Pub Date : 2022-09-02DOI: 10.1080/14794713.2022.2124771
J. Scott
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Pub Date : 2022-09-02DOI: 10.1080/14794713.2022.2124770
Camille Intson
of i2Media Research, audiences sometimes felt as if that mutual feeling of liveness and connection with other audience members, which is so integral to traditional theatrical experience, was lost in mixed reality prototyping. In considering the future of mixed experiences, Freeman notes that we must fi nd ways to bring our known audiences forward. This is to say that virtual and mixed reality ‘ theatrical ’ experiences must simultaneously cater to established theater-going audiences, while attracting new demographics through the a ff ordances of intermedial technology. This panel explores what is lost as creative disciplines become enmeshed; could it be true that with an enmeshment of discipline and process comes a confusion around target audience? How can we, as contemporary artist-designers, meet our audiences ’ needs and expectations while simultaneously practising fl uidity in form, medium, and intermediality? future instantiations
{"title":"Findings in the future of live performance","authors":"Camille Intson","doi":"10.1080/14794713.2022.2124770","DOIUrl":"https://doi.org/10.1080/14794713.2022.2124770","url":null,"abstract":"of i2Media Research, audiences sometimes felt as if that mutual feeling of liveness and connection with other audience members, which is so integral to traditional theatrical experience, was lost in mixed reality prototyping. In considering the future of mixed experiences, Freeman notes that we must fi nd ways to bring our known audiences forward. This is to say that virtual and mixed reality ‘ theatrical ’ experiences must simultaneously cater to established theater-going audiences, while attracting new demographics through the a ff ordances of intermedial technology. This panel explores what is lost as creative disciplines become enmeshed; could it be true that with an enmeshment of discipline and process comes a confusion around target audience? How can we, as contemporary artist-designers, meet our audiences ’ needs and expectations while simultaneously practising fl uidity in form, medium, and intermediality? future instantiations","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"421 - 422"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48574105","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 : 2022-09-02DOI: 10.1080/14794713.2022.2124769
Sarah Busch
In their 2021 article on ‘ viral theatre ’ in the Journal of Contemporary Drama in English that preceded the conference, Liedke and Pietrzak-Franger describe the concept of ‘ viral theatre ’ to entail ‘ fi rst, historical/theoretical notions of contagiousness in theatre, second, 21st-century musings on virality as the condition of postmodern society, and, third, the current digitalization of theatre (due to the pandemic) and its attempts to go online and “ go viral ”‘ (129). These three aspects inspired the programme of ‘ Post-COVID-19 Art Worlds: Viral Theatre, Precarity and Medical Humanities ’ . The goal, as the organisers presented it, was to start an interdisciplinary dialogue between performance studies, cultural studies and medical humanities to fi nd out how we experience and understand viral theatre as audience members, scholars and practitioners. Another endeavour was to high-light innovative practices of online theatre and how these works respond to the issues of physical, economical and artistic precarity. The conference set out to explore these issues within fi ve sections entitled ‘ Medical Knowl-edge and Media ’ , ‘ COVID Precarity and Institutions ’ , ‘ COVID Creativity ’ , ‘ (Post)-COVID Audiences ’ , ‘ On the Edges ’ and a closing discussion on ‘ New Challenges ’ . The fi rst panel presented theatre as potentially healing for people in isolation by improving their physical and mental health. Jane MacNaughton underlined how a health crisis like the pandemic makes us more aware of how entangled culture and our embodied reality are and stressed the responsibility of the medical humanities to trace these developments. Coming from a prac-tical background of drama therapy, Amy Willshire described how, even in the virtual space, the possibility to express themselves creatively through performance gave a sense of self to the young people she worked with during lockdown.
{"title":"Post-COVID-19 art worlds: viral theatre, precarity and medical humanities","authors":"Sarah Busch","doi":"10.1080/14794713.2022.2124769","DOIUrl":"https://doi.org/10.1080/14794713.2022.2124769","url":null,"abstract":"In their 2021 article on ‘ viral theatre ’ in the Journal of Contemporary Drama in English that preceded the conference, Liedke and Pietrzak-Franger describe the concept of ‘ viral theatre ’ to entail ‘ fi rst, historical/theoretical notions of contagiousness in theatre, second, 21st-century musings on virality as the condition of postmodern society, and, third, the current digitalization of theatre (due to the pandemic) and its attempts to go online and “ go viral ”‘ (129). These three aspects inspired the programme of ‘ Post-COVID-19 Art Worlds: Viral Theatre, Precarity and Medical Humanities ’ . The goal, as the organisers presented it, was to start an interdisciplinary dialogue between performance studies, cultural studies and medical humanities to fi nd out how we experience and understand viral theatre as audience members, scholars and practitioners. Another endeavour was to high-light innovative practices of online theatre and how these works respond to the issues of physical, economical and artistic precarity. The conference set out to explore these issues within fi ve sections entitled ‘ Medical Knowl-edge and Media ’ , ‘ COVID Precarity and Institutions ’ , ‘ COVID Creativity ’ , ‘ (Post)-COVID Audiences ’ , ‘ On the Edges ’ and a closing discussion on ‘ New Challenges ’ . The fi rst panel presented theatre as potentially healing for people in isolation by improving their physical and mental health. Jane MacNaughton underlined how a health crisis like the pandemic makes us more aware of how entangled culture and our embodied reality are and stressed the responsibility of the medical humanities to trace these developments. Coming from a prac-tical background of drama therapy, Amy Willshire described how, even in the virtual space, the possibility to express themselves creatively through performance gave a sense of self to the young people she worked with during lockdown.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"419 - 420"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48197611","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 : 2022-08-08DOI: 10.1080/14794713.2022.2097983
Yulia Gilich
ABSTRACT In Search of the Sublime (The Sublime) is a telematic play, written and directed by Kara-Lynn Vaeni. Responding to the conditions of the COVID-19 pandemic, The Sublime was staged on the videoconferencing platform Zoom. While Zoom presented Vaeni with ethical issues and technical challenges, ultimately the platform allowed for creative approaches to the hybrid live-virtual performance. In inventive ways, Vaeni incorporated anti-racist production practices and utilized Zoom’s functions and affordances to engage the audience. In The Sublime, telematic technologies challenged the static roles of performers and viewers, producing the cast as spectators and the audience as co-creators of the piece.
{"title":"Telematic Sublime: anti-racist Zoom play in the time of COVID-19","authors":"Yulia Gilich","doi":"10.1080/14794713.2022.2097983","DOIUrl":"https://doi.org/10.1080/14794713.2022.2097983","url":null,"abstract":"ABSTRACT In Search of the Sublime (The Sublime) is a telematic play, written and directed by Kara-Lynn Vaeni. Responding to the conditions of the COVID-19 pandemic, The Sublime was staged on the videoconferencing platform Zoom. While Zoom presented Vaeni with ethical issues and technical challenges, ultimately the platform allowed for creative approaches to the hybrid live-virtual performance. In inventive ways, Vaeni incorporated anti-racist production practices and utilized Zoom’s functions and affordances to engage the audience. In The Sublime, telematic technologies challenged the static roles of performers and viewers, producing the cast as spectators and the audience as co-creators of the piece.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"403 - 418"},"PeriodicalIF":0.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42847144","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 : 2022-07-21DOI: 10.1080/14794713.2022.2101317
G. Cooke, Felicity Wilcox
ABSTRACT In this article, we detail a project that seeks to expand the ways in which the concepts of gesture and spectromorphology can be understood and applied in audiovisual projects. We argue that understanding spectromorphology in visual domains requires consideration of the wavelengths of light that give us an image. In this project, the complex interaction between clouds and solar radiation becomes the medium for understanding this concept of visual spectra. Invalid Data W.E.S.T. is a collaboration between media artist Grayson Cooke, audio engineer Ian Stevenson, and the experimental improvising group Wilcox, Encarnacao, Swanton Trio (W.E.S.T.), comprising three Australian composer-performers: Felicity Wilcox (piano), John Encarnacao (guitar), and Lloyd Swanton (bass). In this project, a multi-camera recording of W.E.S.T. in studio performance is combined with Cooke’s exploration of creative uses of satellite data. Satellite images of clouds rendered using infrared light are intercut with in-depth, multi-camera footage of W.E.S.T. captured during improvisation. The resulting audiovisual meditation draws parallels between spontaneous artistic processes, collaborative creation, and environmental phenomena. In this article, we explore how concepts of gesture and spectromorphology shaped the conception, production and post-production phases of the project, and how these concepts can be used to enhance the production of audiovisual work.
摘要在本文中，我们详细介绍了一个项目，该项目旨在扩展手势和声谱形态学概念在视听项目中的理解和应用方式。我们认为，理解视觉领域的光谱形态需要考虑给我们提供图像的光的波长。在这个项目中，云和太阳辐射之间的复杂相互作用成为理解视觉光谱概念的媒介。Invalid Data W.E.S.T.是媒体艺术家格雷森·库克、音频工程师伊恩·史蒂文森和实验即兴组合威尔科克斯、恩卡纳考、斯旺顿三重奏（W.E.S.T）的合作，由三位澳大利亚作曲家组成：费利西蒂·威尔科克斯（钢琴）、约翰·恩卡纳考（吉他）和劳埃德·斯旺顿（贝斯）。在这个项目中，W.E.S.T.在演播室表演的多摄像机录音与库克对卫星数据创造性使用的探索相结合。使用红外光渲染的云层卫星图像与即兴拍摄的W.E.S.T.的深度多摄像机镜头穿插在一起。由此产生的视听冥想将自发的艺术过程、合作创作和环境现象相提并论。在这篇文章中，我们探讨了手势和声谱形态学的概念是如何塑造项目的概念、制作和后期制作阶段的，以及如何利用这些概念来提高视听作品的制作。
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Pub Date : 2022-07-13DOI: 10.1080/14794713.2022.2097982
Zane Austin Willard
ABSTRACT I argue performance studies’ modernist ontological assumptions of fleeting are antithetical to contemporary performance art which relies on digital technology for mediated viewing processes. In this essay, I argue for a hybrid postmodern performance studies that allow for varying modes of experiencing performance art. I situate Allan Kaprow and Fluxus as the genealogical beginning of performance and argue that Peggy Phelan’s ontological assumptions of performance are inherently modernist. I then pose a postmodern approach to performance studies that embrace an embodiment of hybrid viewing methodologies of performance. Lastly, I use three examples as embodiments and symptomatic representations of this embodiment of a hybrid postmodern performance ontology.
{"title":"Reframing performance’s ontology: hybridity in contemporary performance art’s ontology","authors":"Zane Austin Willard","doi":"10.1080/14794713.2022.2097982","DOIUrl":"https://doi.org/10.1080/14794713.2022.2097982","url":null,"abstract":"ABSTRACT I argue performance studies’ modernist ontological assumptions of fleeting are antithetical to contemporary performance art which relies on digital technology for mediated viewing processes. In this essay, I argue for a hybrid postmodern performance studies that allow for varying modes of experiencing performance art. I situate Allan Kaprow and Fluxus as the genealogical beginning of performance and argue that Peggy Phelan’s ontological assumptions of performance are inherently modernist. I then pose a postmodern approach to performance studies that embrace an embodiment of hybrid viewing methodologies of performance. Lastly, I use three examples as embodiments and symptomatic representations of this embodiment of a hybrid postmodern performance ontology.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"390 - 402"},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46775450","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 : 2022-07-13DOI: 10.1080/14794713.2022.2099107
K. Sicchio
ABSTRACT This article aims to explore live coding of choreography as real time scoring of the dance performance it is creating. It will define live coding as a performance practice, and way of creating choreographic scores, as well as consider some forms of esoteric programming languages (esolangs) as forms of multicoding and explanations of text. It will then explore the work Terpsicode, a live coding language created to make choreography in real-time resulting in duets for coder and dancer and discuss the ways in which Terpsicode is used in performance by creating visual scores from dance terminology. Terpsicode is a demonstration not only of live coding choreography but of multicoding, allowing for both text and visuals to notate the dance score in real-time while the dancers are interpreting the score into movement.
{"title":"Live coding choreography: real-time programming with Terpsicode","authors":"K. Sicchio","doi":"10.1080/14794713.2022.2099107","DOIUrl":"https://doi.org/10.1080/14794713.2022.2099107","url":null,"abstract":"ABSTRACT This article aims to explore live coding of choreography as real time scoring of the dance performance it is creating. It will define live coding as a performance practice, and way of creating choreographic scores, as well as consider some forms of esoteric programming languages (esolangs) as forms of multicoding and explanations of text. It will then explore the work Terpsicode, a live coding language created to make choreography in real-time resulting in duets for coder and dancer and discuss the ways in which Terpsicode is used in performance by creating visual scores from dance terminology. Terpsicode is a demonstration not only of live coding choreography but of multicoding, allowing for both text and visuals to notate the dance score in real-time while the dancers are interpreting the score into movement.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"19 1","pages":"147 - 157"},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46069298","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 : 2022-05-04DOI: 10.1080/14794713.2022.2101285
Máiréad Ní Chróinín
ABSTRACT Slow Down (You Move Too Fast) is a mobile digital performance that the audience member experiences via headphones as they walk for fifty minutes outdoors. During the performance the audience member is encouraged to physically slow down the movement of their body as they walk, from a comfortable walking pace to extreme slow motion. As they slow down, they experience aural soundscapes that evoke progressively slower temporal rhythms in nature, from the circadian rhythm of a single day passing through to the millennial long cycle of rock eroding and moving. Drawing on Laura Sewall’s insight into the ‘skill of ecological perception’ the work sought to utilise the mechanics of slowing down to engage the audience member in an embodied reflection on the interconnection of their body with the natural world around them, and on the temporal practices that shape their awareness of this interconnection. This practice-as-research reflection explores theoretical inspirations and how these were translated into the goals and design of the work. It then examines participant responses and offers insights into whether, and how, mechanics that evoke sensory engagement can allow participants to develop an expanded sense of an ‘ecological self’.
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Pub Date : 2022-05-04DOI: 10.1080/14794713.2022.2078583
K. Zezulka
{"title":"Digital scenography: 30 years of experimentation and innovation in performance and interactive media","authors":"K. Zezulka","doi":"10.1080/14794713.2022.2078583","DOIUrl":"https://doi.org/10.1080/14794713.2022.2078583","url":null,"abstract":"","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"300 - 302"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43910827","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 : 2022-05-04DOI: 10.1080/14794713.2022.2097988
Andrew Westerside
ABSTRACT Using a mixed methodology of case study analysis, qualitative methods and semi-longitudinal data analysis, this research asks how professional wrestling’s ‘techNo-fix’ (Huesemann, Michael, and Joyce Huesemann. 2011. TechNo-Fix: Why Technology Won’t Save Us or the Environment. Gabriola Island, Bc: New Society Publishers.) response to COVID-19 sought to remedy real or perceived voids in cultural and sporting participation since the global emergence of SARS-CoV-2 in March 2020. It considers the extent to which emerging, technologically driven models of event attendance are indeed ‘fixes’ at all, and identifies what such ‘fixes’ have therefore presupposed was ‘broken’, primarily in the social and/or aesthetic contract between performer and audience. The research examines spectator-performer and spectator-spectator relationships in live-broadcast events where in-arena audiences function as a form of paratext to the event-proper. In conclusion, the article considers to what extent these ‘techno-fixes’ are, in-and-of-themselves, responsible for creating emergent political, economic and ecological issues that require careful critical attendance for arts, culture and entertainment in a post-Covid landscape.
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