By Susan Broadhurst
Now in paperback and with a brand new Preface, this choice of writings from foreign participants who concentrate on a various variety of electronic paintings and function practices, surveys a variety of points of functionality and expertise. The discussions interrogate the interplay among new applied sciences and function perform. in addition, in an leading edge means they hyperlink the sensuous touch that needs to exist among the actual and digital, including the ensuing corporeal transformation. not just do our bodies morph and (de)morph yet their identities therefore turn into destabilized. In yes technological practices, physicality is either transcended and ludically inscribed – the play (jouer) being all. for this reason, electronic practices potentiate artistic and aesthetic percentages and insist new perceptive thoughts that not just verify sensate presence but additionally 'deceive'. The paintings identifies a brand new functionality perform on the leading edge of experimentation, and whilst explores the evolution of latest paintings practices. in particular, practices which are pivotal in substitute and in addition mainstream functionality and pop culture.
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Extra resources for Performance and Technology: Practices of Virtual Embodiment and Interactivity
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La Nouvelle Revue Francaise (June). Artaud, Antonin. (1974) [1938]. The Theatre and Its Double. Collected Works, Vol. 4, London: Calder Publications. Breton, Andre. (1924). Surrealist Manifesto. htm, accessed January 2006. Breton, Andre. (1960) [1927]. Nadja, New York: Grove Press. Bunuel, Luis. (1984). My Last Breath. Trans. Abigail Israel. London: Vintage. Derrida, Jacques. (1976) [1967]. Of Grammatology. Baltimore, Maryland: The John Hopkins University Press. Foreman, Richard. (1985). Reverberation Machines: The Later Plays and Essays.
But there is a gap in the manifesto market that will surely be exploited in the future, since to date there have been no seminal manifestos on the conjunction of performance arts and digital media. This chapter may even provide an embryonic rehearsal towards its development: a fumbling early sermon prior to some future evangelical ejaculation about how the transformational capabilities of computers within theatrical contexts can relate to and extend philosophical theories, Artaudian and surrealist conceptions of art, and, most crucially of all, notions of truth.
16 Bodies Without Bodies Notes 1. This ‘more than’ differs between performance genres, and it actually serves as a measure of disciplinary identity. The dramatico-theatrical, for example, tends to work significantly in terms of faciality, foregrounded over time. 2. Hayles herself acknowledges this. References Bastick, T. (1985). Intuition: How We Think and Act, New York: John Wiley. Bergson, H. (1946). The Creative Mind. An Introduction to Metaphysics, trans. M. Andison, New York: The Philosophical Library.