Pub Date : 2023-04-06DOI: 10.1080/14794713.2023.2196890
Luca Befera
ABSTRACT The present paper addresses a theoretical model for human-machine interaction in intermedia performance taking as reference the author’s perspective. It is discussed the role of artificial intelligence as an autonomous, pervasive, and real-time evolving entity in dialectical relation with the performer and/or audience. The convergence of physical and virtual elements suggests the emergence of hybrid systems, insofar as digital instances manifest their own agency and humans show mechanical actions linked to information processing. Three typologies of human-machine interaction are inferred: 1) the algorithm elaborates the output through self-referential data, as in Δnfang; 2) the algorithm gathers information from performed actions, as in Convergence; 3) the algorithm processes data from the audience’s reaction, as in DoPPioGioco. As digital and analogue devices are employed, programming environments are hidden from human agents and filtered through the author’s gaze. Comparing the underlying black box rules with stage setting, it is observed to what extent algorithms are mediated and enacted. The article considers the information bias commonly attributed to artificial intelligence as rooted in the aesthetic domain, with significant dramaturgical implications.
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Pub Date : 2023-04-06DOI: 10.1080/14794713.2023.2196874
Yang Zhou
{"title":"‘The closest and the farthest away’: telling intermedial spatial stories in National Theatre Live – the case of Julius Caesar","authors":"Yang Zhou","doi":"10.1080/14794713.2023.2196874","DOIUrl":"https://doi.org/10.1080/14794713.2023.2196874","url":null,"abstract":"","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42508322","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 : 2023-04-06DOI: 10.1080/14794713.2023.2196895
Ian Garrett
ABSTRACT This article considers the ecoscenographer’s use of technologies to ‘timeshift’ performances. Timeshifting refers to watching locally recorded content after its originally scheduled broadcast. It explores the evolution, refinement, and emergent issues related to applying this approach to performing relationships within threatened environments, including how they relate to notions of ‘hauntology’ in highlighting and collapsing time in reference to climate change. The article reviews the cultivation of new technologies to provide located media in remote locations, such as: Dance Exchange’s 500 Miles/ 500 Stories, Out of Box Productions’ Rallentando, and more recent projects including Toasterlab’s Groundworks and park-based projects, Swim Pony’s TrailOff, The Only Animal’s 1000-Year Theatre, and Nakai Theatre’s Landscape Theatre. These projects establish a trajectory of emplaced mixed reality practice. This includes practical production topics such as asymmetrical data infrastructure and the trade-offs of accessible technology. It considers how gaming (i.e. open world games) and 360VR provide tools for scenographers to stage spatial performances that examine the deep performativity of space over time despite the limitations resulting from the phenomenology of archive.
本文考虑了生态舞台设计师使用技术来“移时”表演。移时是指在当地录制的节目播出后观看。它探讨了与应用这种方法在受威胁的环境中执行关系相关的演变，改进和紧急问题，包括它们如何与“鬼魅学”的概念联系起来，在参考气候变化时突出和崩溃时间。本文回顾了在偏远地区提供现场媒体的新技术的培养，例如:Dance Exchange的500 Miles/ 500 Stories, Out of Box Productions的Rallentando，以及最近的项目，包括Toasterlab的Groundworks和公园项目，Swim Pony的TrailOff, The Only Animal的1000年剧院和Nakai剧院的景观剧院。这些项目建立了嵌入混合现实实践的轨迹。这包括实际的生产主题，如不对称数据基础设施和可访问技术的权衡。它考虑了游戏(即开放世界游戏)和360VR如何为场景设计人员提供工具，以便随着时间的推移检查空间的深层表现力，尽管档案现象学造成了限制。
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Pub Date : 2023-03-01DOI: 10.1080/14794713.2023.2183337
Jonathan Fitzgerald
ABSTRACT This paper examines the interaction of sound and vision in audiovisual works for solo electric guitar, providing an overview of existing compositions before exploring in depth the approaches utilised in two new works commissioned by the author. Multimedia works which combine sound and vision represent a minority of the contemporary western art music repertoire, and are rarer still in works involving the electric guitar. The use of visuals in the small literature of audiovisual works for solo electric guitar varies widely, ranging from pre-recorded videos which simply play back over the course of a performance with no temporal alignment between sound and vision, to complex lighting mechanisms which respond to the music in real-time with clear parameter mapping. The bulk of the repertoire, however, demonstrates limited gestural synchronisation between the two media, with composers creating audiovisual cohesion through extra-temporal means. The works commissioned by the author – Svart-Hvít Ský á Himni by Icelandic composer Gulli Björnsson, and especially Akrasia by Australian composer Victor Arul – run counter to this trend, situating them as outliers which push the boundaries of parametric mapping in the repertoire for solo electric guitar and visuals.
{"title":"In search of synchresis: an examination of compositional approaches in new audiovisual works for solo electric guitar and visual projections","authors":"Jonathan Fitzgerald","doi":"10.1080/14794713.2023.2183337","DOIUrl":"https://doi.org/10.1080/14794713.2023.2183337","url":null,"abstract":"ABSTRACT This paper examines the interaction of sound and vision in audiovisual works for solo electric guitar, providing an overview of existing compositions before exploring in depth the approaches utilised in two new works commissioned by the author. Multimedia works which combine sound and vision represent a minority of the contemporary western art music repertoire, and are rarer still in works involving the electric guitar. The use of visuals in the small literature of audiovisual works for solo electric guitar varies widely, ranging from pre-recorded videos which simply play back over the course of a performance with no temporal alignment between sound and vision, to complex lighting mechanisms which respond to the music in real-time with clear parameter mapping. The bulk of the repertoire, however, demonstrates limited gestural synchronisation between the two media, with composers creating audiovisual cohesion through extra-temporal means. The works commissioned by the author – Svart-Hvít Ský á Himni by Icelandic composer Gulli Björnsson, and especially Akrasia by Australian composer Victor Arul – run counter to this trend, situating them as outliers which push the boundaries of parametric mapping in the repertoire for solo electric guitar and visuals.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"210 - 229"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42247978","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 : 2023-02-21DOI: 10.1080/14794713.2023.2179784
E. Putnam
ABSTRACT The body is the database of lived experience. Emergent was created during COVID-19 from the desire to explore the extended possibilities of digital performance beyond lens-based media. The work includes generative animations and sound compositions using data collected from a consumer fitness tracker worn since the start of the COVID-19 pandemic in 2020. As a portrait of experience through the data body (as both body of data and body producing data), Emergent engages with the memories of the flesh, becoming the impetus for aesthetic encounters through digital performance. In this article about the work, Putnam describes how it was produced, provides a detailed overview of the work and its theoretical context, and discusses how it functions as a digital performance between the artist and computer. The result is a work where data visualisation and sonification generates ambiguity, rather than clarity, introducing difference in how biometric sensing devices are used and understood.
{"title":"Pseudorandom: generative animation as performance in Emergent (2020–2022)","authors":"E. Putnam","doi":"10.1080/14794713.2023.2179784","DOIUrl":"https://doi.org/10.1080/14794713.2023.2179784","url":null,"abstract":"ABSTRACT The body is the database of lived experience. Emergent was created during COVID-19 from the desire to explore the extended possibilities of digital performance beyond lens-based media. The work includes generative animations and sound compositions using data collected from a consumer fitness tracker worn since the start of the COVID-19 pandemic in 2020. As a portrait of experience through the data body (as both body of data and body producing data), Emergent engages with the memories of the flesh, becoming the impetus for aesthetic encounters through digital performance. In this article about the work, Putnam describes how it was produced, provides a detailed overview of the work and its theoretical context, and discusses how it functions as a digital performance between the artist and computer. The result is a work where data visualisation and sonification generates ambiguity, rather than clarity, introducing difference in how biometric sensing devices are used and understood.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"264 - 282"},"PeriodicalIF":0.0,"publicationDate":"2023-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42168094","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 : 2023-01-02DOI: 10.1080/14794713.2023.2175105
Lins Derry
ABSTRACT The motivation to make information more accessible in data communication – physically to the senses and culturally to different audiences – has led designers to experiment, for example, in data physicalization and data sonification. Experimentation overlapping data communication and the performance arts suggests another practice is emerging. Calling it data embodiment, I define the term as a communicative and artistic method that approaches the body as a choreographic medium to physicalize and perform abstract data. The intent of this paper is to sufficiently delineate the space where bodily movement and abstract data have begun to intermingle across several milieu under the concept. The paper begins by contextualizing data embodiment in design, then continues by observing how choreographers have previously approached dance as data, and finishes with a case study where an environmental migration dataset is choreographed. A brief section on human-centered datasets and the surveillant technologies that produce them peppers the overarching discussion on bodily movement and abstract data. By reconstituting data in time and space, especially in the context of performance, otherwise sterile datasets are shown to become more physically and culturally accessible as well as aesthetically expressive.
{"title":"Data embodiment: approaching the body as a choreographic medium for performing abstract data","authors":"Lins Derry","doi":"10.1080/14794713.2023.2175105","DOIUrl":"https://doi.org/10.1080/14794713.2023.2175105","url":null,"abstract":"ABSTRACT The motivation to make information more accessible in data communication – physically to the senses and culturally to different audiences – has led designers to experiment, for example, in data physicalization and data sonification. Experimentation overlapping data communication and the performance arts suggests another practice is emerging. Calling it data embodiment, I define the term as a communicative and artistic method that approaches the body as a choreographic medium to physicalize and perform abstract data. The intent of this paper is to sufficiently delineate the space where bodily movement and abstract data have begun to intermingle across several milieu under the concept. The paper begins by contextualizing data embodiment in design, then continues by observing how choreographers have previously approached dance as data, and finishes with a case study where an environmental migration dataset is choreographed. A brief section on human-centered datasets and the surveillant technologies that produce them peppers the overarching discussion on bodily movement and abstract data. By reconstituting data in time and space, especially in the context of performance, otherwise sterile datasets are shown to become more physically and culturally accessible as well as aesthetically expressive.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"60 - 82"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47085250","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 : 2023-01-02DOI: 10.1080/14794713.2023.2170628
Kate Antosik-Parsons
offers different experiences. As a participant in the park, I had to follow themap carefully not to get lost and, therefore, to play the theatre-game successfully. The excitement, curiosity as well as light tension maintained my engaged participation all the way through. Contrastingly, as a remote viewer without such a mission to get to the final spot of the route, I was gradually discouraged to continue watching the participants’ repeated action of walking around and staring at their mobile phones. In addition, while the thirty-minute-long documentation delivers the story faithfully, it becomes noticeable that the ‘performing’ participants in the video screen are silenced. In some scenes, the audience’s verbal reaction is visible but inaudible. That is, despite the fact that each audience member is not a silenced spectator in a darkened auditorium but ultimately a performer, the focus of the documentation is not on the performing participants. Without their participation and interaction, Tamara cannot take place. Likewise, without a more participant-centred approach, the sharing of immersive experience in digital space cannot afford remote spectators an engaging experience of Tamara. The case of Tamara suggests a way of extending the spectating capacity of immersive performance. The subsidised documentation of interactive cultural experience widened public access to the creative work beyond geographical and physical boundaries. In the (post)pandemic age, such an expanded artistic experience and its contribution to increased global connectivity cannot be underestimated as before. With a more sharpened focus on the audience as performing participants, the digitally documented and shared immersive cultural experience will lead to a creation of a more fully functioning artistic ecology online. The potential – as well as limitations – of digital spectatorship explored through this pioneering project will also offer inspiration for more advanced artistic ideas and explorations that target the post-pandemic time we are entering.
{"title":"By Slight Ligaments","authors":"Kate Antosik-Parsons","doi":"10.1080/14794713.2023.2170628","DOIUrl":"https://doi.org/10.1080/14794713.2023.2170628","url":null,"abstract":"offers different experiences. As a participant in the park, I had to follow themap carefully not to get lost and, therefore, to play the theatre-game successfully. The excitement, curiosity as well as light tension maintained my engaged participation all the way through. Contrastingly, as a remote viewer without such a mission to get to the final spot of the route, I was gradually discouraged to continue watching the participants’ repeated action of walking around and staring at their mobile phones. In addition, while the thirty-minute-long documentation delivers the story faithfully, it becomes noticeable that the ‘performing’ participants in the video screen are silenced. In some scenes, the audience’s verbal reaction is visible but inaudible. That is, despite the fact that each audience member is not a silenced spectator in a darkened auditorium but ultimately a performer, the focus of the documentation is not on the performing participants. Without their participation and interaction, Tamara cannot take place. Likewise, without a more participant-centred approach, the sharing of immersive experience in digital space cannot afford remote spectators an engaging experience of Tamara. The case of Tamara suggests a way of extending the spectating capacity of immersive performance. The subsidised documentation of interactive cultural experience widened public access to the creative work beyond geographical and physical boundaries. In the (post)pandemic age, such an expanded artistic experience and its contribution to increased global connectivity cannot be underestimated as before. With a more sharpened focus on the audience as performing participants, the digitally documented and shared immersive cultural experience will lead to a creation of a more fully functioning artistic ecology online. The potential – as well as limitations – of digital spectatorship explored through this pioneering project will also offer inspiration for more advanced artistic ideas and explorations that target the post-pandemic time we are entering.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"143 - 146"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45845126","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 : 2023-01-02DOI: 10.1080/14794713.2022.2162279
Nina Mühlemann, Celestina Widmer, Y. Schmidt
ABSTRACT In this collaboratively written article, we argue that disabled performers have long since questioned notions about physicality, subjectivity, temporality and spectatorship on stage that are currently being revisited in the debate on ‘hybrid’ theatre practices during the pandemic. Disability performances, as well as hybrid theatre formats, which are now booming due to the lockdown experience, provoke discussions and discursive negotiations about what theatre is, should be and for whom, and explore boundaries of the art form. Based on these arguments, we will examine the concept of hybridity, in order to critically explore the debate on hybrid theatre in relation to disability performance practices, using the examples of the internationally recognised performing artists Neil Marcus and Sins Invalid, and challenge notions of sustainability within that discourse. We end by asking what demands a hybrid future would need to meet to accommodate the diverse realities of non-normative bodyminds.
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Pub Date : 2023-01-02DOI: 10.1080/14794713.2023.2170623
Sarah Blissett
Lisa Woynarski ’ s Ecodramaturgies engages with vital questions regarding new approaches to performance-making and analysis in our current climate crisis. The book presents an abundance of case studies concerned with ecology across theatrical modes of storytelling, production and representation. A range of critical concepts are presented within a dual framework of ecodramaturgies and intersectional ecologies, which work together to reveal the nuanced socio-political and material implications of di ff erent artistic examples in the context of climate change
Lisa Woynarski的Ecodramaturigies涉及到关于在当前气候危机中制定和分析绩效的新方法的重要问题。这本书提供了大量关于生态的案例研究，涉及讲故事、制作和表现的戏剧模式。在生态戏剧和交叉生态的双重框架内提出了一系列批判性概念，这些概念共同揭示了气候变化背景下不同艺术实例的微妙社会政治和物质含义
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Pub Date : 2023-01-02DOI: 10.1080/14794713.2023.2177431
P. Arabindoo, Nicola Baldwin
ABSTRACT Using the centennial anniversary of TS Eliot’s The Waste Land as an opportune moment to reconsider the reflexive and the discursive in addressing themes occupying critical and creative thought, this document discusses the collaboration between a social scientist and a playwright during and in the aftermath of the COVID-19 pandemic. Its main output, a play titled Wasteland, had an understory framed by the problem-event of the lockdown as it confronted not only the negativity of wasteland but also the possibility of negating it simultaneously. The play situates itself in the privileged UCL Student Centre to probe its ‘storied matter’ through repeated re-enactments. As an encounter between words and worlds across a temporal threshold marked by ‘becoming-events’, the play draws the building into focus, diffracting it, blurring it, and finally opening it up as a wasteland. Based on the Ancient Greek theatrical tradition of City Dionysia, it relies on ‘preplays’, multiple ‘draft’ readings, to emphasise less a staged performance and more an identity text that is unhurried, unfinished, improvised and provisional. For, in the inter-subjective exchanges within this text we find ‘the sense of ongoingness’ (Berlant 2008) to inhabit the now of our (post)pandemic present.
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