Performance and Technology: Practices of Virtual Embodiment by Susan Broadhurst
By Susan Broadhurst
This unique and well timed assortment positive factors writings from overseas participants who specialise in electronic paintings and function practices (including Johannes Birringer, Robert Weschler and Philip Auslander). There are few writings consistent with se that try to interrogate the interplay among new applied sciences and function perform. additionally, none have up to now associated the sensuous touch that needs to exist among the actual and digital, including the consequent corporeal transformation. In sure technological practices, physicality is either transcended and ludically inscribed - the play (jouer) being all. for this reason, electronic practices potentiate inventive and aesthetic chances and insist new perceptive options.
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Extra resources for Performance and Technology: Practices of Virtual Embodiment and Interactivity
Example text
I would read dance-theatre as exemplified by the creations of La La La Human Steps and Ultima Vez as a leap forwards then, building on Franko’s implied ‘progresses’ of the early moderns, infusing their expressivity with a contemporary, transfigured politicised body – a body transfigured by a somatic reaction to personal violence, an increase in inter-personal risk and the need to forthrightly address sexuality and gender in performance. Such transformations took place not only in regards to content and presentation of material, but also in use of music, costume and set design that influenced and even created kinetic vocabulary.
As a further disclaimer, I recognise the significance of gender, ethnicity, race and sexuality in the dancing bodies I will be writing about. However, my first concern is to argue for the transformative role of technology in kinetic expression. com - licensed to Universitetsbiblioteket i Tromsoe - PalgraveConnect - 2011-03-11 3 constrained in the films and videos I discuss by gender, race, sexuality and ethnicity – though only the latter two are consciously articulated in any of the films. Attempts to res(igh)te bodies outside of these parameters require another argument.
As a further disclaimer, I recognise the significance of gender, ethnicity, race and sexuality in the dancing bodies I will be writing about. However, my first concern is to argue for the transformative role of technology in kinetic expression. com - licensed to Universitetsbiblioteket i Tromsoe - PalgraveConnect - 2011-03-11 3 constrained in the films and videos I discuss by gender, race, sexuality and ethnicity – though only the latter two are consciously articulated in any of the films. Attempts to res(igh)te bodies outside of these parameters require another argument.