By Steve Dixon
The prior decade has noticeable a very extreme interval of experimentation with computing device expertise in the appearing arts. electronic media has been more and more included into dwell theater and dance, and new sorts of interactive functionality have emerged in participatory installations, on CD-ROM, and on the internet. In Digital Performance, Steve Dixon lines the evolution of those practices, provides precise bills of key practitioners and performances, and analyzes the theoretical, inventive, and technological contexts of this way of recent media paintings. Dixon reveals precursors to state-of-the-art electronic performances in earlier varieties of theatrical know-how that diversity from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the full artwork), and attracts parallels among modern paintings and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the 20th century.
For a theoretical standpoint on electronic functionality, Dixon attracts at the paintings of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To record and research modern electronic functionality perform, Dixon considers adjustments within the illustration of the physique, area, and time. He considers digital our bodies, avatars, and electronic doubles, in addition to performances by way of artists together with Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast concept, and Eduardo Kac. He investigates new media's novel techniques to making theatrical spectacle, together with digital truth and robotic functionality paintings, telematic performances during which distant destinations are associated in genuine time, Webcams, and on-line drama groups, and considers the "extratemporal" phantasm created through a few technological theater works. eventually, he defines different types of interactivity, from navigational to participatory and collaborative. Dixon demanding situations dominant theoretical methods to electronic functionality -- together with what he calls postmodernism's denial of the hot -- and gives a chain of boldly unique arguments of their place.
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Extra info for Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation (Leonardo Book Series)
Picture: Richard Max Tremblay. particular topics: the humanization of machines and the dehumanization (or “machinization”) of people. We move directly to show how such performances usually dramatize a go back to nature and the animal, and to representations of theranthropes21 (human-animal hybrids) that remember the gods and demons of people legends and Greek mythology. bankruptcy 12 considers the heritage of robotic functionality from its roots within the automata of antiquity to the new paintings of Norman White and Laura Kikauka, Simon Penny, Istvan Kantor, Momoyo Torimitsu, Survival study Laboratories, and Amorphic robotic Works (ﬁgure 1. 6). bankruptcy thirteen delves into cyborg idea and considers the “real international” machine chipimplantation experiments of scientist Kevin Warwick and artist Eduardo Kac, sooner than proposing specific analyses of the futuristic concepts of integral cyborgic artists Stelarc and Marcel. lí Antúnez Roca (ﬁgure 1. 7). the subsequent part, on house, starts with “Digital Theater and Scenic Spectacle” (chapter 14) and examines ways in which desktop applied sciences were mixed with enormous projection displays in theater occasions to remodel and expand spatial perceptions and to create bankruptcy 1 14 Figure 1. 6 certainly one of sixty robotic “performers” showing in Amorphic robotic Works’ The Ancestral direction throughout the Amorphic panorama (2000). determine 1. 7 essential cyborg functionality artist Stelarc and his custom-built robot “third hand. ” creation 15 Figure 1. eight beautiful multimedia theater utilizing post-Brechtian aesthetics: The developers Association’s leap reduce (Faust) (1997). immersive and kinetic theater scenography. 3 businesses are highlighted to illustrate various technical and inventive methods: the deep-perspective, illusory results of George Coates functionality Works; the artistic visible eclecticism of Robert Lepage’s Ex Machina corporation; and the post-Brechtian aesthetics of The developers organization (ﬁgure 1. 8). bankruptcy 15 presents an in depth dialogue of a ﬁeld of desktop expertise that will appear to supply theater and function specified and compelling percentages, yet the place strangely few, notwithstanding striking experiments have to date materialized: “Virtual truth. ” of the earliest performative works utilizing VR, Brenda Laurel and Rachel Strickland’s Placeholder (1993) and Char Davies’s Osmose (1994–95), use the futuristic applied sciences to come back to prehistoric landscapes and instances, whereas Yacov Sharir and Diane Gromala’s Dancing with the digital Dervish (1994) additionally returns to nature, exploring the internal of the human physique; all 3 of those pioneering works also are united by way of an anti-Cartesian challenge to excite an “embodied” event. VR’s employment as a third-dimensional scenographic medium is tested via analyses of custom-built computer theater layout courses, Mark Reaney’s immersive dwell theater designs for the Institute for the Exploration of digital Realities (ieVR), and Richard Beacham’s remarkable navigable VR reconstruc- bankruptcy 1 sixteen Figure 1.