Pub Date : 2023-04-03DOI: 10.1080/23322551.2023.2210989
Douglas Eacho
ABSTRACT Referencing participant observation in a research-creation lab devoted to performance and artificial intelligence (AI), this article summarizes and intervenes within two discourses surrounding the performativity of computation. I first summarize the media-theoretical debate over whether or not electronic computation counts as what J. L. Austin and Jacques Derrida defined as ‘performative’. This turns out to be a divide over the politics of theoretical analysis, and as such these positions can be synthesized together. Relying on Samuel Weber’s concept of ‘theatricality’, I set out a novel proposal for understanding computation as representing a limit of performativity without theatricality. Secondly, I review the experiments conducted with staging recent machine-learning models within the University of Toronto’s BMO Lab. A scholarly tradition distinct from the above has turned to a ‘metaphysical performativity’, describing all reality as performatively animate rather than representational and inert; some have pointed to recent AI developments as a demonstration of the truth of this view. I dissent, with evidence from the aesthetic experience of watching AI performance. Finally, I critique the ideology implicit in theories that take the appearance of AI animacy as a model for social reality.
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Pub Date : 2023-04-03DOI: 10.1080/23322551.2023.2207966
Chris Salter, T. Ikegami
ABSTRACT This article examines recent work in machine performance in the context of an ‘Artificial Life’ research lab, linking the disciplines of visual anthropology, cybernetics, Artificial Life and Deep Learning-based artificial intelligence with the increasing interest in deploying ‘intelligent machines’ in artistic performance settings. As recent explorations of ‘machine vision’ in robotics demonstrate, cameras can be understood as instruments of capture and representation which no longer are simply recorders of images whose meanings are to be unlocked by human interpreters. Moving across a range of performative contexts, from anthropologists Gregory Bateson and Margaret Mead’s ethnographic work in Bali to experiments with an autonomous android in the Japanese lab, the article explores the camera as a cybernetically influenced sensing device that generates complex feedback loops between entities and their spatio-temporal environments. How does the camera as a sensing device enact a kind of visual performativity whereby technologically mediated subjects and selves are not recorded but, in effect, produced through interactive circuits, instruments and computational technologies? How might models of perception and observation that emerge from the social and natural sciences shape new ideas about the entangling of computational and real bodies spaces in the emerging practices of performance design?
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Pub Date : 2023-04-03DOI: 10.1080/23322551.2023.2210988
Antonio Peña
ABSTRACT This article is a hybrid reflection on the potential of digital capture to reveal spatio-temporal choreographic negotiations between body and built environment. Acknowledging a lack of engagement within environments that account for the expressive potential of the body and which constrain, dictate and industrialize it, with the proposed somatic research we set out to conduct an observation of the performance of body behavior in the way we interact with a seminal design object: a chair. Thus, the essay is a hybrid observation of bodily performances within quotidian environments that extends choreographic practice and knowledge beyond traditional choreographic contexts to account for the expressive, playful possibilities of the sentient body. The research fluctuates between practices of choreography and design staged in the scenographic landscape of digital photography and digital animation software to map the choreo-mediation between body and object: what is performed by the body in order to ‘interact’ with the proposed choreographic frameworks of a chair. A non-linear, digital, self-ethnographic approach presents two multi-sited studies to analyze this choreomediation: from stop-motion capture of a body performing negotiations with a chair to a digital transcription as a visual mapping of a three-dimensional self-avatar, performing the techniques of sitting.
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Pub Date : 2023-04-03DOI: 10.1080/23322551.2023.2208463
Lawrence Wallen
Posed with the challenge to write on influential design for this special double issue of Theatre and Performance Design entitled ‘On Capture’, I decided to fuse the launch and widespread adoption of the public-facing language-based artificial intelligence-driven chatbot named Chat Generative Pre-Trained Transformer (ChatGPT) with the passing of pre-eminent media theorist, artist, curator and AI advocate and critic Peter Weibel. As a result, this article explores Weibel’s work on capture through an interview I conducted with ChatGPT, tempered by some of the author’s observations and fact-checking. My encounters with Peter Weibel, first as a student in the mid-1980s at the University of Applied Arts in Vienna, at Ars Electronica in Linz and later as a guest artist at the Centre for Art and Media (ZKM), were brief but influential and provided a context for writing this article. Interestingly, while ChatGPT knew much about Peter Weibel, it failed to realise that he passed away on 1 March 2023 in Karlsruhe and it was inaccurate regarding what Weibel published, where, when and by whom. Having said that, ChatGPT was, at the time of writing this article, only four months old and prone to inventing things or at least mixing them up. I began by asking ChatGPT general questions about Weibel’s life and work, initially focusing on his relationship with Joseph Beuys. Peter Weibel, born in Odessa in 1944, was a pre-eminent European media theorist, curator and artist who took over the direction of the Centre for Art and Media (ZKM) in 1999 from Prof. Hans Peter Schwarz after Schwarz was appointed Rector at the University of the Arts Zurich in the same year. From 1964 to 1969, Weibel studied under and was an assistant to Joseph Beuys. Beuys’ ideas of art as a social and political change tool influenced Weibel’s future direction in examining the intersection of art, politics and technology. Whereas Beuys went on to politically underpin German art in the late twentieth century, arguably, Weibel’s most significant contribution was to construct a framework to understand and engage with the emergence of digital technologies in the late twentieth and early twenty-first centuries. Through collaboration, curation, text and artistic practice, Weibel’s work underwrites some of the most significant challenges of the twenty-first century. In the early 1970s, Weibel began experimenting with video and multimedia installations, creating works that explored the possibilities of new technologies and their relationship to human perception and consciousness, collaborating with artists such as Nam June Paik and Laurie Anderson.
面对为《戏剧与表演设计》特刊“on Capture”撰写有影响力的设计的挑战，我决定将面向公众的基于语言的人工智能驱动聊天机器人ChatGPT的推出和广泛采用与杰出的媒体理论家、艺术家、策展人、人工智能倡导者和评论家Peter Weibel的去世结合起来。因此，本文通过我对ChatGPT进行的一次采访，通过作者的一些观察和事实核查，探讨了Weibel在捕获方面的工作。上世纪80年代中期，我在维也纳应用艺术大学(University of Applied Arts)、林茨电子艺术学院(Ars Electronica)以及后来在艺术与媒体中心(ZKM)担任客座艺术家时，先后与彼得·维贝尔(Peter Weibel)有过短暂而有影响力的接触，并为撰写本文提供了背景。有趣的是，虽然ChatGPT对彼得·韦贝尔很了解，但却没有意识到他于2023年3月1日在卡尔斯鲁厄去世，而且关于韦贝尔发表的内容、地点、时间和作者也不准确。话虽如此，在撰写本文时，ChatGPT只有四个月的历史，而且很容易发明一些东西，或者至少把它们混在一起。我首先向ChatGPT询问了一些关于韦贝尔生活和工作的一般性问题，最初的重点是他与约瑟夫·博伊斯(Joseph Beuys)的关系。彼得·维贝尔，1944年出生于敖德萨，是欧洲杰出的媒体理论家、策展人和艺术家。1999年，汉斯·彼得·施瓦茨教授被任命为苏黎世艺术大学校长后，他接替施瓦茨教授担任艺术与媒体中心(ZKM)的主任。从1964年到1969年，韦贝尔师从约瑟夫·博伊斯，并担任他的助手。博伊斯关于艺术作为社会和政治变革工具的观点影响了韦贝尔未来研究艺术、政治和技术交集的方向。尽管博伊斯在二十世纪后期继续在政治上支持德国艺术，但可以说，韦贝尔最重要的贡献是构建了一个框架，以理解和参与二十世纪末和二十一世纪初数字技术的出现。通过合作、策展、文本和艺术实践，维贝尔的作品涵盖了21世纪一些最重大的挑战。在20世纪70年代初，韦贝尔开始尝试视频和多媒体装置，创作作品，探索新技术的可能性及其与人类感知和意识的关系，与白南准和劳里·安德森等艺术家合作。
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Pub Date : 2023-04-03DOI: 10.1080/23322551.2023.2210992
T. Brejzek, Jane Collins
Chris Salter, Guest Editor of this special double issue of Theatre and Performance Design, has long observed and analysed the ‘entanglement’ of technology and performance histories and practices (Salter 2010) and made visible the degree of (invisible) surveillance with which ‘sensing machines’ have infiltrated our daily work and life (Salter 2022). In the call for ‘On Capture’, Salter again focussed on surveillance, yet this time with a focus on performative bodily and scenographic practices and the way in which artists interpret and realise ‘capture’ on the stage and in the studio, and how key parameters of performance (body, time, space) are represented, altered and critiqued through the encoding and decoding of data in live and mediated performance. The timeliness of this issue is also its urgency. As relentless reports on the rapid development and expansion of the properties of publicfacing artificial intelligence (AI) systems unfold, an ambivalence towards our fascination with technology comes to the fore. Is the deliberate slowing down of AI research and development justified to establish ethical strategies to deal with its purported limitless knowledge production and communication, as some suggest? Is a certain techno-pessimism the natural consequence of being confronted with a technology that may erase us? On the other hand, rather than dominate or erase, the call by psychologists and neurobiologists for AI to develop so-called ‘hot’ cognition (Cuzzolin et al. 2020) – that is, to understand and react to a person’s thinking, including the concept of Theory of Mind (ToM) – may just be beginning to be answered by the most recent research. ToM denotes a person’s ability to take another person’s perspective in communication, and whether or not AI has ToM is hotly disputed right now (Whang 2023). If, however, an AI system is equipped with ToM, it not only will understand humans’ thinking but will also be able to understand that of another, similar AI system. This will mean robot-to-robot performances, as well as human and robot ones, will be able to not only simulate ToM and related qualities such as empathy but will actually embody these in real time, opening up myriad perspectives and concerns for artists at the same time. In line with the above thoughts, the responses to Salter’s call by practitioners and theorists demonstrate a deep engagement with creating new (and different) relationships and new (and different) production and reception aesthetics forged from the confrontation between the physical body and binary data. The depersonalisation of the actor’s body, evoked since Kleist and Maeterlinck and revisited by Craig in his concept of the Übermarionette, and its subsequent re-personalisation in a ‘datafied’ theatrical environment and, with it, the processes of de-theatricalisation and re-theatricalisation of the stage are some of the aspects prevalent in this issue. These deconstruct and redefine, often in experimental settings, key iss
克里斯·索尔特(Chris Salter)是《戏剧与表演设计》特刊的客座编辑，他长期观察和分析了技术与表演历史和实践的“纠缠”(Salter 2010)，并使“传感机器”渗透到我们日常工作和生活中的监控程度(无形)变得可见(Salter 2022)。在“捕捉”的呼吁中，索尔特再次关注监视，但这一次的重点是表演身体和场景实践，以及艺术家在舞台和工作室中解释和实现“捕捉”的方式，以及表演的关键参数(身体，时间，空间)如何通过现场和中介表演中的数据编码和解码来表现，改变和批评。这个问题的及时性也是它的紧迫性。随着关于面向公众的人工智能(AI)系统属性快速发展和扩展的无情报道的展开，对我们对技术的迷恋的矛盾心理浮出水面。像一些人建议的那样，故意放慢人工智能的研发速度，以建立道德战略来应对其所谓的无限知识生产和交流，这是否合理?某种技术悲观主义是面对一种可能消灭我们的技术时的自然结果吗?另一方面，心理学家和神经生物学家呼吁人工智能发展所谓的“热”认知(Cuzzolin et al. 2020)，即理解并对一个人的思维做出反应，包括心智理论(ToM)的概念，而不是主导或消除，最近的研究可能刚刚开始回答。ToM指的是一个人在交流中站在另一个人的角度看问题的能力，而人工智能是否拥有ToM目前是一个备受争议的问题(Whang 2023)。然而，如果一个人工智能系统配备了ToM，它不仅能理解人类的思维，还能理解另一个类似的人工智能系统的思维。这将意味着机器人对机器人的表演，以及人类和机器人的表演，不仅能够模拟ToM和相关的品质，如移情，而且能够实时地体现这些品质，同时为艺术家们开辟了无数的视角和关注点。与上述思想一致，实践者和理论家对索尔特呼吁的回应显示出一种深刻的参与，即创造新的(和不同的)关系，以及从物理身体和二进制数据之间的对抗中锻造出的新的(和不同的)生产和接受美学。演员身体的去人格化，自克莱斯特和梅特林克引起，克雷格在他的Übermarionette概念中重新审视，以及随后在“数据化”戏剧环境中的再人格化，与此同时，舞台的去戏剧化和再戏剧化的过程是这个问题中普遍存在的一些方面。这些解构和重新定义，通常在实验设置，身份和模仿的关键问题，表现和表现(理论)。“关于捕捉”展示了艺术家和理论家对现有的和新的数据捕捉技术的质疑、扩展、推动和语境化的不同实践，展示了人类和超越人类不仅会共存，而且会以同步和不和谐的方式共同进化。对于像我们这样的期刊来说，这意味着关于技术、身体和空间的论述在扩大
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Pub Date : 2023-04-03DOI: 10.1080/23322551.2023.2211418
Alexandre Saunier
ABSTRACT This article proposes three stories that exemplify different metaphors, mechanics, and practices of real-time lighting design. Starting with the example of cybernetician Gordon Pask’s Musicolour, the article proposes a cybernetic-based model of control that favors principles of human–machine co-operation. Then, the analysis of the collaboration between a lighting designer and a multimedia artist illustrates the need for and challenges of radical interdisciplinarity during the production of a stage performance. Finally, the description of a contemporary multimedia installation demonstrates the principles of an aesthetic of lighting grounded in machine-based behaviors. Through those three stories, this article aims to initiate a discussion on the hybridization of lighting with real-time computing, a process that significantly transforms the practice of artists and lighting designers but remains understudied.
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Pub Date : 2023-04-03DOI: 10.1080/23322551.2023.2207964
Richard Allen
The sound of drums could be heard drifting amongst the trees, rivers and humidity of the beautiful campus of the School of Drama and Fine Arts, University of Calicut, Kerala. The sound was a calling, a gathering of students and teachers, practitioners and pedagogues to join together for the inaugural International Festival of Theatre Schools (IFTS) between 1 and 5 February 2023. As the participants are drawn towards the Prof. Ramanujan Studio Theatre at the edge of the campus, the source of the drumming is revealed: it is the Panchavadyam played by the students of Kerala Kalamandalam. The sound could be felt in the belly and the throat; it was so loud that it shook through the body, moving it whilst standing still. The banner of the festival was unveiled, the theatre fi lled and there was a buzz of excitement. The open auditorium (the stage and space for the audience blend with open entrances and exits to the outside) was suddenly packed with students from all over the world. When the drumming stopped there was a ringing in the ears and through the body. It was a fi tting introduction to a festival that would be lifted and carried on the energy of, and centred on, the students and their work. The campus itself was transformed by the students, with large pieces of theatrical scenogra-phy, light trails and wall paintings adorning the buildings and trees. The festival was a collaboration between the host school and the International Theatre Festival of Kerala (ITFOK) curated by Professor Balakrishnan Ananthakrishnan, Mr Deepan Sivaraman and Professor Anuradha Kapur under the curational theme ‘ Humanity Must Unite ’ . The concept of the programme was to present, share and collaborate around pertinent issues in theatre and performance teaching practices, curriculums and pedagogy from a progressive perspective. Teachers, students and practitioners were invited from international institutions to consider their practices and process with an orientation to theatre pedagogy. The programme, brilliantly conceived and delivered by a partnership of universities, 1 includes teaching demonstrations, seminars, expert practitioner talks, workshops, a Kathakali performance of Mazha
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Pub Date : 2023-04-03DOI: 10.1080/23322551.2023.2209456
Chris Kondek
The space is dark. The audience enters and sits around a small raised stage in the center of the room. Video screens surround the space displaying uplifting slogans. The four performers approach audience members and gently take their hand. They ask if they can take their pulse. With their pulse taken, the audience member is then given a metronome. Their heartbeat per minute is set and the metronome is placed on the stage. The space is silent except for the syncopated ticking of 20 metronomes, the heartbeats of the audience. The audience listens.
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