Re: Puppet Plays wit Rubber Time


Subject: Re: Puppet Plays wit Rubber Time
From: sylvi macCormac (macCormac@shaw.ca)
Date: Sat Oct 01 2005 - 00:51:09 EDT


thank you Kenneth :-)

Kenneth Newby wrote:

> Jam Karet... literally: rubber hour. The implication, in the
> exquisitely poetic languages of Indonesia, is that time stretches and
> contracts based on the pressure of events. I've never heard it used
> in all the time I've spent in Java/Bali, but it sure is obvious that
> the concept is alive every time you ask someone "what time does the
> shadow play start?".... looks are exchanged, feet shuffle... it's
> explained, once more, that it can't be stated like that. It will
> happen. Take your time.
>
> The Wayang (shadow play) is one of the early precursors of our
> contemporary so-called new media. There's an interesting symmetry in
> the evolution of cinema out of early contact with shadow play
> traditions from China, India and its automation into the cinematic
> apparatus... squeezed the life (performance) out of it... to good
> effect however. The symmetry occurs now that computers and interaction
> bring performance back in and the shadow play is again an interesting
> model... this time for its situatedness in a particular time, space and
> context - place. A performative cinema/animation might emerge. (I'm
> working on it...).
>
> Interestingly, most people in Java watch the Wayang from the side of
> the performers. It seems much more interesting to watch the virtuosity
> of the musicians and, particularly, the dalang (puppeteer). Seems
> people there don't care much for the virtual after such long contact
> with it. Perhaps there's a lesson to be learned? In contrast, in Bali
> most of the audience is still glued to the shadow (virtual) side of the
> screen. A relationship between ritual efficacy and the virtual?
> Another perhaps more subtle lesson? It occurs to me that there's
> something there that might inform the laptop performance discussions
> that occasionally occur. Is it engaging as performance? What's the
> role of the performer? Where is the body in all of this? Of course,
> we don't care when it comes to cinema. The projectionist is in the
> booth and will take care of any problems with the apparatus that might
> occur. We don't give applause to the back of the room at the
> conclusion of the film. Will electroacoustic/computer music reach a
> similar point where we no longer care about the embodied aspect of the
> production of the sound? Or has that perhaps already happened and
> we're experiencing a nostalgia for the performer when we ask these
> kinds of questions. Or is it the context of the a laptop performance
> that reminds us of virtuosos mounting the stage to impress with their
> skills?
>
> Kenneth.
>
> P.S. About the John Oswald thing Sylvi. Next time you come to ECI,
> ask where the elevator is that will get you up to the integrated media
> area. Or better yet call me and I'll show you!!!
>
> On 30-Sep-05, at 8:10 PM, sylvi macCormac wrote:
>
> >
> > LOLOLOLOLO ... Kenneth, what is th name for Rubber Time / Rubber
> > Chicken
> >
> > / Geek in Balinese Shadow Puppet Speak .. is a shadow puppet play real
> > or virtual .. i suppose it depends on which side of th screen you are
> > 'standing' on and whether you have your digital chicken recording ;-) ?
> > ? ?
> >
> > please Xplain Rubber Time (and etymology) in detail with book lists and
> > facts / fiction .. thank you in advance
> >



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