International Journal of Performance Arts and Digital Media最新文献

{"title":"UBUmaterial: building a performative archive on Instagram","authors":"Tasos Angelopoulos, Panayiota Konstantinakou, Christina Papagiannouli","doi":"10.1080/14794713.2021.2006486","DOIUrl":"https://doi.org/10.1080/14794713.2021.2006486","url":null,"abstract":"ABSTRACT This document records and reflects on the process of building an innovative format, a performative archive on Instagram, the UBUmaterial, by Papalangki theatre company (Greece). It exhibits the occasion of its emergence, discusses the process of its development and presents the tools used and the materials produced as part of it. Furthermore, it gives information on its impact and considers its afterlife. UBUmaterial unfolds as a performative archive that occupies not a physical stage but a ‘cyberstage’ (Instagram) and is dedicated to the exhibition of Papalangki’s attempt to rehearse Alfred Jarry’s Ubu Roi at home, as a result of the restrictions of the COVID-19 pandemic. Nevertheless, traditional rehearsal techniques and theatre approaches were not adopted, since it appeared necessary for all dramatic elements of the original play (language, character, plot) as well as the acting style to be adjusted to the new digital environment. Extensive use of digital tools and Instagram features enabled a rich output of video production. The album-like format of Instagram allowed for the creation of a virtual modelbook (in Brechtian terms), where videos from rehearsals were posted in a non-linear order. The archive will remain accessible forever and hopefully form a basis for new excursions.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43739944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Internet theatre and the historical consciousness of the Covid-19 era","authors":"Joseph Dunne-Howrie","doi":"10.1080/14794713.2021.2005331","DOIUrl":"https://doi.org/10.1080/14794713.2021.2005331","url":null,"abstract":"ABSTRACT The pandemic is creating the conditions for a new telos of globalisation to emerge in humanity’s historical consciousness, which is not expressed in ideological terms, but is instead rendered as a fluid reality of corporeality and virtuality structured by the materialism of the Internet. Internet theatre created during the pandemic functions as a metonym for the transformation of the human subject from corporeal flesh to bio-techno hybrids. To Be a Machine (Version 1.0) (Dead Centre 2020), End Meeting for All (Forced Entertainment 2020) and Rich Kids: A History of Shopping Malls in Tehran (2021) are used as case studies in this article to show how today’s informational environment augments perceptions of the real in performance through the convergence of media formats, including the fleshy human. This analysis is contextualised from the historical perspective of the post-Cold War period when anxieties about cultural homogeneity and assimilation were prominent themes in theatre and performance discourse in the absence of any viable alternative teleology to Western capitalism.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43771789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Music, performance, and preservation: insights into documentation strategies for music theatre works","authors":"Filipa Magalhães","doi":"10.1080/14794713.2021.1974726","DOIUrl":"https://doi.org/10.1080/14794713.2021.1974726","url":null,"abstract":"ABSTRACT This article encourages further discussion of certain concepts and practices for the music theatre creations by the composer Constança Capdeville (1937-92) in keeping with the time and context of her compositions. Her music theatre works incorporate by a certain hybridism as they juxtapose various artistic expressions such as dance, music, and theatre. Throughout the 1970s, the performance concept as understood today was not fully recognized, either by composers or by the performers, who collaborated with Capdeville within the context of the Portuguese music scene. In this regard, the composer António de Sousa Dias believes this stemmed from the tendency to connect the term with performance art or with certain positions linked to happenings or free improvization, which were not the main concern of Capdeville. Given the difficulty in classifying her musical works, we here discuss some etymological issues around the performance and re-performance concepts. Capdeville’s music theatre works combine different artistic expressions leading us to reflect on documentation strategies including interdisciplinary approaches from fields such as (digital) philology, computer science, archiving research and performing arts documentation, detailing here some perspectives and practices currently applied for preserving such artistic productions.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43642055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Vactor ontologies: framing acting within a motion capture context","authors":"J. Kennedy","doi":"10.1080/14794713.2021.1974727","DOIUrl":"https://doi.org/10.1080/14794713.2021.1974727","url":null,"abstract":"ABSTRACT While an actor’s performance in a stage play may be seen as a continuous and unmediated form of acting, an actor’s performance in a film is constructed through shot framing, editing, effects work, and other cinematic apparatuses. With the advent of digital filmmaking, constructed performances have become more complex and nuanced, especially through the use of motion capture (MoCap). This research explores how we frame acting within a motion capture context – and specifically, how this affects our larger understanding of what is acting and how acting can be constructed. What does acting become when the product of acting starts as data and finishes as computer-generated images that preserve the source-actor’s ‘original’ performance to varying degrees? Is the source actor solely responsible for the MoCap performance we see on screen, or should other people within the production pipeline receive credit for their creative contributions to the finished acting result? What is at stake in differentiating film acting in MoCap from profilmic performances? Through consolidating and linking theoretical and practical considerations of screen acting in motion capture, this paper proposes a number of ways to conceive of acting and presence within a virtual acting context.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46568261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Understanding Audience Engagement in the Contemporary Arts","authors":"H. Liedke","doi":"10.1080/14794713.2021.1981040","DOIUrl":"https://doi.org/10.1080/14794713.2021.1981040","url":null,"abstract":"artists is often when the book is at its best, as readers can experience the processes that went into the development of different artistic works. The text is brought to a conclusion with an engaging piece by Chris Clarke who works as an art curator and explores the challenges he has faced in adapting spaces that are often focused on contemporary art forms to be able to properly showcase digital art. Clarke also challenges a misconception that online exhibitions remove artistic gatekeepers and argues that the online world may have ‘invisible’ (140) gatekeepers who are even more controlling. The book offers a deep dive practitioner-led exploration into digital art in Ireland that should prove an invaluable read to anyone interested in the genre and its major events since the turn of the century. Two issues which arise when reading this book though are firstly, that it sometimes feels too insular in presenting a field of study that is quite small and, secondly, that the book was written before the Covid-19 pandemic and, therefore, is not able to comment on the changing ways audiences are interacting with digital art. However, these issues do not necessarily detract from the overall purpose of the text. Contributors to the book themselves note that the field largely comprises of a small community of artist–researchers. In the book, contributors often discuss the work of other contributors and this overlap risks presenting an insular view of digital art in Ireland. However, considering this is a study of a small but growing artistic field, Digital Art in Ireland succeeds in covering the most significant events in Ireland’s digital art scene without leaving out much. Moreover, contributors approach the work from different angles and disagree with each other in certain instances. The fact this volume was written before the Covid-19 pandemic makes it feel slightly dated, as the ways in which audiences interact with art presented digitally are changing drastically as a result of the pandemic. Yet, there is something powerful in a text that captures a movement up to the point of significant change. This text can act as both a historical account of digital art in Ireland in pre-Covid times and a theoretical foundation for the work that now needs to be done to investigate audiences’ relationship with the digital in light of the pandemic.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48325528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mapping the hyperlocal body: queer interventions in the performances of Felipe Rivas San Martín","authors":"A. Perkins","doi":"10.1080/14794713.2021.1982498","DOIUrl":"https://doi.org/10.1080/14794713.2021.1982498","url":null,"abstract":"ABSTRACT The performances of Chilean artist and scholar Felipe Rivas San Martín reveal the linguistic and political void that the word ‘queer’ embodies in Latin American contexts. Rivas San Martín focuses on dissident sexualities, rejecting the term ‘queer’ and staking a claim for visibility and intelligibility that does not depend upon an integrationist model of LGBT identity politics. In this article, I argue that through the reciprocal impact of the body in technology and technology on the body, Rivas San Martín reveals a space in which dissident actors can accomplish two things. First, through the body, they expose the narratives of heteronormativity and homonormativity that have worked diligently to erase any sexually dissident subject who disrupts the status quo. Secondly, this nebulous space challenges the divisions between self, other, and object and posits a new way of conceptualizing dissident and queer identity in the 21st century. The embodied experiences of the individual combined with an expansive network of virtual connectivity creates a contestatory discourse that undermines the permanence and primacy of logocentric language.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46500946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Digital Art in Ireland New Media and Irish Artistic Practice","authors":"Laurence J. McNamara","doi":"10.1080/14794713.2021.1981022","DOIUrl":"https://doi.org/10.1080/14794713.2021.1981022","url":null,"abstract":"","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46546527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Technology and spirituality in Etsuko Ichihara's ludic media art","authors":"Y. Sone","doi":"10.1080/14794713.2021.1940698","DOIUrl":"https://doi.org/10.1080/14794713.2021.1940698","url":null,"abstract":"ABSTRACT Etsuko Ichihara is a media artist who utilises digital media and robotic technologies, exploring Japanese traditional beliefs of the spirit and the supernatural in her recent works. Ichihara repurposes paranormal and folk religious ideas concerning the figure of the shaman, an ogre-like demon that features in some Japanese festivals, and ritual offerings, but reinvents these traditional elements through technological mediation. I discuss Ichihara's distinctive engagement with a contemporised notion of spirituality in Japan. In particular, this essay argues that Ichihara's media art aims to connect Japanese people in order to create sociality and community. Ichihara appropriates Japanese animistic beliefs and tailors them for a mediated and technologised Japan, utilising what might be called a ‘techno-spiritual Japanese-ness’, that is, self-orientalising tropes that paradoxically generate the means for social relations.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1940698","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45293632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Epoch wars: negotiating artistic agency in deep and shallow time","authors":"Loren Kronemyer","doi":"10.1080/14794713.2021.1923243","DOIUrl":"https://doi.org/10.1080/14794713.2021.1923243","url":null,"abstract":"ABSTRACT A conference of human beings known as the Anthropocene Working Group has the power to name the next phase of Earth’s geological calendar. In response, the artistic research project Epoch Wars by Pony Express calls for a mobilization of creative practice to redefine the terms on which we negotiate naming the future. Breaking the binary between science and storytelling, Epoch Wars is a body of experimental performance and digital work that advocates for the world-building power of collective decision-making in both deep and shallow time. This document outlines the making of this project, as indexed to the debate around what to name Earth’s present epoch of geological time. It begins by examining the history of this debate and the role of artists within it, before introducing the world of the artwork Epoch Wars by Pony Express through a description of key research experiments and outcomes. Provisional findings of the project are discussed, offered as operating principles for possible alternate future conceptualization.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1923243","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44158940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Syntonic Refuge: performing LabSynthE","authors":"xtine burrough","doi":"10.1080/14794713.2021.1927416","DOIUrl":"https://doi.org/10.1080/14794713.2021.1927416","url":null,"abstract":"ABSTRACT LabSynthE is a collective of faculty and graduate students at The University of Texas at Dallas in the School of Arts, Technology, and Emerging Communication. The lab is a framework for situated learning and collaboration at the intersection of art, technology, and poetics to create digitally-mediated social interactions. Our commitment to discontinuity and the refuge we have found in one another holds us together on a university campus where academic silos and individual expertise are preferred or awarded. In this article I perform two expressions of the voice in a side-by-side expository of the lab, inspired by Gregory Ulmer’s ‘mystory’ method of writing for discovery. In the left column (‘Syntonic Refuge’), my contribution takes the form of an essay centered on one recent LabSynthE project. The right column (‘Performing LabSynthE’) includes an autoethnographic narrative in which I reflect on my relation to the lab to describe its formation and ongoing culture. Together, these two columns advocate for art incubation labs in the university setting.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1927416","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45159183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}