By Steve Dixon
The earlier decade has obvious a very excessive interval of experimentation with laptop know-how in the acting arts. electronic media has been more and more included into stay theater and dance, and new types of interactive functionality have emerged in participatory installations, on CD-ROM, and on the internet. In Digital Performance, Steve Dixon strains the evolution of those practices, provides distinct bills of key practitioners and performances, and analyzes the theoretical, inventive, and technological contexts of this way of recent media artwork. Dixon unearths precursors to cutting-edge electronic performances in prior different types of theatrical expertise that variety from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the whole artwork), and attracts parallels among modern paintings and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the 20 th 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 rfile and research modern electronic functionality perform, Dixon considers adjustments within the illustration of the physique, house, 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 thought, and Eduardo Kac. He investigates new media's novel methods to making theatrical spectacle, together with digital truth and robotic functionality paintings, telematic performances during which distant destinations are associated in actual time, Webcams, and on-line drama groups, and considers the "extratemporal" phantasm created by way of a few technological theater works. ultimately, 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)
André breton1 Futurism E-visited Critics tracing again electronic functionality practices to experiments undertaken within the modernist avant-garde hobbies of the early 20th century have defined and analyzed an enormous diversity of inﬂuences and precursors spanning the entire avant-garde pursuits, from Schlemmer and Gropius’s Bauhaus experiments to futurism, constructivism, expressionism, Dada, and surrealism. Futurism, the ﬁrst twentieth-century avant-garde stream, has therefore been put as only “one on a protracted checklist” of ancient predecessors. This has marginalized its valuable place within the lineage of functionality and expertise, and we are going to argue that electronic performance’s ancestry is strictly and inextricably associated with the philosophies, aesthetics, and practices of the futurist stream. within the early 20th century, the Italian futurists labored towards a brand new synthesizing and technological functionality shape, simply as functionality practitioners utilizing desktop applied sciences are trying at the present time. Exalting “the laptop” and the recent applied sciences in their day, the futurists sought a multimedia convergence of artforms and the wedding of paintings with expertise. 2 In 1916, this Gesamtkunstwerk was once afforded a mathematical formulation, like a section of laptop code designed to turn on a digital occasion, what they termed artificial theater: portray + sculpture + plastic dynamism + words-in-freedom + composed noise [intonarumori] + structure = artificial theatre. three even if we are going to relate futurism heavily to the computer (personal computer), futurism is unquestionably now not computing device within the different experience of the acronym (politically correct), and early futurist rhetoric is especially offensive to liberal sensibilities. In locations, the ﬁrst futurist manifesto (1909) reads just like the posturing name callings of drunken males spoiling for a ﬁght, filled with younger machismo: “the oldest people is thirty,” it brags, no longer as soon as, yet two times. four most likely aware of the damaging influence it can have on his readers, within the ﬁrst accomplished learn of futurist functionality in English, Michael Kirby (1971) selected to not comprise the ﬁrst and traditionally most vital manifesto whereas together with 16 later, much less offensive ones in his appendix. five In its uprising opposed to Italy’s stagnant and passéist cultural malaise, the ﬁrst manifesto preached paintings as violence. It concluded that “Art, in truth, will be not anything extra yet violence, cruelty, and injustice”6 in a lot a similar manner that Antonin Artaud may react within the face of passéist French literary theater a few two decades later. The message and tone of the ﬁrst futurist manifesto used to be damaging and reactionary, and denigrated ladies: We intend to exalt competitive motion, a feverish insomnia, the racer’s stride, the mortal bounce, the punch and the slap. . . . other than in fight, there is not any extra good looks. No paintings with no an competitive personality could be a masterpiece. Poetry needs to be conceived as a violent assault on unknown forces, to minimize and prostrate them ahead of guy. . . . we are going to glorify war—the world’s merely hygiene—militarism, patriotism, the damaging gesture of freedom-bringers, attractive principles worthy loss of life for, and scorn for girl.