User:Max Dovey/Reading Writing Research Methodologies/maxThesisoutline: Difference between revisions
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<li>Liveness and Performance in a Mediated Culture, Phillip Auslander, 1999</li> | <li>Liveness and Performance in a Mediated Culture, Phillip Auslander, 1999</li> | ||
<li>Digital performance: A History of New Media in Theatre, Dance, Performance art and Installation, Steve Dixon, 2007 </li> | <li>Digital performance: A History of New Media in Theatre, Dance, Performance art and Installation, Steve Dixon, 2007 </li> | ||
Revision as of 12:52, 13 January 2015
Thesis outline Max Dovey Jan 14/01/2015
===How does technology mediate performance and our experience of liveness?
To investigate authenticity in performance and the mediation of the live act.
Introduction
I am investigating how my performance work creates a live aura with real time technology.
I perform with data streams and computer feedback, the transient nature of real time data creates an authentic, ephermal moment with technology. The infrastructure of the internet and the way information is continually transmitted means that technology can become 'live' through real-time processing. I want to analyse live and its relation to the authentic with a temporal ontology, as both Auslander and Phelan regard the live aura as phenomenological sensation.
Through doing this i can further understand why my performance based practice, that combines real-time media and embodied physical presence, challenges that authenticity of liveness and its relation between temporal and physical ontologies.
Theory background
it has to be agreed that liveness has more to do with time and 'now-ness' (Dixon:132)
The theoretical context is currently situated between arguments put forward by Phillip Auslander in ‘Liveness’ (1999), Peggy Phelan’s ‘Unmarked’ (1993) and Matthew Caurey’s ‘Theatre and Performance in Digital Culture’ (2006).
Phelan defines the aura of live in its unreproducability and ephemerality while Auslander defines live by its reproducibility, that before recorded media the live didn't exist. Both look at the authenticity of live to be a phenomenological ontology and define liveness with the aura of presence, but when precene is (re)created with this 'now-ness' of real-time technology the aura of live becomes technological, not physical.
In my work i challenge both theoretical positions because i combine embodied performance with real time technology to explore the authentic within live performance.
My approach will be similar to Caurey :
The ontology of performance (liveness) which exists before and after mediatization has been altered within the space of technology.
to look at performance within the ontology of the technological, specifically performance and real time technology.
The existing debate looks at performance as a physiological ontology, id like to look at liveness as a temporal object so that the debate around authenticity in performance can be looked at within the networked, computational context (e.g. data and performance).
Structure
Part 1
Peformance
Chapter aims - present theorists on the authentic being the real, the unmediated moment that is a physical ontology, not technological. arguments in popular culture that the aura is located as a physical attribute detached from media.
Part 2
Real-Time
Chapter aims - Real-time as a technological form creates the authentic liveness. Performing against them
Part 3
Interviews -
conduct interviews with some theatre makers, artists who use technology in their work to create a live experience.
Part 4
Bibliograpghy