Pub Date : 2022-05-04DOI: 10.1080/14794713.2022.2098931
Greenman Muleh Mbillo, Daniël Ploeger
ABSTRACT Through a fragmented collection of shared experiences and reflections, the two authors – from Kenya and the UK/Netherlands – give an impression of their practice-based research in Kenya into the reappropriation of obsolete technologies. In this, they connect to and work through their our own relationships with consumer culture and post-colonialism. In the context of a discussion of a traditional Kenyan ritual technology and the ideological implications of globalized techno-standardization, two example devices – found and developed by the authors – are presented that are aimed at connecting to the developers’ and users’ immediate lifeworlds.
{"title":"From Techno-Junk to Lifeworld-Device: notes on technological appropriation beyond the myth of progress","authors":"Greenman Muleh Mbillo, Daniël Ploeger","doi":"10.1080/14794713.2022.2098931","DOIUrl":"https://doi.org/10.1080/14794713.2022.2098931","url":null,"abstract":"ABSTRACT Through a fragmented collection of shared experiences and reflections, the two authors – from Kenya and the UK/Netherlands – give an impression of their practice-based research in Kenya into the reappropriation of obsolete technologies. In this, they connect to and work through their our own relationships with consumer culture and post-colonialism. In the context of a discussion of a traditional Kenyan ritual technology and the ideological implications of globalized techno-standardization, two example devices – found and developed by the authors – are presented that are aimed at connecting to the developers’ and users’ immediate lifeworlds.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43639767","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: 10.1080/14794713.2022.2078581
Gabriella Daris
{"title":"Exhibiting Digital Animalities","authors":"Gabriella Daris","doi":"10.1080/14794713.2022.2078581","DOIUrl":"https://doi.org/10.1080/14794713.2022.2078581","url":null,"abstract":"","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46583751","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: 10.1080/14794713.2022.2099052
Tessa Rixon, A. Brumpton, D. Morton
ABSTRACT Australian intermedial theatre is facing mounting pressure to adapt to complex geographical challenges posed by the country’s size while simultaneously responding to the global climate crisis. Ongoing research between Australian theatre makers and academics seeks to address these manifold concerns, combining qualitative and practice-led approaches in an effort to produce a new framework to support the creation of sustainable, tourable intermedial theatre. We suggest the key to this framework lies in a new conception of ‘scale’ in scenography – the capacity of a production to contract and expand to its surroundings without the need for change in the original design, to be physically and aurally flexible throughout its lifespan. This article presents the initial findings from our multi-year research, and the first step towards the final framework: a new design methodology, grounded in the notion of scale, designed to shift intermedial practice towards a more sustainable, flexible model of touring complex technical theatre. Contextualised by ongoing discussions of the performative scenographic model and grounded in a pragmatic view of technology as solution to the climate crisis, this article shares the nascent design methodology that emerged from Dead Puppet Society’s Ishmael (2021) and its impact on scenographic process and product.
{"title":"Scaling Australian intermedial theatre: towards a new design methodology for sustainable performance creation and touring of complex visual theatre","authors":"Tessa Rixon, A. Brumpton, D. Morton","doi":"10.1080/14794713.2022.2099052","DOIUrl":"https://doi.org/10.1080/14794713.2022.2099052","url":null,"abstract":"ABSTRACT Australian intermedial theatre is facing mounting pressure to adapt to complex geographical challenges posed by the country’s size while simultaneously responding to the global climate crisis. Ongoing research between Australian theatre makers and academics seeks to address these manifold concerns, combining qualitative and practice-led approaches in an effort to produce a new framework to support the creation of sustainable, tourable intermedial theatre. We suggest the key to this framework lies in a new conception of ‘scale’ in scenography – the capacity of a production to contract and expand to its surroundings without the need for change in the original design, to be physically and aurally flexible throughout its lifespan. This article presents the initial findings from our multi-year research, and the first step towards the final framework: a new design methodology, grounded in the notion of scale, designed to shift intermedial practice towards a more sustainable, flexible model of touring complex technical theatre. Contextualised by ongoing discussions of the performative scenographic model and grounded in a pragmatic view of technology as solution to the climate crisis, this article shares the nascent design methodology that emerged from Dead Puppet Society’s Ishmael (2021) and its impact on scenographic process and product.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47481107","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: 10.1080/14794713.2022.2103279
C. Mueller
ABSTRACT This article will discuss M A P, an interactive poetic experience facilitated on the popular media sharing application Instagram, which was developed as a research-based, cross-course collaboration. The artistic methodology applied during M A P was developed during the global pandemic of COVID-19 and was created with, and inspired by the use of blended learning approaches. Acknowledging and addressing the social disconnect and technological hyper-connect during the pandemic, M A P can be understood as a practice-as-research experimentation that investigates how digital technologies might be repurposed in blended artistic practice to allow for a more reflective and embodied experience of ourselves and others in time and place. The makers of M A P advocate the facilitation of autonomous choice-making, particularly in relation to the use of time, space, path and pace, as well as the application of slow technology and slow design considerations to develop abstract story-telling and relational sense-making through the merging of online and real-world activities. M A P can be accessed via Instagram on @map_game_start or via https://www.themapexperience.com.
摘要本文将讨论MA P，这是一种在流行的媒体共享应用程序Instagram上提供的互动诗意体验，该应用程序是作为一种基于研究的跨学科合作开发的。在新冠肺炎全球大流行期间开发了MA P期间应用的艺术方法论，该方法论是由混合学习方法创建的，并受到混合学习方法的启发。承认并解决疫情期间的社会脱节和技术超连接，MA P可以被理解为一种研究实验，研究如何在混合艺术实践中重新利用数字技术，以便在时间和地点对自己和他人进行更具反思性和体现性的体验。M A P的制作者提倡促进自主选择，特别是在时间、空间、路径和节奏的使用方面，以及应用慢技术和慢设计考虑，通过融合在线和现实世界的活动来发展抽象的故事讲述和关系感制作。可以通过@map_game_start上的Instagram或通过https://www.themapexperience.com.
{"title":"Autonomy of experience: time, space, path and place as blended artistic methodology in M A P, an online, interactive poetry experience","authors":"C. Mueller","doi":"10.1080/14794713.2022.2103279","DOIUrl":"https://doi.org/10.1080/14794713.2022.2103279","url":null,"abstract":"ABSTRACT This article will discuss M A P, an interactive poetic experience facilitated on the popular media sharing application Instagram, which was developed as a research-based, cross-course collaboration. The artistic methodology applied during M A P was developed during the global pandemic of COVID-19 and was created with, and inspired by the use of blended learning approaches. Acknowledging and addressing the social disconnect and technological hyper-connect during the pandemic, M A P can be understood as a practice-as-research experimentation that investigates how digital technologies might be repurposed in blended artistic practice to allow for a more reflective and embodied experience of ourselves and others in time and place. The makers of M A P advocate the facilitation of autonomous choice-making, particularly in relation to the use of time, space, path and pace, as well as the application of slow technology and slow design considerations to develop abstract story-telling and relational sense-making through the merging of online and real-world activities. M A P can be accessed via Instagram on @map_game_start or via https://www.themapexperience.com.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44490390","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: 10.1080/14794713.2022.2101292
Liam Jarvis, K. Savage
scholars and practitioner-research-ers the interconnections, interventions and interrelations between human and digital agencies and dynamics. The papers addressed epistemological, existential, and meta-phorical relationships, concepts, concerns, practices, and approaches to the postdigital in relation to performance and sustainability. We acknowledge that ‘ intermedial ’ performance practices can be accompanied by a self-re fl exive uneasiness; might performances that incorporate technologies of various kinds be part of the problem in relation to environmental sustainability? Or can intermedial strategies, akin to ‘ counter technologies ’ play a signi fi cant in neutralizing ‘ the negative e ff ects by other technologies the creation and use using and
{"title":"TechNO-fixes?: performances within ecological emergencies","authors":"Liam Jarvis, K. Savage","doi":"10.1080/14794713.2022.2101292","DOIUrl":"https://doi.org/10.1080/14794713.2022.2101292","url":null,"abstract":"scholars and practitioner-research-ers the interconnections, interventions and interrelations between human and digital agencies and dynamics. The papers addressed epistemological, existential, and meta-phorical relationships, concepts, concerns, practices, and approaches to the postdigital in relation to performance and sustainability. We acknowledge that ‘ intermedial ’ performance practices can be accompanied by a self-re fl exive uneasiness; might performances that incorporate technologies of various kinds be part of the problem in relation to environmental sustainability? Or can intermedial strategies, akin to ‘ counter technologies ’ play a signi fi cant in neutralizing ‘ the negative e ff ects by other technologies the creation and use using and","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43565339","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 : 2022-03-01DOI: 10.1080/14794713.2022.2040288
Angenette Spalink
ABSTRACT In 2016, Google launched ‘The Hidden Worlds of the National Parks’, an interactive digital platform, hosted through Google Arts & Culture and produced in collaboration with the National Park Service, that offers virtual explorations of some of the most remote parts of several United States National Parks. In this article I argue that Hidden Worlds is more than an innocuous, interactive tour of fascinating geological and biological features. It is a performance ingrained with ideologies that have severe consequences for how we understand social and ecological injustice on the land that is now part of the national parks system. I use an ecocritical approach to examine the immersive experience of Hidden Worlds as performance and ultimately demonstrate that it enacts colonial ecological violence.
{"title":"Parks as performance: wilderness and colonial ecological violence in ‘The Hidden Worlds of the National Parks'","authors":"Angenette Spalink","doi":"10.1080/14794713.2022.2040288","DOIUrl":"https://doi.org/10.1080/14794713.2022.2040288","url":null,"abstract":"ABSTRACT In 2016, Google launched ‘The Hidden Worlds of the National Parks’, an interactive digital platform, hosted through Google Arts & Culture and produced in collaboration with the National Park Service, that offers virtual explorations of some of the most remote parts of several United States National Parks. In this article I argue that Hidden Worlds is more than an innocuous, interactive tour of fascinating geological and biological features. It is a performance ingrained with ideologies that have severe consequences for how we understand social and ecological injustice on the land that is now part of the national parks system. I use an ecocritical approach to examine the immersive experience of Hidden Worlds as performance and ultimately demonstrate that it enacts colonial ecological violence.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48840771","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 : 2022-02-02DOI: 10.1080/14794713.2022.2031799
Cristina A. G. Kiminami, M. Duggan
ABSTRACT Locative media art has been a popular topic to study, yet the focus tends to be on examining the artworks themselves, which have challenged us to think about the complex interrelations of space, place and time in novel ways. In this paper we offer a different view of locative media art by examining the community practices that can emerge through the production of this work. By highlighting how the social media platform, WhatsApp, facilitated communication and arts practice during a recent summer school on the theme of locative media, we demonstrate how cultures of enthusiasm can emerge from the adjacent digital spaces of locative media art. Our reflections highlight the ways that enthusiasm for locative media art and towards other participants was produced through WhatsApp spaces, through both enthusiastic language practices and atmospheres of enthusiasm. Ultimately, we aim to reveal that locative media is not only a technology that is used to shape our relationship to space, place and time, but that it is also a technology which encourages a set of community driven practices. In doing so we contribute to the literature on locative media art by giving attention to the communities of practice that form around it.
{"title":"Locative media communities, social media and cultures of enthusiasm","authors":"Cristina A. G. Kiminami, M. Duggan","doi":"10.1080/14794713.2022.2031799","DOIUrl":"https://doi.org/10.1080/14794713.2022.2031799","url":null,"abstract":"ABSTRACT Locative media art has been a popular topic to study, yet the focus tends to be on examining the artworks themselves, which have challenged us to think about the complex interrelations of space, place and time in novel ways. In this paper we offer a different view of locative media art by examining the community practices that can emerge through the production of this work. By highlighting how the social media platform, WhatsApp, facilitated communication and arts practice during a recent summer school on the theme of locative media, we demonstrate how cultures of enthusiasm can emerge from the adjacent digital spaces of locative media art. Our reflections highlight the ways that enthusiasm for locative media art and towards other participants was produced through WhatsApp spaces, through both enthusiastic language practices and atmospheres of enthusiasm. Ultimately, we aim to reveal that locative media is not only a technology that is used to shape our relationship to space, place and time, but that it is also a technology which encourages a set of community driven practices. In doing so we contribute to the literature on locative media art by giving attention to the communities of practice that form around it.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44339281","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 : 2022-01-02DOI: 10.1080/14794713.2022.2028340
Bianca Mastrominico
and flashes of light with expert design by Jessica Hung Han Yan. The Ringham brothers’ design allows us an intimacy with the work, and with the narrator, which satisfies an audience’s desire for closeness and contact. For the duration of the work, audience members are positioned as Saramago’s ‘blinded’ characters; much like the people of the novel, we are plunged into an experience of sightlessness and pitch-darkness, hyperaware of the bodies of other spectators undergoing the same experience. Here, the piece evokes a deep sense of claustrophobia through the closeness of the audio, darkness of the theatre, andmandatorymask-wearing; at times, these features are disorienting and suffocating. The piece as a whole moves towards an ending moment of catharsis, where the narrative of resilience comes to a climax. Spectators are treated to an opening of theatre doors and a burst of light; they are, in a sense, treated to a glimpse of somepost-pandemic future, before returning to their awareness of theethereal privilegeof gatheringwith strangers in an indoor theatrical space. I must note that Saramago’s Blindness is not without criticism from disability scholars and activists; in particular, critics have denounced the use of blindness as a trope or metaphor, or as an experience of limitation which propels its victims into a Hobbesian state of nature. Without the faculty of sight, the novel’s characters become almost-animal in their physical and moral degradation. The novel’s protagonist and play’s narrator, the Doctor’s Wife, is the only character who inexplicably keeps her vision as the blind deteriorate. This story does not give voice to the blind; it privileges the positionality of the seeing, and in particular the Doctor’s Wife, who is perceived as a quasi-beacon of hope within the narrative. At the end of the play, each of the characters regains their sight as the fictional epidemic subsides. Horror turns to hope, filth to cleanliness, and quote-unquote humanity and civilization are restored. It is clear that this is a story for the sighted, wherein horror and disability are closely associated. Despite this unignorable tension within the narrative, this pandemic-time theatrical venture has proven that art and storytelling can endure with even the most stringent of social restrictions. I can only hope that lessons learned from the creative innovations around COVID-19 restrictions can help in creating a theatre which is more inclusive towards persons with disabilities, or persons with accessibility limitations. The masterful technological feat which is Blindness is not only a particularly successful iteration of pandemic-time art, but a blueprint for future instantiations of intermedial theatre which opens up new possibilities for integrations of digital technology into live performance practice.
{"title":"Bodies:On:Live – Magdalena:On:Line","authors":"Bianca Mastrominico","doi":"10.1080/14794713.2022.2028340","DOIUrl":"https://doi.org/10.1080/14794713.2022.2028340","url":null,"abstract":"and flashes of light with expert design by Jessica Hung Han Yan. The Ringham brothers’ design allows us an intimacy with the work, and with the narrator, which satisfies an audience’s desire for closeness and contact. For the duration of the work, audience members are positioned as Saramago’s ‘blinded’ characters; much like the people of the novel, we are plunged into an experience of sightlessness and pitch-darkness, hyperaware of the bodies of other spectators undergoing the same experience. Here, the piece evokes a deep sense of claustrophobia through the closeness of the audio, darkness of the theatre, andmandatorymask-wearing; at times, these features are disorienting and suffocating. The piece as a whole moves towards an ending moment of catharsis, where the narrative of resilience comes to a climax. Spectators are treated to an opening of theatre doors and a burst of light; they are, in a sense, treated to a glimpse of somepost-pandemic future, before returning to their awareness of theethereal privilegeof gatheringwith strangers in an indoor theatrical space. I must note that Saramago’s Blindness is not without criticism from disability scholars and activists; in particular, critics have denounced the use of blindness as a trope or metaphor, or as an experience of limitation which propels its victims into a Hobbesian state of nature. Without the faculty of sight, the novel’s characters become almost-animal in their physical and moral degradation. The novel’s protagonist and play’s narrator, the Doctor’s Wife, is the only character who inexplicably keeps her vision as the blind deteriorate. This story does not give voice to the blind; it privileges the positionality of the seeing, and in particular the Doctor’s Wife, who is perceived as a quasi-beacon of hope within the narrative. At the end of the play, each of the characters regains their sight as the fictional epidemic subsides. Horror turns to hope, filth to cleanliness, and quote-unquote humanity and civilization are restored. It is clear that this is a story for the sighted, wherein horror and disability are closely associated. Despite this unignorable tension within the narrative, this pandemic-time theatrical venture has proven that art and storytelling can endure with even the most stringent of social restrictions. I can only hope that lessons learned from the creative innovations around COVID-19 restrictions can help in creating a theatre which is more inclusive towards persons with disabilities, or persons with accessibility limitations. The masterful technological feat which is Blindness is not only a particularly successful iteration of pandemic-time art, but a blueprint for future instantiations of intermedial theatre which opens up new possibilities for integrations of digital technology into live performance practice.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43700434","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 : 2022-01-02DOI: 10.1080/14794713.2022.2037924
J. Birringer
disruptions created by impairment to open up previously unimagined possibilities. Zoom theater is a theater in the age of technical reproducibility. But is it a healing and sustainable ritual? How do we overcome isolation? On my own part, I found zoom sessions tiring and disa ff ecting, their apparent domestic intimacies decep-tive. Talking to persons with disabilities, they also told me the pandemic much increased their sense of isolation and loneliness.
{"title":"Gravel Maraboutage: a brief manifesto","authors":"J. Birringer","doi":"10.1080/14794713.2022.2037924","DOIUrl":"https://doi.org/10.1080/14794713.2022.2037924","url":null,"abstract":"disruptions created by impairment to open up previously unimagined possibilities. Zoom theater is a theater in the age of technical reproducibility. But is it a healing and sustainable ritual? How do we overcome isolation? On my own part, I found zoom sessions tiring and disa ff ecting, their apparent domestic intimacies decep-tive. Talking to persons with disabilities, they also told me the pandemic much increased their sense of isolation and loneliness.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46122796","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 : 2022-01-02DOI: 10.1080/14794713.2022.2040095
M. Chatzichristodoulou, K. Brown, N. Hunt, Peter Kuling, T. Sant
creative skills, processes and sensibilities.
创造性技能、过程和情感。
{"title":"Covid-19: theatre goes digital – provocations","authors":"M. Chatzichristodoulou, K. Brown, N. Hunt, Peter Kuling, T. Sant","doi":"10.1080/14794713.2022.2040095","DOIUrl":"https://doi.org/10.1080/14794713.2022.2040095","url":null,"abstract":"creative skills, processes and sensibilities.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42825388","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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