User:Max Dovey/Reading Writing Research Methodologies/maxThesisresource: Difference between revisions
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<li>4. Theatre and Performance in Digital Culture, Matthew Caurey, 2006</li> | <li>4. '''Theatre and Performance in Digital Culture, Matthew Caurey, 2006'''</li> | ||
Caurey makes connection for The Futurists creating the variety theatre and incorporating technology, and mechanics in their performances to create an automation. When the actor was present in futurist performance the figure was de centrered, mechanised and altered through costumes, fully embedded into the mis-en-scene. Futurists were the first to assert the aesthetics of speed as beauty (bifo Beradi) | Caurey makes connection for The Futurists creating the variety theatre and incorporating technology, and mechanics in their performances to create an automation. When the actor was present in futurist performance the figure was de centrered, mechanised and altered through costumes, fully embedded into the mis-en-scene. Futurists were the first to assert the aesthetics of speed as beauty (bifo Beradi) | ||
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<li>5. Art in the Age of technical reproducibility, Walter Benjamin, 1936</li> | <li>5. '''Art in the Age of technical reproducibility, Walter Benjamin, 1936'''</li> | ||
The Changing role of art in the relation to industrialization and reproduction. | The Changing role of art in the relation to industrialization and reproduction. | ||
Latest revision as of 12:15, 2 February 2015
ANNOTATED BIBLIOGRAPHY
- 1. Liveness and Performance in a Mediated Culture, Phillip Auslander, 1999
- 2. 'Digital performance: A History of New Media in Theatre, Dance, Performance art and Installation, Steve Dixon, 2007' Steve Dixon makes summarises the debates around liveness between Auslander and Phelan, Barthes and Benjamin. It also is a survey history of digital performance. It also has a chapter on time, on temporalities and how performance in the digital explores this ‘mythic’ temporality.
- 3. Unmasked: The politics of performance, Peggy Phelan, 1993 Performances only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of reproductions of representation: once it does so, it becomes something other than performance. To the degree that performance attempts to enter the economy of reproduction , it betrays and lessens the promise of its own ontology' (Phelan:41) Phelan brings to the life the notion of the aura around the original and physical presence in performance ; "Performance's independence from mass reproduction , technologically, economically , and linguistically, is its greatest strength" (Phelan : 149)
- 4. Theatre and Performance in Digital Culture, Matthew Caurey, 2006 Caurey makes connection for The Futurists creating the variety theatre and incorporating technology, and mechanics in their performances to create an automation. When the actor was present in futurist performance the figure was de centrered, mechanised and altered through costumes, fully embedded into the mis-en-scene. Futurists were the first to assert the aesthetics of speed as beauty (bifo Beradi)
- 5. Art in the Age of technical reproducibility, Walter Benjamin, 1936 The Changing role of art in the relation to industrialization and reproduction. Authenticity is outside of technical reproducibility. (?:Benjamin) Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space its unique existence at the place where it happens to be. (?:Benjamin) Walter Benjamins text is used by both Auslander and Phelan in their arguments for performance relationship to mediatisation and technology. Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space its unique existence at the place where it happens to be. (?:Benjamin)
Mediatization is now explicitly and implicitly embedded within the live experience. (50) The live event exists at least as much to service as the basis for a mediatized representation(46) Live performance now often incorporates mediatization to the degree that the live event itself is a produce of media technologies. (40) Auslander key points : Mediatization and live experience are codependent. There is no clear ontological distinction between live forms and mediatized ones. Technological reproduction has not only deprecated live presence but has infiltrated and embedded itself into all performance forms.