VOID:Performance is a collaborative group of people from various disciplines:
architecture, theatre, sculpture, music, video, and engineering. Its performance work has toured extensively in the UK, in venues ranging from repertory theatres to a derelict gothic mansion to an architects office. VOID also makes installations involving robots; this work is in collaboration with the Autonomous Intelligent Systems Lab at University of the West of England.

Our early works in the 80s were theatre based. Technology - videos, sound, lights, slide, film - became central to our practice, often ousting the performers from the usual position of most importance. In fact, some of these shows effectively had their technology switched on at the beginning and off at the end; the performers had to work within a technologically complex environment over which they had no control.

Actors are programmed, and many directors have tried to make this appear natural. We try to expose the programme and explore the contradictions implied by 'acting naturally'.

Robots featured initially in our performance work but then the performances developed into interactive installation work. We created an environment where the audience could encounter and interact with the robots. In this space the audience through their actions.... could become co-creators in an ongoing event.
Here we were effectively programming the spectators. We were asking them to behave in a certain way in order to activate the installation. Their compliance was essential for the success of the piece.

We explain the significance/history of interaction in performance, but continue to say that interactivity cannot be incorporated into art production. The new hybrid cannot be assimilated as the latest 'ism', for it eradicates a number of basic precepts of art. The demarcation between artist and audience, and the sanctity of the artist, is challenged.

But in the case of interactive installation work and interactive digital work the apparent freedom given to the spectator is in fact very restricted. The environment is defined and controlled by the artist and/or the technology. Spectators are offered a choice between limited alternatives.

We consider the problems of interaction -
One of the big concerns is to do with the Disappearing role of the Artist. As the spectator interacts with the artwork and takes on a creative authority - the function of the artist changes and diminishes.

There is also a corresponding erosion of the role of audience -
Interactivity , as we know from experiencing postmodern non narrative performance work can be seen as an internal cognitive process - unique and creative. Interactivity doesn't have to be physical, in the right circumstances everyone seated in the theatre will have their own individual experience.

Furthermore - As we lure the audience out of their seats and into the action the role of witness is lost.

There is another problem as the interface with the artwork becomes less visible:
Plato called for theatre to be banned because he believed that the cathartic experience was too powerful for the ordinary citizen....
His concerns still may hold some relevance as we enter digital culture.

The notion of an invisible interface is a major interest to VOID. Our work with robots (and to an extent in performance) is attempting to foreground the interface and the debates around it, presenting the interactivity as the subject of the piece. That's partly why we're interested in what we call rough interfaces - we want , at the moment - for the interactor in our installation work to be intensely aware that they are playing a role, being manipulated for the sake of the art...

We conclude with a resume of future projects and what they may reveal...