Digital scenography: 30 years of experimentation and innovation in performance and interactive media
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Methuen Drama
2021
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| Schriftenreihe: | Performance + design
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xiii, 210 Seiten Illustrationen |
| ISBN: | 9781350107311 |
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Datensatz im Suchindex
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| adam_text | Contents List of Illustrations x Acknowledgements xii Introduction i Historical Background 2 Yet Another Recuperation of the Theory of the Avant-Garde 4 Contextualization of Digital Scenography 9 Epochal Rupture of Digital Technology and Global Interconnectivity 17 Methodology 18 Through-Lines 20 1 Avant-Garde and Invention in Early Digital Scenography: Troika Ranch 25 Introduction 25 Background 26 The Need (1989) 27 Tactile Diaries (1990) 29 Mise-en-scène 31 Technical Description 33 Project Background and Avant-Garde Tendencies 35 Teleacting and Democratization of Video Broadcasting 36 Rupture and the Pharmacology of Digital Telecommunications 39 Experimentalism, Invention and Procedure 41 Systems Art 43 Technological Transformations of Methods 44 Towards In Plane 45 Individuation and Influences on Troika Ranch 47 In Plane 49 A Final Thought on Troika Ranch 51 2 Scenography of the Cyborg: Stelarc’s Extra Ear Introduction 53 Themes and Concepts 54 53
viii CONTENTS Extra Ear: Description 57 Leroi-Gourhan, Evolution and the Technical Tendency 61 Technicity 63 Towards Technical Individuation 64 A General Organology 66 Technical Evolution 68 Preindividual Milieu and Epiphylogenesis 69 Stelarc s Extra Ear, Post-evolution and Organ Functions 70 Subversion and Rupture 71 Sociocultural Impact 72 3 Innovations in Motion-Tracking and Projection-Mapping: Klaus Obermaier 79 D.A.V.E. 80 Technical Determinacy in D.A.V.E. 84 Vivisector 86 Description 87 The Ambivalences of Digital Scenography 91 Apparition 93 Responsive Scenography 94 Projection-Mapping 97 Socio-political Metaphors of Apparition 99 Symbiosis or Organology? 101 4 Responsive Environments and Choreographing Indeterminacy: Chunky Move 105 Introduction 105 Description 106 Grammatization 108 Specificities of Digital Scenography 111 Sublime Aesthetics of Mortal Engine 116 Performing Digital Individuations: Organology 119 Delegation of Responsibilities: Towards Al 122 The Pharmacology of the Second Scénographie Turn’ 122 Expanding the Theoretical Lens 125 5 Architectural Projection-Mapping: OnionLab Beaming on a Grand Scale 127 Introduction 127 A-Cero 15th Anniversary: Description 127
CONTENTS Theodor Adorno: Aesthetic Theory and the Culture Industry 130 From the Culture Industry to the Programme Industry 132 Symbolic Misery 134 Desire 136 Desire and the Programme Industry 138 Blade Runner 2049: Everything You Want to Hear/See and the Horror of Joi 139 The Pharmacology of Software as Art Material 141 Computer Vision: A Digital Resource 143 The Pharmacology of Software as an Art Material 145 Summing Up Projection-Mapping and the Programming Industries 146 6 Ubiquitous Computing, Behavioural Profiling, Big Data and Machine Learning: Blast Theory 149 Introduction 149 Karen 152 Description 152 Mise-en-scène 153 Dramaturgy 155 Durational Time, Intermittence and Subversion of the Author-Audience Relation 156 Algorithmic Governmentality and 24/7 Capitalism 159 A New Critical Vocabulary for the New Economy 163 The Goal of Art in the Hyperindustrial Economy 163 Bifurcation Points in the Hyperindustrial Economy 165 Eliciting the New Specificities 166 Conclusion: Towards a Nascent Grammar of Digital Scenography 169 Political Agency 170 Singularity 172 (In)determinism 173 Innovative Repurposing 174 Digital Specificity 175 Noetic Reactivation 176 Increasing Technological Performativity 177 A Final Word 179 Notes 180 Bibliography Index 203 191 ix
This book uses digital media theory to explore eon temporary understandings oř’expanded stenography as spatial practice. II surveys and analyses a selection of ground-breaking digilal media performances liial comprise a genealog)՛ spanning the last 30 years, in order lo show how the arrival of digilal technologies have profoundly transformed performance practice. Performances are selected based on I heir ability I о elicit (he unicļue specificities of digilal media in new and original ways, thereby exposing both lire richness and shortcomings of digital cult ure. Néill O Dwyer argues that contemporan scénographe is largelypropelled by and dependent on digital technologies and represents a rich, fertile domain, where unbridled creativitycan explore new techniques and challenge the limits ofknowledge. The 30-year genealogy7 includes works by Troika Ranch. Stelare. Klaus Obermaier. Chunky Moves. Onion Lab and Blast Theory. In addit ion to applying a broad scope of performance analysis and aesthetic theory, the work indudes artists interviews and opinions. The volume opens important aesthetic, philosophical and socio-political themes in order to highlight the impact of digital technologies on scénographie practice and the blossoming of experimental interdisciplinarity. Ultimately, the book is an exploration of how evolutionary leaps in I echnology contribute to how humans think, ad. make work, engage one another, anti therefore construct meaning and identity.
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| adam_txt |
Contents List of Illustrations x Acknowledgements xii Introduction i Historical Background 2 Yet Another Recuperation of the Theory of the Avant-Garde 4 Contextualization of Digital Scenography 9 Epochal Rupture of Digital Technology and Global Interconnectivity 17 Methodology 18 Through-Lines 20 1 Avant-Garde and Invention in Early Digital Scenography: Troika Ranch 25 Introduction 25 Background 26 The Need (1989) 27 Tactile Diaries (1990) 29 Mise-en-scène 31 Technical Description 33 Project Background and Avant-Garde Tendencies 35 Teleacting and Democratization of Video Broadcasting 36 Rupture and the Pharmacology of Digital Telecommunications 39 Experimentalism, Invention and Procedure 41 Systems Art 43 Technological Transformations of Methods 44 Towards In Plane 45 Individuation and Influences on Troika Ranch 47 In Plane 49 A Final Thought on Troika Ranch 51 2 Scenography of the Cyborg: Stelarc’s Extra Ear Introduction 53 Themes and Concepts 54 53
viii CONTENTS Extra Ear: Description 57 Leroi-Gourhan, Evolution and the Technical Tendency 61 Technicity 63 Towards Technical Individuation 64 A General Organology 66 Technical Evolution 68 Preindividual Milieu and Epiphylogenesis 69 Stelarc's Extra Ear, Post-evolution and Organ Functions 70 Subversion and Rupture 71 Sociocultural Impact 72 3 Innovations in Motion-Tracking and Projection-Mapping: Klaus Obermaier 79 D.A.V.E. 80 Technical Determinacy in D.A.V.E. 84 Vivisector 86 Description 87 The Ambivalences of Digital Scenography 91 Apparition 93 Responsive Scenography 94 Projection-Mapping 97 Socio-political Metaphors of Apparition 99 Symbiosis or Organology? 101 4 Responsive Environments and Choreographing Indeterminacy: Chunky Move 105 Introduction 105 Description 106 Grammatization 108 Specificities of Digital Scenography 111 Sublime Aesthetics of Mortal Engine 116 Performing Digital Individuations: Organology 119 Delegation of Responsibilities: Towards Al 122 The Pharmacology of the Second 'Scénographie Turn’ 122 Expanding the Theoretical Lens 125 5 Architectural Projection-Mapping: OnionLab Beaming on a Grand Scale 127 Introduction 127 A-Cero 15th Anniversary: Description 127
CONTENTS Theodor Adorno: Aesthetic Theory and the Culture Industry 130 From the Culture Industry to the Programme Industry 132 Symbolic Misery 134 Desire 136 Desire and the Programme Industry 138 Blade Runner 2049: 'Everything You Want to Hear/See' and the Horror of Joi 139 The Pharmacology of Software as Art Material 141 Computer Vision: A Digital Resource 143 The Pharmacology of Software as an Art Material 145 Summing Up Projection-Mapping and the Programming Industries 146 6 Ubiquitous Computing, Behavioural Profiling, Big Data and Machine Learning: Blast Theory 149 Introduction 149 Karen 152 Description 152 Mise-en-scène 153 Dramaturgy 155 Durational Time, Intermittence and Subversion of the Author-Audience Relation 156 Algorithmic Governmentality and 24/7 Capitalism 159 A New Critical Vocabulary for the New Economy 163 The Goal of Art in the Hyperindustrial Economy 163 Bifurcation Points in the Hyperindustrial Economy 165 Eliciting the New Specificities 166 Conclusion: Towards a Nascent Grammar of Digital Scenography 169 Political Agency 170 Singularity 172 (In)determinism 173 Innovative Repurposing 174 Digital Specificity 175 Noetic Reactivation 176 Increasing Technological Performativity 177 A Final Word 179 Notes 180 Bibliography Index 203 191 ix
This book uses digital media theory to explore eon temporary understandings oř’expanded stenography as spatial practice. II surveys and analyses a selection of ground-breaking digilal media performances liial comprise a genealog)՛ spanning the last 30 years, in order lo show how the arrival of digilal technologies have profoundly transformed performance practice. Performances are selected based on I heir ability I о elicit (he unicļue specificities of digilal media in new and original ways, thereby exposing both lire richness and shortcomings of digital cult ure. Néill O'Dwyer argues that contemporan scénographe is largelypropelled by and dependent on digital technologies and represents a rich, fertile domain, where unbridled creativitycan explore new techniques and challenge the limits ofknowledge. The 30-year genealogy7 includes works by Troika Ranch. Stelare. Klaus Obermaier. Chunky Moves. Onion Lab and Blast Theory. In addit ion to applying a broad scope of performance analysis and aesthetic theory, the work indudes artists' interviews and opinions. The volume opens important aesthetic, philosophical and socio-political themes in order to highlight the impact of digital technologies on scénographie practice and the blossoming of experimental interdisciplinarity. Ultimately, the book is an exploration of how evolutionary leaps in I echnology contribute to how humans think, ad. make work, engage one another, anti therefore construct meaning and identity. |
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| title | Digital scenography 30 years of experimentation and innovation in performance and interactive media |
| title_auth | Digital scenography 30 years of experimentation and innovation in performance and interactive media |
| title_exact_search | Digital scenography 30 years of experimentation and innovation in performance and interactive media |
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| title_full | Digital scenography 30 years of experimentation and innovation in performance and interactive media Néill O’Dwyer |
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| title_full_unstemmed | Digital scenography 30 years of experimentation and innovation in performance and interactive media Néill O’Dwyer |
| title_short | Digital scenography |
| title_sort | digital scenography 30 years of experimentation and innovation in performance and interactive media |
| title_sub | 30 years of experimentation and innovation in performance and interactive media |
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