Pub Date : 2021-05-04DOI: 10.1080/14794713.2021.1929771
K. Nolan
ABSTRACT This research project set out to examine FOMO through the curation of a performance art event. Referring to the ‘fear of missing out’, FOMO is posited as symptomatic of the ways in which embodied subjectivities are performed through participatory cultures. With the insidious co-option of such cultures by powerful multinational companies, come new ways in which the body is commodified in late-capitalist economies. This paper examines modes of prosumption emergent from digital and social media and considers strategies of performance in this context. It could be argued that performance art practices might resist or intervene in such discourses through a powerful ability to re-establish human connection through a live and affective performing or spectating experience (O’Dell 1998; Phelan 2005). However, liveness, affect and human connection are themselves enmeshed in digital cultures. This paper will consider how performance can think through the ways in which embodied subjectivities are produced through FOMO and ask whether in this context performance art practice can reclaim the affective body.
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Pub Date : 2021-05-04DOI: 10.1080/14794713.2021.1948237
C. McGarrigle, E. Putnam
The live, embodied, material, and interactive qualities of performance have made it a notable means of exploring the creative potential of technological engagement, acting as a critical vector for revealing and resisting the technological colonisation of everyday life. The innovative collaborations of Experiments in Art and Technology (EAT) during the 1960’s with artists such as Yvonne Rainer and Robert Rauschenberg, Stelarc’s extreme body modifications, Dumb Type’s intermedia performance, and Guillermo Gomez-Pena and La Pocha Nostra’s poetic and speculative imaginings, have mapped the advances in technology and opened new creative fields to explore embodiment. However, there are still some significant oversights in regard to the pervasive and intimate nature of technological mediation, surveillance, and behavioural modification. Currently, technological embodiment assumes new forms tied to data assemblages of unprecedented scope and granularity. The body is commodified as data to be exchanged, controlled, and influenced in algorithmic regimes of governance and as raw material for machine learning and AI. Artists working with performance and technology are engaging with these exclusions, rethinking the intersection of performance and technology, and re-defining embodiment for the twenty-first century. The following articles start to fill these gaps in the literature on art, technology and embodiment through the lens of performance. While much remains to be written on the topic to account for current artistic practice and the changing nature of digital platforms and ubiquity of algorithmic governance, these articles point to new ways of thinking on issues around the intersections of flesh and circuits. Technology, in a broad sense of the term that includes but is not limited to the digital, alters experiences of embodiment. Philosopher Bernard Stiegler describes how humans and technology have co-evolved as technology extends the capacities of human memory and technologies are developed to accommodate human needs. (Stiegler 1998) Gilbert Simondon articulates how technology and living beings share a milieu that influences processes of becoming, or what he refers to as individuation. Such processes involve a rapport between humans and technical objects where there is a ‘coupling between the living and the non-living’ (Simondon 2016, xvi). Bringing together Maurice Merleau-Ponty with John Dewey, philosopher of technology Don Idhe argues that the experiences afforded through technologies are post-phenomenological, extending human sensory capacity beyond corporeal limits (Ihde 2002, 2017). Moreover, the relational existence of humans and technology is richly intertwined. Drawing from Karen Barad’s agential realism and theories of diffraction (Barad 2007), Chris Salter describes how these entanglements are realised and revealed through performance (Salter 2010). Performance elucidates the relational characteristic of human engagement with digital technol
{"title":"Affiliated issue with 2020 College Art Association Annual Conference, ‘flesh and circuit: rethinking performance and technology’ (Chicago, IL, USA)","authors":"C. McGarrigle, E. Putnam","doi":"10.1080/14794713.2021.1948237","DOIUrl":"https://doi.org/10.1080/14794713.2021.1948237","url":null,"abstract":"The live, embodied, material, and interactive qualities of performance have made it a notable means of exploring the creative potential of technological engagement, acting as a critical vector for revealing and resisting the technological colonisation of everyday life. The innovative collaborations of Experiments in Art and Technology (EAT) during the 1960’s with artists such as Yvonne Rainer and Robert Rauschenberg, Stelarc’s extreme body modifications, Dumb Type’s intermedia performance, and Guillermo Gomez-Pena and La Pocha Nostra’s poetic and speculative imaginings, have mapped the advances in technology and opened new creative fields to explore embodiment. However, there are still some significant oversights in regard to the pervasive and intimate nature of technological mediation, surveillance, and behavioural modification. Currently, technological embodiment assumes new forms tied to data assemblages of unprecedented scope and granularity. The body is commodified as data to be exchanged, controlled, and influenced in algorithmic regimes of governance and as raw material for machine learning and AI. Artists working with performance and technology are engaging with these exclusions, rethinking the intersection of performance and technology, and re-defining embodiment for the twenty-first century. The following articles start to fill these gaps in the literature on art, technology and embodiment through the lens of performance. While much remains to be written on the topic to account for current artistic practice and the changing nature of digital platforms and ubiquity of algorithmic governance, these articles point to new ways of thinking on issues around the intersections of flesh and circuits. Technology, in a broad sense of the term that includes but is not limited to the digital, alters experiences of embodiment. Philosopher Bernard Stiegler describes how humans and technology have co-evolved as technology extends the capacities of human memory and technologies are developed to accommodate human needs. (Stiegler 1998) Gilbert Simondon articulates how technology and living beings share a milieu that influences processes of becoming, or what he refers to as individuation. Such processes involve a rapport between humans and technical objects where there is a ‘coupling between the living and the non-living’ (Simondon 2016, xvi). Bringing together Maurice Merleau-Ponty with John Dewey, philosopher of technology Don Idhe argues that the experiences afforded through technologies are post-phenomenological, extending human sensory capacity beyond corporeal limits (Ihde 2002, 2017). Moreover, the relational existence of humans and technology is richly intertwined. Drawing from Karen Barad’s agential realism and theories of diffraction (Barad 2007), Chris Salter describes how these entanglements are realised and revealed through performance (Salter 2010). Performance elucidates the relational characteristic of human engagement with digital technol","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45374830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/14794713.2021.1927517
Piotr Woycicki
{"title":"Immersive embodiment: theatres of mislocalized sensation","authors":"Piotr Woycicki","doi":"10.1080/14794713.2021.1927517","DOIUrl":"https://doi.org/10.1080/14794713.2021.1927517","url":null,"abstract":"","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1927517","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43427358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/14794713.2021.1934636
J. Kennedy
ABSTRACT This paper situates Shu Lea Cheang's Brandon within its conditions of production, drawing from documents that place Cheang in dialogue with several key artists and critical thinkers who offered incisive early critiques of popular ideas and common anxieties about how embodied subjectivity, and the social formations through which it is assigned meaning, may or may not be transformed in the digital future. Through a close reading of the website and corollary programs, I suggest that the work itself reflects a crucial engagement with these theories – conceptually and technologically – in cyberspace. Indeed, contextualizing the production of Brandon reveals the various ways in which Cheang drew from the theories of her collaborators (among others) to test how they would function not as analyses of cyberspace but performances in cyberspace. Brandon, among many other things, is thus a space of praxis, in which the possibilities and limitations of early critical theories of digital embodiment and subjectivity were examined.
{"title":"Across the Nebraska Border and the virtual-material divide: contextualizing Shu Lea Cheang’s Brandon, 1994–1999","authors":"J. Kennedy","doi":"10.1080/14794713.2021.1934636","DOIUrl":"https://doi.org/10.1080/14794713.2021.1934636","url":null,"abstract":"ABSTRACT This paper situates Shu Lea Cheang's Brandon within its conditions of production, drawing from documents that place Cheang in dialogue with several key artists and critical thinkers who offered incisive early critiques of popular ideas and common anxieties about how embodied subjectivity, and the social formations through which it is assigned meaning, may or may not be transformed in the digital future. Through a close reading of the website and corollary programs, I suggest that the work itself reflects a crucial engagement with these theories – conceptually and technologically – in cyberspace. Indeed, contextualizing the production of Brandon reveals the various ways in which Cheang drew from the theories of her collaborators (among others) to test how they would function not as analyses of cyberspace but performances in cyberspace. Brandon, among many other things, is thus a space of praxis, in which the possibilities and limitations of early critical theories of digital embodiment and subjectivity were examined.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1934636","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49039441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/14794713.2021.1927524
Anna Makrzanowska
{"title":"Performer training and technology. Preparing our selves","authors":"Anna Makrzanowska","doi":"10.1080/14794713.2021.1927524","DOIUrl":"https://doi.org/10.1080/14794713.2021.1927524","url":null,"abstract":"","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1927524","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41296131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/14794713.2021.1934635
Adelheid Mers
ABSTRACT Performative Topologies is part of Performative Diagrammatics, my ongoing artistic investigation of knowing and its relations to movement. In this report, I first lay out how the overarching framework, Performative Diagrammatics, draws on the interpreting mind of an ‘artist as reader’ to trace semantic, grammatical, and diagrammatic, abductive operations. I am interested in showing how a broader awareness of such operations can elicit regard for epistemic diversity. I then describe a Performative Topologies workshop held as part of an exhibition in Berlin. Developed with volunteers in Chicago and Weimar, Performative Topologies evolves through two successive circuits. The first circuit generates movement sequences through scripted, verbal prompts. The second circuit twins this emergent choreography with a feedback projection, topologically modified 360-degree video streaming in real time. As participants perform, an externalized, diagrammatic space emerges as participants enter a double consciousness, performing personal epistemes while contributing to a polyrhythmic, joint choreography. Such a diagrammatic space is one of great, symbolic possibility towards reconstructed relationships among individuals and their environments. Understood topologically, it is invariant and continuous. Because it cannot be cut, it does not require mending. It contains a vision of situated criticality built around endless modes of knowing.
{"title":"Performative Topologies – small gestures from within","authors":"Adelheid Mers","doi":"10.1080/14794713.2021.1934635","DOIUrl":"https://doi.org/10.1080/14794713.2021.1934635","url":null,"abstract":"ABSTRACT Performative Topologies is part of Performative Diagrammatics, my ongoing artistic investigation of knowing and its relations to movement. In this report, I first lay out how the overarching framework, Performative Diagrammatics, draws on the interpreting mind of an ‘artist as reader’ to trace semantic, grammatical, and diagrammatic, abductive operations. I am interested in showing how a broader awareness of such operations can elicit regard for epistemic diversity. I then describe a Performative Topologies workshop held as part of an exhibition in Berlin. Developed with volunteers in Chicago and Weimar, Performative Topologies evolves through two successive circuits. The first circuit generates movement sequences through scripted, verbal prompts. The second circuit twins this emergent choreography with a feedback projection, topologically modified 360-degree video streaming in real time. As participants perform, an externalized, diagrammatic space emerges as participants enter a double consciousness, performing personal epistemes while contributing to a polyrhythmic, joint choreography. Such a diagrammatic space is one of great, symbolic possibility towards reconstructed relationships among individuals and their environments. Understood topologically, it is invariant and continuous. Because it cannot be cut, it does not require mending. It contains a vision of situated criticality built around endless modes of knowing.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1934635","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42860708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/14794713.2021.1927526
Patrick Scorese
as a missed opportunity to address a radical and complex question about the manner in which the emergence of new subjectivities shaped by technologies could enable us to decolonise performer training how performer training could not only be heterogeneous and inclusive of different matter, but also be heterogeneous in its inclusion of diverse human and nonhuman perspectives. Performer Training and Technology. Preparing Our Selves is likely to appeal to theatre and performancepostgraduate students, scholars andpractitioners, such as directors, performers, lighting and sound designers, and technicians, with research interests in the philosophy and history of performance training. It could also benefit visual art students, artists, and scholars who are interested in transdisciplinarypraxis intersecting technology, performance, art and training, particularly the sections pertaining to a ‘polyfocal vision’ that promulgates an ability to ‘spot the artefact when it is present as well as appreciate the artefact’s impact when it is absent’ (184). The strongest aspects of the book are Kapsali’s detailed and in-depth analysis, where she explores the manner in which different philosophical approaches to technology have affected and co-shaped discussions about performer praxis in the context of specific case studies ranging from historical practitioners, such as Diderot, Craig, Stanislavsky, Meyerhold, Chaikin and the American avant-garde from 1960s, Lecoq and Zarrilli, to more recent examples, such as Zanotti, Kozel, Keinanen, Rouhiainen, and The Mocap Summit. The most valuable point driving the overall argument is a contention that ‘performer training is technological in and of itself’ (6), which introduces a significant shift in thinking about past and present praxis, underscoring the importance of new ways of approaching preparation for performance. The idea of preparation is discussed as a central aspect of training a process through which the expectations of training are articulated, and ‘as a sense of individual and collective responsibility towards developing appropriate forms of response to a series of interlinked and mounting crises’ (1). The instrument is another significant term addressed with profound rigour; the text unfolds a detailed account of technological instruments in training (such as: handheld objects, electric light circuits and digital devices like mobile phones, motion capture), while simultaneously exploring training as a process of instrumentalization, explicating that an understanding of technology and the performer-as-instrument are inexorably akin. In summation, Kapsali’s new perspective on contemporary performer training is not only timely, but also initiates an important and much-needed debate within the field of performing arts to reconsider, negotiate and reformulate ‘doing-thinking’ that intersects technology and performer training. Hopefully, it will inspire the designers of curriculums, trainers, and trainees, who wish ‘to
{"title":"Theater in Quarantine","authors":"Patrick Scorese","doi":"10.1080/14794713.2021.1927526","DOIUrl":"https://doi.org/10.1080/14794713.2021.1927526","url":null,"abstract":"as a missed opportunity to address a radical and complex question about the manner in which the emergence of new subjectivities shaped by technologies could enable us to decolonise performer training how performer training could not only be heterogeneous and inclusive of different matter, but also be heterogeneous in its inclusion of diverse human and nonhuman perspectives. Performer Training and Technology. Preparing Our Selves is likely to appeal to theatre and performancepostgraduate students, scholars andpractitioners, such as directors, performers, lighting and sound designers, and technicians, with research interests in the philosophy and history of performance training. It could also benefit visual art students, artists, and scholars who are interested in transdisciplinarypraxis intersecting technology, performance, art and training, particularly the sections pertaining to a ‘polyfocal vision’ that promulgates an ability to ‘spot the artefact when it is present as well as appreciate the artefact’s impact when it is absent’ (184). The strongest aspects of the book are Kapsali’s detailed and in-depth analysis, where she explores the manner in which different philosophical approaches to technology have affected and co-shaped discussions about performer praxis in the context of specific case studies ranging from historical practitioners, such as Diderot, Craig, Stanislavsky, Meyerhold, Chaikin and the American avant-garde from 1960s, Lecoq and Zarrilli, to more recent examples, such as Zanotti, Kozel, Keinanen, Rouhiainen, and The Mocap Summit. The most valuable point driving the overall argument is a contention that ‘performer training is technological in and of itself’ (6), which introduces a significant shift in thinking about past and present praxis, underscoring the importance of new ways of approaching preparation for performance. The idea of preparation is discussed as a central aspect of training a process through which the expectations of training are articulated, and ‘as a sense of individual and collective responsibility towards developing appropriate forms of response to a series of interlinked and mounting crises’ (1). The instrument is another significant term addressed with profound rigour; the text unfolds a detailed account of technological instruments in training (such as: handheld objects, electric light circuits and digital devices like mobile phones, motion capture), while simultaneously exploring training as a process of instrumentalization, explicating that an understanding of technology and the performer-as-instrument are inexorably akin. In summation, Kapsali’s new perspective on contemporary performer training is not only timely, but also initiates an important and much-needed debate within the field of performing arts to reconsider, negotiate and reformulate ‘doing-thinking’ that intersects technology and performer training. Hopefully, it will inspire the designers of curriculums, trainers, and trainees, who wish ‘to","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1927526","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44080028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/14794713.2021.1943632
Kieran Nolan
ABSTRACT This chapter explores arcade videogames as interfaces for performance in the context of digital art. When a new medium is invented it inevitably undergoes experimentation, and the hardware and software of coin-operated videogames are no exception to this rule. Performance is framed as it applies to the arcade videogame medium as a machine-driven act, and as human-machine interaction across user contexts. Retro game platforms provide a challenging set of audiovisual and interface constraints for focusing artistic output. Arcade games are accessible, immersive, and by nature of their public and competitive setting also performative. While this performance is not always deliberate on behalf of the user, it represents suspension of disbelief to act within the given play narrative. The black box nature of legacy arcade platforms as creative materials is explored through the practices of hacking, preservation, and reappropriation and reinterpretation of arcade hardware and software for creative means by independent artists and industry alike. This examination of arcade videogames as performative interfaces includes detailing the motivations, process, and results of the author’s own creative practice in arcade videogame interface art, in addition to a genealogy of arcade videogame themed artworks from media art practitioners going back to the 1980s.
{"title":"Retro arcade games as expressive and performative interfaces","authors":"Kieran Nolan","doi":"10.1080/14794713.2021.1943632","DOIUrl":"https://doi.org/10.1080/14794713.2021.1943632","url":null,"abstract":"ABSTRACT This chapter explores arcade videogames as interfaces for performance in the context of digital art. When a new medium is invented it inevitably undergoes experimentation, and the hardware and software of coin-operated videogames are no exception to this rule. Performance is framed as it applies to the arcade videogame medium as a machine-driven act, and as human-machine interaction across user contexts. Retro game platforms provide a challenging set of audiovisual and interface constraints for focusing artistic output. Arcade games are accessible, immersive, and by nature of their public and competitive setting also performative. While this performance is not always deliberate on behalf of the user, it represents suspension of disbelief to act within the given play narrative. The black box nature of legacy arcade platforms as creative materials is explored through the practices of hacking, preservation, and reappropriation and reinterpretation of arcade hardware and software for creative means by independent artists and industry alike. This examination of arcade videogames as performative interfaces includes detailing the motivations, process, and results of the author’s own creative practice in arcade videogame interface art, in addition to a genealogy of arcade videogame themed artworks from media art practitioners going back to the 1980s.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1943632","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45887279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/14794713.2021.1926748
Minka Stoyanova
ABSTRACT Today, as many work and socialize completely online, we are more acutely aware than ever of the cybernetic relationship between the body (in-situ) and the virtually or digitally extended self. However, even before the onset of the current global pandemic (COVID-19), the contemporary ‘body’ had to be understood as extended beyond physical flesh, through global communications systems. How do our practices on these platforms reveal our evolving relationships with a distributed and digitally mutable body? Drawing on my own construction of cyborg theory as a subset of posthuman discourse, this paper links the practices of explicitly cyborg performance, like Stelarc and ORLAN, with the increasingly banal practice of body-hacking as it is realized in the performance of the self (both consciously and unconsciously) on distributed, social media platforms. These discussions touch both on identified trends in contemporary self-representation as well as artists whose work within those spaces acts as a comment, critique, and application of those practices. Through this discussion, I show how these practices can be understood as body hacking and how that body hacking can both reflect an increasing sense of personal empowerment in relation to the body as well as a morally ambiguous algorithmic redefinition of the paradigmatic body.
{"title":"Performing the cyborg self: explicit and implicit examples of body hacking the distributed self","authors":"Minka Stoyanova","doi":"10.1080/14794713.2021.1926748","DOIUrl":"https://doi.org/10.1080/14794713.2021.1926748","url":null,"abstract":"ABSTRACT Today, as many work and socialize completely online, we are more acutely aware than ever of the cybernetic relationship between the body (in-situ) and the virtually or digitally extended self. However, even before the onset of the current global pandemic (COVID-19), the contemporary ‘body’ had to be understood as extended beyond physical flesh, through global communications systems. How do our practices on these platforms reveal our evolving relationships with a distributed and digitally mutable body? Drawing on my own construction of cyborg theory as a subset of posthuman discourse, this paper links the practices of explicitly cyborg performance, like Stelarc and ORLAN, with the increasingly banal practice of body-hacking as it is realized in the performance of the self (both consciously and unconsciously) on distributed, social media platforms. These discussions touch both on identified trends in contemporary self-representation as well as artists whose work within those spaces acts as a comment, critique, and application of those practices. Through this discussion, I show how these practices can be understood as body hacking and how that body hacking can both reflect an increasing sense of personal empowerment in relation to the body as well as a morally ambiguous algorithmic redefinition of the paradigmatic body.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1926748","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46155418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-02DOI: 10.1080/14794713.2021.1874162
James Little
ABSTRACT Samuel Beckett’s 1976 play Footfalls is built around elements which are invisible, or not quite there, in performance. This article uses the concept of ‘dark matter’ to analyse the play’s theatrical absences and their construction in the creative process. An analysis of the play’s manuscripts, digitized and transcribed as part of the Beckett Digital Manuscript Project, reveals that such ‘dark matter’ is not just a feature of the published text or performance, but is constitutive of Beckett’s creative process, particularly with regard to how he stages the mind. This article studies the models of mind staged in Footfalls in order to argue that Beckett uses the play’s ‘dark matter’ to enact the breakdown of subject and object in the play.
{"title":"‘Not there’: ‘dark matter’ in Samuel Beckett’s Footfalls","authors":"James Little","doi":"10.1080/14794713.2021.1874162","DOIUrl":"https://doi.org/10.1080/14794713.2021.1874162","url":null,"abstract":"ABSTRACT Samuel Beckett’s 1976 play Footfalls is built around elements which are invisible, or not quite there, in performance. This article uses the concept of ‘dark matter’ to analyse the play’s theatrical absences and their construction in the creative process. An analysis of the play’s manuscripts, digitized and transcribed as part of the Beckett Digital Manuscript Project, reveals that such ‘dark matter’ is not just a feature of the published text or performance, but is constitutive of Beckett’s creative process, particularly with regard to how he stages the mind. This article studies the models of mind staged in Footfalls in order to argue that Beckett uses the play’s ‘dark matter’ to enact the breakdown of subject and object in the play.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1874162","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46919499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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