Tweet Seats: Mariachi Vargas de Tecalitlán
For our second tweet seats event, we saw Mariachi Vargas de Tecalitlán in Hill Auditorium
Meet the participants.
UMS: Tell us a little about you. If you have an online presence you like to share publicly, please tell us the relevant websites or user names/handles.
Matt Landry: I am a K-12 certified music teacher, a University of Michigan graduate, Detroit Symphony Orchestra intern, and saxophonist of the Akropolis Reed Quintet, a five-time national prize-winning classical music ensemble. I tweet from @akropolis5tet, and I help manage the ensemble’s website: www.akropolisquintet.com.
Jared Rawlings: I am a process-centered innovative teacher, and an emerging researcher. I tweet @Jared_Rawlings and my website is: www.jaredrawlings.com.
UMS: In one sentence, how would you describe your relationship with technology?
Matt Landry: I have a love/hate relationship with technology, enjoying its contribution to bettering life while wondering if it is making humans less human.
Jared Rawlings: My relationship with technology is necessary in order to build my personal/professional learning network.
UMS: Why did you decide to participate in this project?
Matt Landry: I decided to participate in order to further deepen this relationship. I wonder if being engaged electronically in a live performance will enhance or detract from the beauty on stage.
Jared Rawlings: I am always looking for new ways to include professional development – on demand.
UMS: To you, what does it mean to “be present” during a performance or another arts experience?
Matt Landry: To be “present” at a performance one must consider what the event will be remembered as. One must comprehend the magnitude of the live performance, clear the mind to listen and/or view, and have a perspective of the event while it is occurring. Looking back on events and their personal significance is important, but doing so at the time of the performance, to me, is being “present.”
Jared Rawlings: Being present means it’s a way of capturing the “lived experience” of the concert goer. Also, given the temporal nature of music, theatre, and dance the tweet seats project is a way of focusing in on this phenomenon that is exclusive to live arts in Ann Arbor.
Meet the tweets.
UMS: How did tweeting affect your experience of the performance; did you expect this effect or are you surprised by this outcome?
Curious about live tweeting during a performance? Sign up.