By Susan Broadhurst
ISBN-10: 1403999074
ISBN-13: 9781403999078
This unique and well timed assortment beneficial properties writings from overseas members who focus on electronic artwork and function practices (including Johannes Birringer, Robert Weschler and Philip Auslander). There are few writings according to se that try to interrogate the interplay among new applied sciences and function perform. moreover, none have to this point associated the sensuous touch that needs to exist among the actual and digital, including the ensuing corporeal transformation. In sure technological practices, physicality is either transcended and ludically inscribed - the play (jouer) being all. for this reason, electronic practices potentiate artistic and aesthetic chances and insist new perceptive techniques.
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Extra info for Performance and Technology: Practices of Virtual Embodiment and Interactivity
Example text
But his position on theatre per se is antagonistic: ‘The theater itself is shaped and undermined by the profound evil of representation. It is that corruption itself. Theatrical representation is contaminated by supplementary re-presentation’ (Derrida, 1976 [1967]: 304). His distaste for the theatrical continues in his analysis of the actor: Vice is his natural bent. It is normal that he who has taken up representation as a profession should have a taste for external and artificial signifiers, and for the perverse use of signs.
Com - licensed to Universitetsbiblioteket i Tromsoe - PalgraveConnect - 2011-03-11 Susan Melrose 17 Truth-Seeker’s Allowance: Digitising Artaud Steve Dixon Introduction Antonin Artaud was a truth-seeker, a philosopher of the theatre. Thus, anyone following his philosophies, as I try to through the work of my multimedia theatre company The Chameleons Group, must necessarily have faith in and accept the difficult (and some might say discredited) concept of truth. A truth-seeker’s allowance must be granted to such people, just as a financial ‘job-seeker’s allowance’ is granted to those unemployed in the UK who can demonstrate they are actively seeking work, whether or not they are successful.
In doing this, the camera performs a double role, one as an extension of the spectators visual sense, and secondly, as an apparatus that engages their tactile sense. In a reaction against the formalist aesthetics of Cunningham and the non-narrative semi-pedestrian works of many of the postmodern choreographers, a number of non-American choreographers reintroduced ‘narrative’, in part reclaiming the expressive technique of the modern dancers of the 1930s and 1940s, but with a sharper political and social agenda.
Performance and Technology: Practices of Virtual Embodiment and Interactivity by Susan Broadhurst
by Brian
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