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• W1485301801 abstract "SUSAN BROADHURST AND JOSEPHINE MACHON (EDS), PERFORMANCE AND TECHNOLOGY: PRACTICES OF VIRTUAL EMBODIMENT AND INTERACTIVITY (PALGRAVE MACMILLAN, 2011)Originally published in hardback in 2006, this absorbing volume contains a wide range of essays on performance practices that use new technologies such as motion capture, 3D virtual environments, artificial intelligence and even artificial biological systems - in the case of the Tissue Culture and Art project. The book's broad sweep captures some of the energy, anxiety and excitement emanating from a range of genuinely exploratory projects, which raise crucial questions about the ways in which technology transforms our understanding of performance, human perception and, perhaps most importantly, the relationship between the corporeal and the virtual. Most chapters have a practical orientation, and contain extensive descriptions of specific performances, providing a compelling snapshot of the current state of play in this nascent field. Broadhurst and Machon point out that while the various projects in their book use a multitude of technologies, they are almost all engaged with the digital, which requires 'a new mode of analysis and interpretation which foregrounds and celebrates the inherent tensions between the physical and the virtual' (xvii).The book begins with Susan Melrose's 'Bodies Without Bodies', perhaps the most provocative and theoretically dense chapter. Melrose interrogates the meaning and function of the word 'body' in writings about performance, professing ignorance about what this word signifies in such contexts - implicitly chastising those who use the term loosely, and without knowledge of its complex meanings. Drawing on a rich range of theoretical sources, such as Heidegger, Spinoza, Zizek, Deleuze and Guattari, Melrose unpacks the word's etymology, noting that uses of the term 'bring with them a veritable network of values (measures) and potential unfoldings' (9). As I read her, Melrose, in her characteristically opaque prose, expresses an anxiety about the tendency for scholars to write about new technology with reference to 'old' concepts. More specifically, she notes that academics display a particularly 'ontic' disposition in their writing by valorising the familiar without comprehending how conventional understandings of terms like 'performance' and 'audience' are radically transformed by the virtual. 'Even where posthuman sympathies are evidenced', she observes, 'the orders of expert writing wins out, by maintaining certain sorts of spectator perceptions' (11). This sort of writing, Melrose contends, is produced by scholars, and therefore appeals to those who occupy the hallowed halls of academe. Melrose expresses in this, and other recent writings, an anxiety about the gulf separating academic discourses on performance from what she calls 'professional' or 'expert' intuitions. I accept her general point that the scholarly analysis of performance produces ontic knowledge - that is, formal descriptions of properties - as opposed to what Elizabeth Grosz describes as 'an attuned empiricism that does not reduce its components and parts but expands them to connect this object to the very universe itself (13). However, I am not convinced that these two forms of knowing are mutually exclusive, nor do I accept that 'ontic' analysis is the sole preserve of academics. It is becoming increasingly difficult to maintain the distinction between scholars and practitioners as increasing numbers of artists enter the university as higher degree students in Performance Studies and cognate disciplines.Steve Dixon's chapter, 'Truth-Seeker's Allowance: Digitising Artaud', lacks the sophistication and elegance of Melrose's argument. He mostly just describes work that uses new media technologies to enable the quest for artistic truth, with specific reference to Artaud. Dixon's company, The Chameleon Group, use video projections together with live performance 'to explore and expose serious existential issues, altered mental states, and metaphysical notions' (19). …" @default.
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• W1485301801 date "2012-04-01" @default.
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• W1485301801 title "Performance and Technology: Practices of Virtual Embodiment and Interactivity" @default.
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