Pub Date : 2023-01-02DOI: 10.1080/14794713.2023.2180342
M. Felton-Dansky, Seda Ilter, R. Mosse, Nina Tecklenburg, Carmen Gil Vrolijk
suggests a (theoretical) reconceptualisation of locality in relation to performance. Her focus lies on social VR, a form of virtual reality in which geographically dispersed audience members and performers interact with each other in a virtual 360° environment – physically and vocally in real time – as avatars using VR goggles. In her analysis of Finding Pandora X by Double Eye Studio Hunter demonstrates how the dominant understanding of theatre as ‘ axiomatically local ’ , that is of a geographical boundedness of theatre including architectural, social and economic implications, is both expanded and contracted in social VR environments. Finding Pandora X simultaneously de-localises audiences and performers corporeal bodies and hyper-localises the individual theatre experience to a limited space of a few square metres marked out in the private homes of the participants. E.B. Hunter recon fi gures the place of theatre and, with it, reconceives what we might mean by a theatrical community. The participants of social VR experience community as fundamentally hybrid, engaging with an increased sense of communitas in an immersively shared narrative environment on the one hand, while retaining a sense of separation due to the geographical distance amongst themselves on the other hand. Co-present spaces turn into hybrid relationalities.
提出了一种（理论上）将地方性与表现联系起来的重新概念。她的重点是社交虚拟现实，这是一种虚拟现实形式，地理位置分散的观众和表演者在虚拟360°环境中实时进行身体和声音互动，作为使用虚拟现实护目镜的化身。在她对Double Eye Studio Hunter的《寻找潘多拉X》（Finding Pandora X）的分析中，她展示了戏剧作为“公理化的地方性”的主流理解，即戏剧的地理局限性，包括建筑、社会和经济影响，是如何在社交VR环境中扩展和收缩的。《寻找潘多拉X》同时将观众和表演者的身体去本地化，并将个人戏剧体验超本地化到参与者私人住宅中划出的几平方米的有限空间内。E.B.亨特重新定义了戏剧的位置，并由此重新认识了我们所说的戏剧社区的含义。社交VR的参与者从根本上体验到社区是混合的，一方面在身临其境的共享叙事环境中增强了社区感，另一方面由于他们之间的地理距离而保持了分离感。共存空间转变为混合关系。
{"title":"Framing hybrid futures in the Anthropocene","authors":"M. Felton-Dansky, Seda Ilter, R. Mosse, Nina Tecklenburg, Carmen Gil Vrolijk","doi":"10.1080/14794713.2023.2180342","DOIUrl":"https://doi.org/10.1080/14794713.2023.2180342","url":null,"abstract":"suggests a (theoretical) reconceptualisation of locality in relation to performance. Her focus lies on social VR, a form of virtual reality in which geographically dispersed audience members and performers interact with each other in a virtual 360° environment – physically and vocally in real time – as avatars using VR goggles. In her analysis of Finding Pandora X by Double Eye Studio Hunter demonstrates how the dominant understanding of theatre as ‘ axiomatically local ’ , that is of a geographical boundedness of theatre including architectural, social and economic implications, is both expanded and contracted in social VR environments. Finding Pandora X simultaneously de-localises audiences and performers corporeal bodies and hyper-localises the individual theatre experience to a limited space of a few square metres marked out in the private homes of the participants. E.B. Hunter recon fi gures the place of theatre and, with it, reconceives what we might mean by a theatrical community. The participants of social VR experience community as fundamentally hybrid, engaging with an increased sense of communitas in an immersively shared narrative environment on the one hand, while retaining a sense of separation due to the geographical distance amongst themselves on the other hand. Co-present spaces turn into hybrid relationalities.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"1 - 11"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44431490","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: 10.1080/14794713.2023.2172523
Ulf Otto
ABSTRACT The suspension of operations during lockdowns facilitated a new perspective on performance: the absent came to appear as a determining factor of not only the pandemic, but became evident as constitutive of late modern theater cultures. Based on a description of the lockdown performance A Room of Our Own (2021) by the feminist collective Swoosh Lieu, it is shown how contemporary practice is relocating performance within its entanglement with the social spaces of reproduction. Emphasizing the realities of exclusion that the performing arts rest upon, the paper argues against a theory of performance as an enclosed event of participation based on an idealized idea of the social as a homogeneous microcosm. It calls instead for an empirics of assembly, and more generally to question a thinking of performance along the lines of interaction and communication. Adopting Karen Barad's concept of posthuman performativity to Theater Studies, it foregrounds the mediating function of performance in its articulation of the world and proposes to reconceptualize theater as an epistemological apparatus to invigorate a strong program of theater studies that refocuses on the socio-political real of theatricality.
{"title":"Re-socializing emptied spaces: a queer-feminist performance, the theatrical apparatus and its (post)pandemic epistemology","authors":"Ulf Otto","doi":"10.1080/14794713.2023.2172523","DOIUrl":"https://doi.org/10.1080/14794713.2023.2172523","url":null,"abstract":"ABSTRACT The suspension of operations during lockdowns facilitated a new perspective on performance: the absent came to appear as a determining factor of not only the pandemic, but became evident as constitutive of late modern theater cultures. Based on a description of the lockdown performance A Room of Our Own (2021) by the feminist collective Swoosh Lieu, it is shown how contemporary practice is relocating performance within its entanglement with the social spaces of reproduction. Emphasizing the realities of exclusion that the performing arts rest upon, the paper argues against a theory of performance as an enclosed event of participation based on an idealized idea of the social as a homogeneous microcosm. It calls instead for an empirics of assembly, and more generally to question a thinking of performance along the lines of interaction and communication. Adopting Karen Barad's concept of posthuman performativity to Theater Studies, it foregrounds the mediating function of performance in its articulation of the world and proposes to reconceptualize theater as an epistemological apparatus to invigorate a strong program of theater studies that refocuses on the socio-political real of theatricality.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"98 - 114"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45364040","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: 10.1080/14794713.2023.2170626
Abbie Trott
reproduction. Theatre and film scholars will also find it useful to discover new artists and companies who are experimenting with Internet dramaturgies and online interaction. It remains to be seen if lockdown theatre can be scaled up into a more established practice, but Fuchs makes one hopeful that the Internet represents a new frontier in theatrical experimentation designed to dissolve the imaginary and physical borders that isolate artists and audiences alike.
{"title":"Mediatized dramaturgy: the evolution of plays in the media age","authors":"Abbie Trott","doi":"10.1080/14794713.2023.2170626","DOIUrl":"https://doi.org/10.1080/14794713.2023.2170626","url":null,"abstract":"reproduction. Theatre and film scholars will also find it useful to discover new artists and companies who are experimenting with Internet dramaturgies and online interaction. It remains to be seen if lockdown theatre can be scaled up into a more established practice, but Fuchs makes one hopeful that the Internet represents a new frontier in theatrical experimentation designed to dissolve the imaginary and physical borders that isolate artists and audiences alike.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"139 - 140"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46850281","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: 10.1080/14794713.2023.2185385
T. Eder
ABSTRACT The independent performing arts are establishing themselves as an independent organizational field operating across Europe. The focus is not on artistic form or aesthetics, but on structural and organizational features that define the field institutionally in many countries of Northern, Eastern, Southern and Western Europe alike. The presented consideration of these features is specified in an analysis of the socio-economic situation in the field, especially in light of the new challenges of the Coronavirus pandemic. Subsequently, the actions taken by different advocacy groups to improve the precarious situation across countries and their effectiveness in governance are described to illustrate international coalition patterns, the development of mutual awareness and isomorphic alignment in the structuring of the field beyond nation-state borders. The research is based on 1031 survey responses from artists and cultural professionals as well as expert interviews with the management staff of the interest groups of independent performing arts from 12 European countries (This paper is an elaboration of the following work published in French: Eder, Thomas Fabian. 2022. “Rapport Intermédiaire : Les Arts Du Spectacle Indépendants Entre Consolidation Institutionnelle et Précarité – Une Perspective Comparative Européenne.” D’Allemagne d’Aujourd’hui (No 241)).
摘要：独立表演艺术正在成为一个独立的组织领域，在整个欧洲运作。重点不是艺术形式或美学，而是北欧、东欧、南欧和西欧许多国家在制度上定义该领域的结构和组织特征。在分析该领域的社会经济形势时，特别是考虑到冠状病毒大流行的新挑战，具体说明了对这些特征的考虑。随后，描述了不同倡导团体为改善各国不稳定局势而采取的行动及其治理效果，以说明国际联盟模式、相互意识的发展以及民族国家边界以外领域结构的同构一致性。这项研究基于艺术家和文化专业人士的1031份调查回复，以及对来自12个欧洲国家的独立表演艺术利益集团管理人员的专家采访（本文详细阐述了以下法语作品：Eder，Thomas Fabian。2022。“Rapport Intermédiaire : 《独立艺术家进入整合研究所》（Les Arts Du Spectacle Indépendants Entre Consolidation Institutionnelle et Précarité–Une Perspective Comparative Europeéenne）D’Allemagne D‘Aujourd'hui（编号241））。
{"title":"Threatened in the making: institutional consolidation and precariousness in the independent performing arts in Europe","authors":"T. Eder","doi":"10.1080/14794713.2023.2185385","DOIUrl":"https://doi.org/10.1080/14794713.2023.2185385","url":null,"abstract":"ABSTRACT The independent performing arts are establishing themselves as an independent organizational field operating across Europe. The focus is not on artistic form or aesthetics, but on structural and organizational features that define the field institutionally in many countries of Northern, Eastern, Southern and Western Europe alike. The presented consideration of these features is specified in an analysis of the socio-economic situation in the field, especially in light of the new challenges of the Coronavirus pandemic. Subsequently, the actions taken by different advocacy groups to improve the precarious situation across countries and their effectiveness in governance are described to illustrate international coalition patterns, the development of mutual awareness and isomorphic alignment in the structuring of the field beyond nation-state borders. The research is based on 1031 survey responses from artists and cultural professionals as well as expert interviews with the management staff of the interest groups of independent performing arts from 12 European countries (This paper is an elaboration of the following work published in French: Eder, Thomas Fabian. 2022. “Rapport Intermédiaire : Les Arts Du Spectacle Indépendants Entre Consolidation Institutionnelle et Précarité – Une Perspective Comparative Européenne.” D’Allemagne d’Aujourd’hui (No 241)).","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"40 - 59"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43315238","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: 10.1080/14794713.2023.2170627
Bomi Choi
This article is devoted to the repressive action against the Catholic Church in the interwar period in the USSR. The author tries to show how the Soviet authorities fought against the Church. They destroyed religion and the Catholic Church in several ways: by introducing a series of decrees, and by employing the brutal terror of the physical elimination of the clergy and believers. This all led to the liquidation of the Catholic Church in 1938. This paper also focuses on the description of how antireligious propaganda was implemented in the Polish-language Soviet newspaper Trybuna Radziecka [Soviet Tribune] in order to influence Soviet people and encourage them to assume the desired attitude, namely, the renounciation of the Catholic faith.
{"title":"Tamara","authors":"Bomi Choi","doi":"10.1080/14794713.2023.2170627","DOIUrl":"https://doi.org/10.1080/14794713.2023.2170627","url":null,"abstract":"This article is devoted to the repressive action against the Catholic Church in the interwar period in the USSR. The author tries to show how the Soviet authorities fought against the Church. They destroyed religion and the Catholic Church in several ways: by introducing a series of decrees, and by employing the brutal terror of the physical elimination of the clergy and believers. This all led to the liquidation of the Catholic Church in 1938. This paper also focuses on the description of how antireligious propaganda was implemented in the Polish-language Soviet newspaper Trybuna Radziecka [Soviet Tribune] in order to influence Soviet people and encourage them to assume the desired attitude, namely, the renounciation of the Catholic faith.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"141 - 143"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45079088","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: 10.1080/14794713.2023.2170625
Joseph Dunne-Howrie
{"title":"Theater of lockdown: digital and distanced performance in a time of pandemic","authors":"Joseph Dunne-Howrie","doi":"10.1080/14794713.2023.2170625","DOIUrl":"https://doi.org/10.1080/14794713.2023.2170625","url":null,"abstract":"","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"137 - 139"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46345700","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 : 2022-12-29DOI: 10.1080/14794713.2022.2162273
Lin Chen
ABSTRACT Coney’s interactive digital piece Telephone, created and performed by Tassos Stevens, was premiered in April 2020 amidst the first lockdown in England. Performed via the videoconferencing platform Zoom, it employs conventional framing devices such as a prologue, opening music, a surrogate stage curtain and a virtual theatre bar. This paper intends to examine the functions of these theatrical conventions in the Zoom production. The author argues that these devices are used not only for their usual dramatic purposes, but are also adapted with new functions for digital media and the special circumstances of the pandemic. They inform the spectators of the dramatic situation and the contextual situation of lockdown, in order to provide crucial technical instructions, to frame the performance within familiar domestic spaces and cyberspace, and to seek their understanding of the unusual form in which the piece is made. By the explicit and emphatic use of these conventional framing devices, the production activates the audience’s consciousness of the theatrical dual orders of presence and representation, so as to construct a live theatre experience and senses of co-presence and togetherness, which are all the more significant during a time of theatre closure and social distancing.
{"title":"‘Curtains, music and stages’ in Zoom theatre: framing devices in Coney’s Telephone","authors":"Lin Chen","doi":"10.1080/14794713.2022.2162273","DOIUrl":"https://doi.org/10.1080/14794713.2022.2162273","url":null,"abstract":"ABSTRACT Coney’s interactive digital piece Telephone, created and performed by Tassos Stevens, was premiered in April 2020 amidst the first lockdown in England. Performed via the videoconferencing platform Zoom, it employs conventional framing devices such as a prologue, opening music, a surrogate stage curtain and a virtual theatre bar. This paper intends to examine the functions of these theatrical conventions in the Zoom production. The author argues that these devices are used not only for their usual dramatic purposes, but are also adapted with new functions for digital media and the special circumstances of the pandemic. They inform the spectators of the dramatic situation and the contextual situation of lockdown, in order to provide crucial technical instructions, to frame the performance within familiar domestic spaces and cyberspace, and to seek their understanding of the unusual form in which the piece is made. By the explicit and emphatic use of these conventional framing devices, the production activates the audience’s consciousness of the theatrical dual orders of presence and representation, so as to construct a live theatre experience and senses of co-presence and togetherness, which are all the more significant during a time of theatre closure and social distancing.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"27 - 39"},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45800217","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 : 2022-12-15DOI: 10.1080/14794713.2022.2152963
Nadia Abdelaziz, D. O’donnell
ABSTRACT In July 2021, Canadian performance company Mammalian Diving Reflex premiered The Lockdown Resolution at Arnolfini, a contemporary art centre in Bristol, UK. Combining virtual reality (VR) hardware, 360° film and Zoom teleconferencing, the performance connected ten ‘in real life’ (IRL) audience members to ten remote audience members around the world. Through conversations and immersive, tech-mediated interaction, audiences found out about each other and the lives of three young Bristolians during lockdown. Drawing on research in VR and social dynamics, this paper examines human-tech interfacing in The Lockdown Resolution, exploring synchrony, social presence and intimacy to social cohesion. Examining social engagement through multiple-reality performance, producer Nadia Abdelaziz and Mammalian Founder Darren O’Donnell investigate digital intimacy in performance and its role in creating an opportunity for civic development. At the centre of this activity, Mammalian create space for young people to lead these interactions. Bristol-based young performers Chris Lewis (18), Alke Schwarz (19) and Germain Loud (21) co-devised the show working with local creatives over a series of workshops, meetings and rehearsals. Offering insight into Mammalian Diving Reflex’s working methods, we imagine and discuss the civic potential of new social contracts that might be created through intimate and immersive digital performance.
{"title":"New social contracts and digital intimacy in mammalian diving reflex’s the lockdown resolution","authors":"Nadia Abdelaziz, D. O’donnell","doi":"10.1080/14794713.2022.2152963","DOIUrl":"https://doi.org/10.1080/14794713.2022.2152963","url":null,"abstract":"ABSTRACT In July 2021, Canadian performance company Mammalian Diving Reflex premiered The Lockdown Resolution at Arnolfini, a contemporary art centre in Bristol, UK. Combining virtual reality (VR) hardware, 360° film and Zoom teleconferencing, the performance connected ten ‘in real life’ (IRL) audience members to ten remote audience members around the world. Through conversations and immersive, tech-mediated interaction, audiences found out about each other and the lives of three young Bristolians during lockdown. Drawing on research in VR and social dynamics, this paper examines human-tech interfacing in The Lockdown Resolution, exploring synchrony, social presence and intimacy to social cohesion. Examining social engagement through multiple-reality performance, producer Nadia Abdelaziz and Mammalian Founder Darren O’Donnell investigate digital intimacy in performance and its role in creating an opportunity for civic development. At the centre of this activity, Mammalian create space for young people to lead these interactions. Bristol-based young performers Chris Lewis (18), Alke Schwarz (19) and Germain Loud (21) co-devised the show working with local creatives over a series of workshops, meetings and rehearsals. Offering insight into Mammalian Diving Reflex’s working methods, we imagine and discuss the civic potential of new social contracts that might be created through intimate and immersive digital performance.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"192 - 209"},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49108594","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 : 2022-12-15DOI: 10.1080/14794713.2022.2152952
E. B. Hunter
ABSTRACT This paper examines the emergent performance context of social virtual reality (social VR) as the latest manifestation of the continuing disruption of theatre as axiomatically local. Against the backdrop of Double Eye Studio’s 2020 adaptation of the Pandora mythos, Finding Pandora X, analysis centers on the ways in which social VR simultaneously expands and contracts theatre’s ‘localness’, a reconfiguration with pragmatic and theoretical implications for practice and scholarship in the twenty-first century.
摘要本文考察了社会虚拟现实（social virtual reality，简称VR）的新兴表演背景，这是戏剧作为公理化的局部性持续破坏的最新表现。在Double Eye Studio 2020年改编的潘多拉神话《寻找潘多拉X》的背景下，分析集中在社交虚拟现实如何同时扩展和收缩剧院的“地方性”，这是一种对21世纪实践和学术具有务实和理论意义的重新配置。
{"title":"Social VR and the continuing reinvention of local in theatre and performance","authors":"E. B. Hunter","doi":"10.1080/14794713.2022.2152952","DOIUrl":"https://doi.org/10.1080/14794713.2022.2152952","url":null,"abstract":"ABSTRACT This paper examines the emergent performance context of social virtual reality (social VR) as the latest manifestation of the continuing disruption of theatre as axiomatically local. Against the backdrop of Double Eye Studio’s 2020 adaptation of the Pandora mythos, Finding Pandora X, analysis centers on the ways in which social VR simultaneously expands and contracts theatre’s ‘localness’, a reconfiguration with pragmatic and theoretical implications for practice and scholarship in the twenty-first century.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"83 - 97"},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48177428","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 : 2022-11-23DOI: 10.1080/14794713.2022.2141427
Asuka Yamazaki
ABSTRACT This paper discusses the possibility of digital art museums, which have recently been gaining popularity, examining how they function as new educational facilities for enlightenment in the age of mass extinction. It then considers two digital amusement facilities of teamLab. These digital installations change the traditional asymmetrical relationship humans have with animals and plants, for example, by forming a pseudo-parent–child dynamic, thus creating an interactive and cross-species connection based on equality. Moreover, compared to conventional zoos and botanical gardens, which exhibit animals and plants in pursuit of realism, digital museums create virtual natural environments based on a nonrealistic orientation and can become models for sustainable museums. Moreover, they can be places for the inheritance of lost memories by reconstructing extinct animals and plants and transmitting their digital data to the next generation. One problem with these digital amusement facilities; however, is the aesthetic and romantic modeling of digital creatures, which reflects anthropocentric consciousness as well as the maintenance of a panoramic and divine perspective. It is difficult to create a digital museum that deconstructs this much-desired divine perspective. Concerning these problems, a new model for an ecologically sustainable digital museum as an educational facility is discussed.
{"title":"Considering digital art museums in the era of mass extinction: exploring digital zoos and aquariums through posthuman thinking","authors":"Asuka Yamazaki","doi":"10.1080/14794713.2022.2141427","DOIUrl":"https://doi.org/10.1080/14794713.2022.2141427","url":null,"abstract":"ABSTRACT This paper discusses the possibility of digital art museums, which have recently been gaining popularity, examining how they function as new educational facilities for enlightenment in the age of mass extinction. It then considers two digital amusement facilities of teamLab. These digital installations change the traditional asymmetrical relationship humans have with animals and plants, for example, by forming a pseudo-parent–child dynamic, thus creating an interactive and cross-species connection based on equality. Moreover, compared to conventional zoos and botanical gardens, which exhibit animals and plants in pursuit of realism, digital museums create virtual natural environments based on a nonrealistic orientation and can become models for sustainable museums. Moreover, they can be places for the inheritance of lost memories by reconstructing extinct animals and plants and transmitting their digital data to the next generation. One problem with these digital amusement facilities; however, is the aesthetic and romantic modeling of digital creatures, which reflects anthropocentric consciousness as well as the maintenance of a panoramic and divine perspective. It is difficult to create a digital museum that deconstructs this much-desired divine perspective. Concerning these problems, a new model for an ecologically sustainable digital museum as an educational facility is discussed.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"172 - 191"},"PeriodicalIF":0.0,"publicationDate":"2022-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44206643","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：