Echoing a history of performance in small spaces, for small audiences, the interface presents chamber performance with expanded relationships and possibilities for artistic communication. The affects of physical proximity and scale associated with the smallness of the chamber are mirrored in the proximity mediated by technology at this interface.
In making its art and connecting with its audience, and faced with access to an ever-increasing array of digital techniques, aesthetic possibilities and expert-collaborators (coders, digital artists), Chamber Made explores the power of proximity. Artworks create particular affects: proximity of bodies within certain spaces, and with particular experiences of sound/ing. Drawing on each artwork’s storehouse of aesthetic intentions and possibilities, artworks resonate iteratively, with proximity-affects transposed, mutated, remixed and redistributed in emergent spaces of intertwined online and nonline consumption/sharing /presentation.
Apace with these artworks, the company engages organisationally with administrative, operational and business practices that are increasingly determined and positioned by the digitally mediated environment of the creative arts sector. Marketing interactions generate constant exchange between the company and its audiences, with experiences understood through feedback, reviews, and box office data, communicated through online and nonline conversations and processes.
These two separate actors (artists and company) overlap and reciprocally influence each other, giving form to Chamber Made’s identity, and animating its proximal relationships (audiences, artists, peers, patrons and funding bodies), with on/nonline spaces and processes conditioning the essential litheness and vulnerability of this complex fabric of interacting forces.
Photo credit: Pier Carthew