{"id":287,"date":"2018-01-27T01:36:56","date_gmt":"2018-01-27T06:36:56","guid":{"rendered":"https:\/\/thirdspacenetwork.com\/symposium2018\/?p=287"},"modified":"2018-02-04T05:21:24","modified_gmt":"2018-02-04T10:21:24","slug":"participatory-act-giving-up-control","status":"publish","type":"post","link":"https:\/\/dev.thirdspacenetwork.com\/symposium2018\/participatory-act-giving-up-control\/","title":{"rendered":"The Participatory Act of Giving up Control"},"content":{"rendered":"
\"\"
Blast Theory, Kidnap (1998) courtesy of Blast Theory<\/figcaption><\/figure>\n

For the upcoming Art of the Networked Practice Online Symposium (March 29-31), we are presenting\u00a0Matt Adams<\/a> in a keynote speech entitled:\u00a0The Here, the Now, the Audience and the Spectator.<\/strong>\u00a0Co-founder of the UK artist collective Blast Theory<\/a>, Matt Adams is a pioneer in pushing performance art and interactive media to the outer edge of theater experimentation and beyond. Here we take a look at one of Blast Theory’s most controversial works from the late 1990s,\u00a0Kidnap<\/a>,\u00a0in which spectators paid \u00a310 to enter a lottery in the hope of being kidnapped: a classic expos\u00e9 on the participatory act of giving up control.<\/p>\n

In the age of super-participatory socially mediated sharing of information, we are willingly, lovingly, sometimes desperately ready to give up our data to Big Data in order to engage with friends, colleagues, and family. But perhaps more pertinently, this form of super-participation may spring from the desire of \u201cbeing in the world,\u201d to gain proof of one\u2019s existence, to receive affirmation, acceptance, and recognition from others, even complete strangers.<\/p>\n

In the late 1990s, before the rise of social media, Blast Theory staged the interactive work\u00a0Kidnap <\/a>(1998),\u00a0in which they issued a call to the public to sign up and be kidnapped. From the list of registrants, two of the volunteers were, unbeknownst, grabbed by the kidnap team consisting of a driver and three kidnappers and taken to a secret location. The so-called \u201cwinners\u201d were then held under Webcam surveillance for two days, where they were fed and cared for by the kidnappers and monitored by a psychologist.<\/p>\n

\"\"
Blast Theory, Kidnap (1998) courtesy of Blast Theory<\/figcaption><\/figure>\n

The work has since been dissected by performance theorists, including Maria Chatzichristodoulou (Symposium Keynote speaker), who interviewed Matt Adams in her paper, \u201cHow to Kidnap your Audiences<\/a>,\u201d as well as\u00a0Steve Dixon<\/a> (Symposium Moderator and co-host), the prolific author of the 800 page canonic treatise,\u00a0Digital Performance<\/a>. In Dixon\u2019s paper,\u00a0\u201cCybernetic-existentialism in interactive performance: strangers, being-for-others and autopoiesis<\/a>,\u201d he explains the control mechanisms used in Kidnap according to his current research in \u201ccybernetic existentialism.\u201d<\/p>\n

Dixon examines the motivation behind why people would actually be drawn to give up control, to yield to a greater force outside of themselves.\u00a0Despite the fact, as he points out, that the victims were traumatized by the \u201cemotional intensity of the experience, not knowing what might happen and what the limits were\u201d Dixon claims that Blast Theory had in fact powerfully tapped into what happens when we trust a stranger and allow ourselves to be held in captivity.<\/p>\n

\"\"
Blast Theory, Kidnap (1998) courtesy of Blast Theory<\/figcaption><\/figure>\n

Yielding to the stranger, or the \u201cother,\u201d according to Dixon, plays into one of the essential aspects of existentialism: human freedom. He describes how Jean Paul Sartre had considered Nazi control the ultimate experience of freedom, because when subjected to the life and death situation of facing one\u2019s extermination, we are faced, ultimately, with the most powerful realization of what it means to be free.<\/p>\n

In Blast Theory\u2019s Kidnap, the existential crisis of being held in captivity, while subjected to the cybernetic control of Webcam surveillance and the demands of the kidnappers, according to Dixon, \u201cwent way beyond all the normal\u00a0expectations of an artwork\u2026 a telling indicator of the powerful and uncompromising impulses underlying artistic manifestations of Cybernetic-Existentialism.\u201d<\/p>\n

The idea of the artwork engaging the viewer, existentially, in a potentially dangerous real life situation, is further elaborated in Maria Chatzichristodoulou\u2019s interview with Matt Adams, where the artist further elaborates on the blurring of art and life and the mechanisms of control:<\/p>\n

\u201cOur projects are not hollow intellectual and aesthetic experiments, they are pieces of work that look to engage with, and ask particular questions about, the culture in which we live. If you take Kidnap as an example, the question we set ourselves was: why do so many of us give up control so readily to others and what is the pleasure in that?\u201d<\/p><\/blockquote>\n

\"\"
Blast Theory, Kidnap (1998) courtesy of Blast Theory<\/figcaption><\/figure>\n

We can\u2019t help but wonder about the parallel political ramifications of yielding control, why we allow ourselves to be subjected to a greater authority. Systems of control as exposed in Blast Theory\u2019s Kidnap powerfully illuminate the techniques of demagoguery and the manipulation of the innate human desire to be drawn into the forces of a greater power, only to be horrified by the reality of its realization.<\/p>\n

Matt Adams has also foreseen the potentially manipulative dangers of online disinformation, which most recently through the weaponization of social media, has been used to infiltrate fake news into the public discourse. Adams explains in his interview with Chatzichristodoulou:<\/p>\n

Through social networking sites, for example, we all represent different slices of our personality. How can we make sense of the world when we are overwhelmed with different sources of information, when there is such a fluid boundary between fact and fiction?<\/p><\/blockquote>\n

And finally, at the conclusion of\u00a0Chatzichristodoulou\u2019s interview she quotes\u00a0Gabriella Giannachi<\/a>, another scholar of Blast Theory, who says:<\/p>\n

I present Blast Theory\u2019s work as political. This is not only because the company create spaces which are aesthetically and socially transformative, but also because they problematize the very ways by which we use technology as a lens and language to experience everyday life\u2026 Kidnap is about \u2018giving up control\u2019, but also being controlled. It is about looking and being looked at. It is about trust and endurance.<\/p><\/blockquote>\n

\"\"
Blast Theory, Kidnap (1998) courtesy of Blast Theory<\/figcaption><\/figure>\n

These are prescient words in contemporary media culture, as we find ourselves increasingly submitting to cybernetic systems of control that mediate our experiences. In the work of Blast Theory, they situate the viewer in complex, socially dynamic situations to ask the hard, problematic questions: what kind of existential trap have we entered into in terms of our acceptance, reliance, and desire for technological engagement that permeates all aspects of our personal, political, social and emotional lives?<\/p>\n

Visit the Symposium\u00a0Website<\/a>\u00a0for more information and to\u00a0register online<\/a>.<\/p>\n

Like our\u00a0Facebook Page<\/a>\u00a0||| Follow on\u00a0Twitter<\/a>\u00a0||| Join our\u00a0Mailing List<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

For the upcoming Art of the Networked Practice Online Symposium (March 29-31), we are presenting\u00a0Matt Adams<\/a> in a keynote speech entitled:\u00a0The Here, the Now, the Audience and the Spectator.<\/strong>\u00a0Co-founder of the UK artist collective Blast Theory<\/a>, Matt Adams is a pioneer in pushing performance art and interactive media to the outer edge of theater experimentation and beyond. Here we take a look at one of Blast Theory’s most controversial works from the late 1990s,\u00a0Kidnap<\/a>,\u00a0in which spectators paid \u00a310 to enter a lottery in the hope of being kidnapped: a classic expos\u00e9 on the participatory act of giving up control.<\/p>\n","protected":false},"author":1,"featured_media":288,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[26],"tags":[68,54,69,57,66,53,62,70,72,61,71,67,58,59,56,39,27,55,65,73,60,64,63],"class_list":["post-287","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-announcements","tag-art-and-life","tag-audience","tag-authority","tag-blast-theory","tag-captivity","tag-control","tag-cybernetic","tag-demagoguery","tag-disinformation","tag-existential","tag-fake-news","tag-freedom","tag-interactive-media","tag-kidnap","tag-matt-adams","tag-participatory","tag-performance","tag-spectator","tag-stranger","tag-submit","tag-super-participation","tag-surveillance","tag-webcam"],"yoast_head":"\nThe 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