Pub Date : 2021-12-19DOI: 10.1080/14794713.2021.2015562
P. Sermon, Steve Dixon, Sita Popat Taylor, Randall Packer, S. Gill
ABSTRACT This report describes the authors’ research project ‘Telepresence Stage’, funded by the Arts and Humanities Research Council’s (AHRC) ‘COVID-19 Rapid Response’ scheme. The project aims to develop effective and affordable new approaches to connect performers from their separate homes and place them within virtual sets online where they can rehearse and perform together. The report discusses the history of telematic performance and explains how this research is using some of those established approaches to open up alternative possibilities for theatre and dance companies working in and beyond the current pandemic. To date, the project has shown how a range of telematic chromakey systems can be employed to bring a whole new level of creativity to videoconference-based performance work, freeing the performers’ bodies from the entrapment of Zoom boxes and co-locating them in specially designed 3D environments. Drawing on case studies from some of the project’s eight residencies with professional performance groups, the authors discuss how existing techniques have been adapted for different levels of experience, and how the project has offered new ways of working. Whilst the pandemic is expected to be a time-limited issue, these techniques hold value for performers and creators of theatre and dance well beyond ‘lockdown’.
{"title":"A Telepresence Stage: or how to create theatre in a pandemic – project report","authors":"P. Sermon, Steve Dixon, Sita Popat Taylor, Randall Packer, S. Gill","doi":"10.1080/14794713.2021.2015562","DOIUrl":"https://doi.org/10.1080/14794713.2021.2015562","url":null,"abstract":"ABSTRACT This report describes the authors’ research project ‘Telepresence Stage’, funded by the Arts and Humanities Research Council’s (AHRC) ‘COVID-19 Rapid Response’ scheme. The project aims to develop effective and affordable new approaches to connect performers from their separate homes and place them within virtual sets online where they can rehearse and perform together. The report discusses the history of telematic performance and explains how this research is using some of those established approaches to open up alternative possibilities for theatre and dance companies working in and beyond the current pandemic. To date, the project has shown how a range of telematic chromakey systems can be employed to bring a whole new level of creativity to videoconference-based performance work, freeing the performers’ bodies from the entrapment of Zoom boxes and co-locating them in specially designed 3D environments. Drawing on case studies from some of the project’s eight residencies with professional performance groups, the authors discuss how existing techniques have been adapted for different levels of experience, and how the project has offered new ways of working. Whilst the pandemic is expected to be a time-limited issue, these techniques hold value for performers and creators of theatre and dance well beyond ‘lockdown’.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"48 - 68"},"PeriodicalIF":0.0,"publicationDate":"2021-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41657018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-24DOI: 10.1080/14794713.2021.2006486
Tasos Angelopoulos, Panayiota Konstantinakou, Christina Papagiannouli
ABSTRACT This document records and reflects on the process of building an innovative format, a performative archive on Instagram, the UBUmaterial, by Papalangki theatre company (Greece). It exhibits the occasion of its emergence, discusses the process of its development and presents the tools used and the materials produced as part of it. Furthermore, it gives information on its impact and considers its afterlife. UBUmaterial unfolds as a performative archive that occupies not a physical stage but a ‘cyberstage’ (Instagram) and is dedicated to the exhibition of Papalangki’s attempt to rehearse Alfred Jarry’s Ubu Roi at home, as a result of the restrictions of the COVID-19 pandemic. Nevertheless, traditional rehearsal techniques and theatre approaches were not adopted, since it appeared necessary for all dramatic elements of the original play (language, character, plot) as well as the acting style to be adjusted to the new digital environment. Extensive use of digital tools and Instagram features enabled a rich output of video production. The album-like format of Instagram allowed for the creation of a virtual modelbook (in Brechtian terms), where videos from rehearsals were posted in a non-linear order. The archive will remain accessible forever and hopefully form a basis for new excursions.
{"title":"UBUmaterial: building a performative archive on Instagram","authors":"Tasos Angelopoulos, Panayiota Konstantinakou, Christina Papagiannouli","doi":"10.1080/14794713.2021.2006486","DOIUrl":"https://doi.org/10.1080/14794713.2021.2006486","url":null,"abstract":"ABSTRACT This document records and reflects on the process of building an innovative format, a performative archive on Instagram, the UBUmaterial, by Papalangki theatre company (Greece). It exhibits the occasion of its emergence, discusses the process of its development and presents the tools used and the materials produced as part of it. Furthermore, it gives information on its impact and considers its afterlife. UBUmaterial unfolds as a performative archive that occupies not a physical stage but a ‘cyberstage’ (Instagram) and is dedicated to the exhibition of Papalangki’s attempt to rehearse Alfred Jarry’s Ubu Roi at home, as a result of the restrictions of the COVID-19 pandemic. Nevertheless, traditional rehearsal techniques and theatre approaches were not adopted, since it appeared necessary for all dramatic elements of the original play (language, character, plot) as well as the acting style to be adjusted to the new digital environment. Extensive use of digital tools and Instagram features enabled a rich output of video production. The album-like format of Instagram allowed for the creation of a virtual modelbook (in Brechtian terms), where videos from rehearsals were posted in a non-linear order. The archive will remain accessible forever and hopefully form a basis for new excursions.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"90 - 104"},"PeriodicalIF":0.0,"publicationDate":"2021-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43739944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-22DOI: 10.1080/14794713.2021.2005331
Joseph Dunne-Howrie
ABSTRACT The pandemic is creating the conditions for a new telos of globalisation to emerge in humanity’s historical consciousness, which is not expressed in ideological terms, but is instead rendered as a fluid reality of corporeality and virtuality structured by the materialism of the Internet. Internet theatre created during the pandemic functions as a metonym for the transformation of the human subject from corporeal flesh to bio-techno hybrids. To Be a Machine (Version 1.0) (Dead Centre 2020), End Meeting for All (Forced Entertainment 2020) and Rich Kids: A History of Shopping Malls in Tehran (2021) are used as case studies in this article to show how today’s informational environment augments perceptions of the real in performance through the convergence of media formats, including the fleshy human. This analysis is contextualised from the historical perspective of the post-Cold War period when anxieties about cultural homogeneity and assimilation were prominent themes in theatre and performance discourse in the absence of any viable alternative teleology to Western capitalism.
{"title":"Internet theatre and the historical consciousness of the Covid-19 era","authors":"Joseph Dunne-Howrie","doi":"10.1080/14794713.2021.2005331","DOIUrl":"https://doi.org/10.1080/14794713.2021.2005331","url":null,"abstract":"ABSTRACT The pandemic is creating the conditions for a new telos of globalisation to emerge in humanity’s historical consciousness, which is not expressed in ideological terms, but is instead rendered as a fluid reality of corporeality and virtuality structured by the materialism of the Internet. Internet theatre created during the pandemic functions as a metonym for the transformation of the human subject from corporeal flesh to bio-techno hybrids. To Be a Machine (Version 1.0) (Dead Centre 2020), End Meeting for All (Forced Entertainment 2020) and Rich Kids: A History of Shopping Malls in Tehran (2021) are used as case studies in this article to show how today’s informational environment augments perceptions of the real in performance through the convergence of media formats, including the fleshy human. This analysis is contextualised from the historical perspective of the post-Cold War period when anxieties about cultural homogeneity and assimilation were prominent themes in theatre and performance discourse in the absence of any viable alternative teleology to Western capitalism.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"176 - 190"},"PeriodicalIF":0.0,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43771789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-16DOI: 10.1080/14794713.2021.1974726
Filipa Magalhães
ABSTRACT This article encourages further discussion of certain concepts and practices for the music theatre creations by the composer Constança Capdeville (1937-92) in keeping with the time and context of her compositions. Her music theatre works incorporate by a certain hybridism as they juxtapose various artistic expressions such as dance, music, and theatre. Throughout the 1970s, the performance concept as understood today was not fully recognized, either by composers or by the performers, who collaborated with Capdeville within the context of the Portuguese music scene. In this regard, the composer António de Sousa Dias believes this stemmed from the tendency to connect the term with performance art or with certain positions linked to happenings or free improvization, which were not the main concern of Capdeville. Given the difficulty in classifying her musical works, we here discuss some etymological issues around the performance and re-performance concepts. Capdeville’s music theatre works combine different artistic expressions leading us to reflect on documentation strategies including interdisciplinary approaches from fields such as (digital) philology, computer science, archiving research and performing arts documentation, detailing here some perspectives and practices currently applied for preserving such artistic productions.
摘要本文鼓励进一步探讨作曲家康斯坦萨·卡普德维尔（1937-92）在音乐戏剧创作中的某些概念和实践，以符合其作品的时代和背景。她的音乐戏剧作品融合了某种混合主义，将舞蹈、音乐和戏剧等各种艺术表现并置。在整个20世纪70年代，无论是作曲家还是在葡萄牙音乐界与Capdeville合作的表演者，今天所理解的表演概念都没有得到充分的认可。在这方面，作曲家António de Sousa Dias认为，这源于倾向于将这个词与行为艺术联系起来，或者与某些与偶然事件或自由即兴创作有关的位置联系起来，而这些并不是Capdeville的主要关注点。鉴于对她的音乐作品进行分类的困难，我们在这里讨论一些关于表演和再表演概念的词源问题。Capdeville的音乐戏剧作品结合了不同的艺术表达，使我们反思文献策略，包括（数字）文献学、计算机科学、档案研究和表演艺术文献等领域的跨学科方法，在这里详细介绍了目前用于保存此类艺术作品的一些观点和实践。
{"title":"Music, performance, and preservation: insights into documentation strategies for music theatre works","authors":"Filipa Magalhães","doi":"10.1080/14794713.2021.1974726","DOIUrl":"https://doi.org/10.1080/14794713.2021.1974726","url":null,"abstract":"ABSTRACT This article encourages further discussion of certain concepts and practices for the music theatre creations by the composer Constança Capdeville (1937-92) in keeping with the time and context of her compositions. Her music theatre works incorporate by a certain hybridism as they juxtapose various artistic expressions such as dance, music, and theatre. Throughout the 1970s, the performance concept as understood today was not fully recognized, either by composers or by the performers, who collaborated with Capdeville within the context of the Portuguese music scene. In this regard, the composer António de Sousa Dias believes this stemmed from the tendency to connect the term with performance art or with certain positions linked to happenings or free improvization, which were not the main concern of Capdeville. Given the difficulty in classifying her musical works, we here discuss some etymological issues around the performance and re-performance concepts. Capdeville’s music theatre works combine different artistic expressions leading us to reflect on documentation strategies including interdisciplinary approaches from fields such as (digital) philology, computer science, archiving research and performing arts documentation, detailing here some perspectives and practices currently applied for preserving such artistic productions.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"316 - 340"},"PeriodicalIF":0.0,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43642055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-08DOI: 10.1080/14794713.2021.1974727
J. Kennedy
ABSTRACT While an actor’s performance in a stage play may be seen as a continuous and unmediated form of acting, an actor’s performance in a film is constructed through shot framing, editing, effects work, and other cinematic apparatuses. With the advent of digital filmmaking, constructed performances have become more complex and nuanced, especially through the use of motion capture (MoCap). This research explores how we frame acting within a motion capture context – and specifically, how this affects our larger understanding of what is acting and how acting can be constructed. What does acting become when the product of acting starts as data and finishes as computer-generated images that preserve the source-actor’s ‘original’ performance to varying degrees? Is the source actor solely responsible for the MoCap performance we see on screen, or should other people within the production pipeline receive credit for their creative contributions to the finished acting result? What is at stake in differentiating film acting in MoCap from profilmic performances? Through consolidating and linking theoretical and practical considerations of screen acting in motion capture, this paper proposes a number of ways to conceive of acting and presence within a virtual acting context.
{"title":"Vactor ontologies: framing acting within a motion capture context","authors":"J. Kennedy","doi":"10.1080/14794713.2021.1974727","DOIUrl":"https://doi.org/10.1080/14794713.2021.1974727","url":null,"abstract":"ABSTRACT While an actor’s performance in a stage play may be seen as a continuous and unmediated form of acting, an actor’s performance in a film is constructed through shot framing, editing, effects work, and other cinematic apparatuses. With the advent of digital filmmaking, constructed performances have become more complex and nuanced, especially through the use of motion capture (MoCap). This research explores how we frame acting within a motion capture context – and specifically, how this affects our larger understanding of what is acting and how acting can be constructed. What does acting become when the product of acting starts as data and finishes as computer-generated images that preserve the source-actor’s ‘original’ performance to varying degrees? Is the source actor solely responsible for the MoCap performance we see on screen, or should other people within the production pipeline receive credit for their creative contributions to the finished acting result? What is at stake in differentiating film acting in MoCap from profilmic performances? Through consolidating and linking theoretical and practical considerations of screen acting in motion capture, this paper proposes a number of ways to conceive of acting and presence within a virtual acting context.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"341 - 356"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46568261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-02DOI: 10.1080/14794713.2021.1981040
H. Liedke
artists is often when the book is at its best, as readers can experience the processes that went into the development of different artistic works. The text is brought to a conclusion with an engaging piece by Chris Clarke who works as an art curator and explores the challenges he has faced in adapting spaces that are often focused on contemporary art forms to be able to properly showcase digital art. Clarke also challenges a misconception that online exhibitions remove artistic gatekeepers and argues that the online world may have ‘invisible’ (140) gatekeepers who are even more controlling. The book offers a deep dive practitioner-led exploration into digital art in Ireland that should prove an invaluable read to anyone interested in the genre and its major events since the turn of the century. Two issues which arise when reading this book though are firstly, that it sometimes feels too insular in presenting a field of study that is quite small and, secondly, that the book was written before the Covid-19 pandemic and, therefore, is not able to comment on the changing ways audiences are interacting with digital art. However, these issues do not necessarily detract from the overall purpose of the text. Contributors to the book themselves note that the field largely comprises of a small community of artist–researchers. In the book, contributors often discuss the work of other contributors and this overlap risks presenting an insular view of digital art in Ireland. However, considering this is a study of a small but growing artistic field, Digital Art in Ireland succeeds in covering the most significant events in Ireland’s digital art scene without leaving out much. Moreover, contributors approach the work from different angles and disagree with each other in certain instances. The fact this volume was written before the Covid-19 pandemic makes it feel slightly dated, as the ways in which audiences interact with art presented digitally are changing drastically as a result of the pandemic. Yet, there is something powerful in a text that captures a movement up to the point of significant change. This text can act as both a historical account of digital art in Ireland in pre-Covid times and a theoretical foundation for the work that now needs to be done to investigate audiences’ relationship with the digital in light of the pandemic.
{"title":"Understanding Audience Engagement in the Contemporary Arts","authors":"H. Liedke","doi":"10.1080/14794713.2021.1981040","DOIUrl":"https://doi.org/10.1080/14794713.2021.1981040","url":null,"abstract":"artists is often when the book is at its best, as readers can experience the processes that went into the development of different artistic works. The text is brought to a conclusion with an engaging piece by Chris Clarke who works as an art curator and explores the challenges he has faced in adapting spaces that are often focused on contemporary art forms to be able to properly showcase digital art. Clarke also challenges a misconception that online exhibitions remove artistic gatekeepers and argues that the online world may have ‘invisible’ (140) gatekeepers who are even more controlling. The book offers a deep dive practitioner-led exploration into digital art in Ireland that should prove an invaluable read to anyone interested in the genre and its major events since the turn of the century. Two issues which arise when reading this book though are firstly, that it sometimes feels too insular in presenting a field of study that is quite small and, secondly, that the book was written before the Covid-19 pandemic and, therefore, is not able to comment on the changing ways audiences are interacting with digital art. However, these issues do not necessarily detract from the overall purpose of the text. Contributors to the book themselves note that the field largely comprises of a small community of artist–researchers. In the book, contributors often discuss the work of other contributors and this overlap risks presenting an insular view of digital art in Ireland. However, considering this is a study of a small but growing artistic field, Digital Art in Ireland succeeds in covering the most significant events in Ireland’s digital art scene without leaving out much. Moreover, contributors approach the work from different angles and disagree with each other in certain instances. The fact this volume was written before the Covid-19 pandemic makes it feel slightly dated, as the ways in which audiences interact with art presented digitally are changing drastically as a result of the pandemic. Yet, there is something powerful in a text that captures a movement up to the point of significant change. This text can act as both a historical account of digital art in Ireland in pre-Covid times and a theoretical foundation for the work that now needs to be done to investigate audiences’ relationship with the digital in light of the pandemic.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"427 - 429"},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48325528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-02DOI: 10.1080/14794713.2021.1982498
A. Perkins
ABSTRACT The performances of Chilean artist and scholar Felipe Rivas San Martín reveal the linguistic and political void that the word ‘queer’ embodies in Latin American contexts. Rivas San Martín focuses on dissident sexualities, rejecting the term ‘queer’ and staking a claim for visibility and intelligibility that does not depend upon an integrationist model of LGBT identity politics. In this article, I argue that through the reciprocal impact of the body in technology and technology on the body, Rivas San Martín reveals a space in which dissident actors can accomplish two things. First, through the body, they expose the narratives of heteronormativity and homonormativity that have worked diligently to erase any sexually dissident subject who disrupts the status quo. Secondly, this nebulous space challenges the divisions between self, other, and object and posits a new way of conceptualizing dissident and queer identity in the 21st century. The embodied experiences of the individual combined with an expansive network of virtual connectivity creates a contestatory discourse that undermines the permanence and primacy of logocentric language.
摘要智利艺术家和学者Felipe Rivas San Martín的表演揭示了“酷儿”一词在拉丁美洲语境中所体现的语言和政治空白。Rivas San Martín专注于持不同政见者的性取向，拒绝使用“酷儿”一词，并声称其可见性和可理解性不依赖于LGBT身份政治的一体化模式。在这篇文章中，我认为，通过身体在技术和技术上对身体的相互影响，里瓦斯·圣马丁揭示了一个空间，在这个空间里，持不同政见的演员可以完成两件事。首先，通过身体，他们揭露了异规范性和同格式性的叙事，这些叙事努力消除了任何破坏现状的性异见主体。其次，这个模糊的空间挑战了自我、他人和对象之间的划分，并为21世纪概念化持不同政见者和酷儿身份提出了一种新的方式。个体的具体体验与广阔的虚拟连接网络相结合，创造了一种有争议的话语，破坏了以语源为中心的语言的永恒性和首要性。
{"title":"Mapping the hyperlocal body: queer interventions in the performances of Felipe Rivas San Martín","authors":"A. Perkins","doi":"10.1080/14794713.2021.1982498","DOIUrl":"https://doi.org/10.1080/14794713.2021.1982498","url":null,"abstract":"ABSTRACT The performances of Chilean artist and scholar Felipe Rivas San Martín reveal the linguistic and political void that the word ‘queer’ embodies in Latin American contexts. Rivas San Martín focuses on dissident sexualities, rejecting the term ‘queer’ and staking a claim for visibility and intelligibility that does not depend upon an integrationist model of LGBT identity politics. In this article, I argue that through the reciprocal impact of the body in technology and technology on the body, Rivas San Martín reveals a space in which dissident actors can accomplish two things. First, through the body, they expose the narratives of heteronormativity and homonormativity that have worked diligently to erase any sexually dissident subject who disrupts the status quo. Secondly, this nebulous space challenges the divisions between self, other, and object and posits a new way of conceptualizing dissident and queer identity in the 21st century. The embodied experiences of the individual combined with an expansive network of virtual connectivity creates a contestatory discourse that undermines the permanence and primacy of logocentric language.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"356 - 372"},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46500946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-02DOI: 10.1080/14794713.2021.1981022
Laurence J. McNamara
{"title":"Digital Art in Ireland New Media and Irish Artistic Practice","authors":"Laurence J. McNamara","doi":"10.1080/14794713.2021.1981022","DOIUrl":"https://doi.org/10.1080/14794713.2021.1981022","url":null,"abstract":"","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"426 - 427"},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46546527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-24DOI: 10.1080/14794713.2021.1940698
Y. Sone
ABSTRACT Etsuko Ichihara is a media artist who utilises digital media and robotic technologies, exploring Japanese traditional beliefs of the spirit and the supernatural in her recent works. Ichihara repurposes paranormal and folk religious ideas concerning the figure of the shaman, an ogre-like demon that features in some Japanese festivals, and ritual offerings, but reinvents these traditional elements through technological mediation. I discuss Ichihara's distinctive engagement with a contemporised notion of spirituality in Japan. In particular, this essay argues that Ichihara's media art aims to connect Japanese people in order to create sociality and community. Ichihara appropriates Japanese animistic beliefs and tailors them for a mediated and technologised Japan, utilising what might be called a ‘techno-spiritual Japanese-ness’, that is, self-orientalising tropes that paradoxically generate the means for social relations.
{"title":"Technology and spirituality in Etsuko Ichihara's ludic media art","authors":"Y. Sone","doi":"10.1080/14794713.2021.1940698","DOIUrl":"https://doi.org/10.1080/14794713.2021.1940698","url":null,"abstract":"ABSTRACT Etsuko Ichihara is a media artist who utilises digital media and robotic technologies, exploring Japanese traditional beliefs of the spirit and the supernatural in her recent works. Ichihara repurposes paranormal and folk religious ideas concerning the figure of the shaman, an ogre-like demon that features in some Japanese festivals, and ritual offerings, but reinvents these traditional elements through technological mediation. I discuss Ichihara's distinctive engagement with a contemporised notion of spirituality in Japan. In particular, this essay argues that Ichihara's media art aims to connect Japanese people in order to create sociality and community. Ichihara appropriates Japanese animistic beliefs and tailors them for a mediated and technologised Japan, utilising what might be called a ‘techno-spiritual Japanese-ness’, that is, self-orientalising tropes that paradoxically generate the means for social relations.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"18 1","pages":"303 - 315"},"PeriodicalIF":0.0,"publicationDate":"2021-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1940698","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45293632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-10DOI: 10.1080/14794713.2021.1923243
Loren Kronemyer
ABSTRACT A conference of human beings known as the Anthropocene Working Group has the power to name the next phase of Earth’s geological calendar. In response, the artistic research project Epoch Wars by Pony Express calls for a mobilization of creative practice to redefine the terms on which we negotiate naming the future. Breaking the binary between science and storytelling, Epoch Wars is a body of experimental performance and digital work that advocates for the world-building power of collective decision-making in both deep and shallow time. This document outlines the making of this project, as indexed to the debate around what to name Earth’s present epoch of geological time. It begins by examining the history of this debate and the role of artists within it, before introducing the world of the artwork Epoch Wars by Pony Express through a description of key research experiments and outcomes. Provisional findings of the project are discussed, offered as operating principles for possible alternate future conceptualization.
{"title":"Epoch wars: negotiating artistic agency in deep and shallow time","authors":"Loren Kronemyer","doi":"10.1080/14794713.2021.1923243","DOIUrl":"https://doi.org/10.1080/14794713.2021.1923243","url":null,"abstract":"ABSTRACT A conference of human beings known as the Anthropocene Working Group has the power to name the next phase of Earth’s geological calendar. In response, the artistic research project Epoch Wars by Pony Express calls for a mobilization of creative practice to redefine the terms on which we negotiate naming the future. Breaking the binary between science and storytelling, Epoch Wars is a body of experimental performance and digital work that advocates for the world-building power of collective decision-making in both deep and shallow time. This document outlines the making of this project, as indexed to the debate around what to name Earth’s present epoch of geological time. It begins by examining the history of this debate and the role of artists within it, before introducing the world of the artwork Epoch Wars by Pony Express through a description of key research experiments and outcomes. Provisional findings of the project are discussed, offered as operating principles for possible alternate future conceptualization.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"405 - 425"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1923243","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44158940","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：