Now that the shock of the virtual has subsided toward a 'new-normal' of computational interference in all areas of life, it is an advantageous moment to reflect on the passage through the virtual and back to the real. Digital culture has developed into a bio-virtual environment in which the categories of the biological and the virtual no longer stand as separate. The contributors to this volume respond to the questions raised by the 'after-event' of the digital through practice-led research analyses of performance processes, philosophical readings of the work of art and technology, and performance studies investigations of the subject in the spaces of technology. The volume examines a wide range of activities, from bio-art to internet child pornography, gaming and social networking technologies to the use of motion-tracking in developing choreography and documentation. The authors draw from diverse perspectives in dance, theatre, performance, film and music studies, digital arts and culture.
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vii | |
| Series Editors' Preface |
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ix | |
| Acknowledgements |
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| Notes on Contributors |
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xii | |
| General Introduction: In the After-event of the Virtual |
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1 | (10) |
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Part I Provocations: Subjectivity and Technology |
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11 | (6) |
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1 Into the Body of Another: Strange Couplings and Unnatural Alliances of Harlequin Coat |
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17 | (17) |
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2 The Cultural Critique of Bernard Stiegler: Reflecting on the Computational Performances of Klaus Obermaier |
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34 | (19) |
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3 The Flicker at the Threshold of Societies of Control |
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53 | (16) |
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4 The Right to be Forgotten and the Image-Crimes of Digital Culture |
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69 | (13) |
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5 Materiality, Immateriality and the Dancing Body: The Challenge of the Inter in the Preservation of Intangible Cultural Heritage |
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82 | (17) |
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6 Performing (the Subject of) Exteriority: Virtuality, Mimesis and the Gratuitous `One Must' |
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99 | (20) |
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Part II Practices: Embodied Negotiations of Art and Technology |
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119 | (6) |
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7 Not Waving but Drowning: The Affect of Random Programming on the Creation of a Digital Performance Work |
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125 | (15) |
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8 BrainExplode! Audiences and Agency through the Appropriation of Video-game Structures |
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140 | (16) |
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9 Relational Works-in-Movement Using the Body Response System |
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156 | (18) |
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10 Dancing with Dirt and Wires: Reconciling the Embodied and the Digital in Site-responsive Collaborative Practice |
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174 | (13) |
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11 Jeanette Doyle: Fifteen Days and Factory Direct at the Andy Warhol Museum: The Relationship between the `Immaterial', `Dematerial' and `Material' in Contemporary Art Practice |
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187 | (15) |
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12 Inscribing Work and Process: The Ontological Implications of Virtual Scoring Practices for Dance |
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202 | (18) |
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13 Traces and Artefacts of Physical Intelligence |
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220 | (12) |
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| Index |
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Burcu Baykan, Trinity College Dublin, Ireland Dan Bergin, Independent Scholar, Ireland Amy Voris, Independent Artist, Manchester, UK Christian Kipp, Independent Photographer, Essex, UK Natalie Garrett Brown, Coventry University, UK Hetty Blades, Coventry University, UK Jeanette Doyle, Independent Artist, Ireland Maria Coleman, Independent Artist, Donegal, Ireland Mary Oliver, Manchester Metropolitan University, UK Riku Roihankorpi, University of Tampere, Finland Sarah Whatley, Coventry University, UK Scott deLahunta, Coventry University, UK Sharon Phelan, Trinity College Dublin, Ireland
