Reading notes

Susan Broadhurst and Josephine Machon (ed.) Performance and technology: practices of virtual embodiment and interactivity (2011)

chapter 4

p.46 Virtual bodies, posthuman

goes against realism

untrained audience cause-effect of interactivity equals invisibility

chapter 5

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 CultureĀ by Philip Auslander, which was a suggestion by my supervisor.


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