M. Luckhurst (Eds.), The Blackwell companion to twentieth century British and Irish drama (pp. 87–106). Oxford: Blackwell.

Titel: Welcome to the World of Wandercast: Podcast as Participatory Performance and Environmental Exploration
verfasst von: Robbie Z. Wilson
Verlag: Springer International Publishing
Buch: Podcasting
Print ISBN: 978-3-319-90055-1

Electronic ISBN: 978-3-319-90056-8

Copyright-Jahr: 2018
DOI: https://doi.org/10.1007/978-3-319-90056-8_14