Susan Broadhurst and Josephine Machon (ed.) Performance and technology: practices of virtual embodiment and interactivity (2011)
p.46 Virtual bodies, posthuman
goes against realism
untrained audience cause-effect of interactivity equals invisibility
p.61 two approaches to motion capture/tracking:
physical/physiological sensors (body worn devices, floor sensors)
remote sensors (video, infrared, lasers)
p.64 Interactivity relates to spontaneity, openness and communication. A degree of improvisation must take place, otherwise it is not an interactive work.
p.65 example of two motion tracking system: EyeCon
Isadora – invented by Mark Coniglio, Troika dance company
How can motion tracking affect our appreciation of a piece of dance?
p.68 Is it important that the audience get that the work is interactive?
p.69 There are stronger and weaker justifications for integrating technology in a piece of art.
p.73 Why use technology? Sense of play with an unseen player.
Next I am looking at the book Liveness: Performance in a Mediatized Culture by Philip Auslander, which was a suggestion by my supervisor.