Modelling Performance: Generic Formal Processes in Live Digital Performance

Ian Willcock
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Abstract

Most existing accounts of live performance concentrate on the specific features of individual works or on linking works according to commonly observed traits which allow their plausible inclusion in groups identified by authorship, style or genre. Similarly, most integration of digital technology with live performance is bespoke, an adaption of practice and enabling technology that solves only a single creative problem -- that of the specific work being created. This paper takes a different approach, which through considering practice across the range of live performance traditions contributing to contemporary digital performance activity, is able to propose a generic model of live performance which is able to account for the processes and moment to moment connections within live performance across a wide range of styles and genres. The approach is non-taxonomic, but is based on set theory and Boolean logic, the formal unfolding of a live performance is considered as the sum of individual performances generated by semi-autonomous performers. Each performer enacting a series of decisions based on their perceptions of the overall state of the performance (and each others' activity) and a rule-set -- which may be explicit or implicit. Taking a view similar to that of Susan Broadhurst and others in seeing digital performance as an extension of existing performance traditions rather than as a completely, or mainly, new performative genre, the generic model of live performance is then extended to provide a rationale for the integration of digital technology with live performance which does not depend on specific activities or alterations of existing practice by artists or on features belonging to specific performance traditions. The application of the model in a prototype system is briefly described and some further potential implications of the model to provide a framework for analysis of existing digital performance and a template for future creative exploration are identified.
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建模性能:在现场数字表演通用的正式过程
大多数现有的现场表演的描述都集中在个别作品的具体特征上,或者根据普遍观察到的特征将作品联系起来,这些特征使它们能够被作者、风格或流派识别为合理的群体。同样,大多数数字技术与现场表演的整合都是定制的,这是一种实践和技术的适应,只能解决一个创造性的问题——即正在创作的特定作品。本文采用了一种不同的方法,通过考虑各种现场表演传统对当代数字表演活动的贡献,能够提出一种现场表演的通用模型,该模型能够解释现场表演中各种风格和流派的过程和时刻联系。该方法是非分类学的,但基于集合论和布尔逻辑,现场表演的正式展开被认为是由半自主表演者产生的个人表演的总和。每个执行者根据他们对执行的整体状态(以及彼此的活动)和规则集(可能是显式的或隐式的)的感知来制定一系列决策。与苏珊·布罗德赫斯特(Susan Broadhurst)等人的观点类似,他们认为数字表演是现有表演传统的延伸,而不是一种完全或主要的新表演流派,然后扩展现场表演的一般模型,为数字技术与现场表演的整合提供了一个基本原理,这种融合不依赖于艺术家的特定活动或对现有实践的改变,也不依赖于属于特定表演传统的特征。简要描述了模型在原型系统中的应用,并确定了该模型的一些进一步的潜在含义,为分析现有数字性能提供了框架,并为未来的创造性探索提供了模板。
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