LEADER 05821nam 2200709Ia 450 001 9910454495603321 005 20200520144314.0 010 $a0-262-30332-9 010 $a1-282-09859-4 010 $a9786612098598 010 $a0-262-27180-X 035 $a(CKB)1000000000523090 035 $a(EBL)3338680 035 $a(SSID)ssj0000278717 035 $a(PQKBManifestationID)11212621 035 $a(PQKBTitleCode)TC0000278717 035 $a(PQKBWorkID)10260498 035 $a(PQKB)11679100 035 $a(MiAaPQ)EBC3338680 035 $a(OCoLC)191953405$z(OCoLC)474273529$z(OCoLC)608024655$z(OCoLC)614991615$z(OCoLC)648297670$z(OCoLC)722591835$z(OCoLC)728043091$z(OCoLC)743198287$z(OCoLC)815776549$z(OCoLC)888794812$z(OCoLC)961537593$z(OCoLC)962662720$z(OCoLC)970357104$z(OCoLC)975600029$z(OCoLC)988414059$z(OCoLC)991983970$z(OCoLC)994989120$z(OCoLC)1018003051$z(OCoLC)1027255408$z(OCoLC)1037942986$z(OCoLC)1038404589$z(OCoLC)1041881290$z(OCoLC)1043189344$z(OCoLC)1055368413$z(OCoLC)1058124699$z(OCoLC)1065115813$z(OCoLC)1078051286$z(OCoLC)1081143000$z(OCoLC)1081289499$z(OCoLC)1097106003 035 $a(OCoLC-P)191953405 035 $a(MaCbMITP)2429 035 $a(Au-PeEL)EBL3338680 035 $a(CaPaEBR)ebr10185585 035 $a(CaONFJC)MIL209859 035 $a(OCoLC)191953405 035 $a(EXLCZ)991000000000523090 100 $a20060616d2007 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDigital performance$b[electronic resource] $ea history of new media in theater, dance, performance art, and installation /$fSteve Dixon ; with contributions by Barry Smith 210 $aCambridge, MA $cMIT Press$dc2007 215 $a1 online resource (832 p.) 225 0 $aLeonardo 300 $aDescription based upon print version of record. 311 $a0-262-52752-9 311 $a0-262-04235-5 320 $aIncludes bibliographical references (p. [737]-776) and index. 327 $aContents; Series Foreword; Preface; Acknowledgments; Ch 1 Introduction; Ch 2 The Genealogy of Digital Performance; Ch 3 Futurism and the Early-Twentieth-Century Avant-Garde; Ch 4 Multimedia Theater, 1911-1959; Ch 5 Performance and Technology Since 1960; Ch 6 Liveness; Ch 7 Postmodernism and Posthumanism; Ch 8 The Digital Revolution; Ch 9 Digital Dancing and Software Developments; Ch 10 Virtual Bodies; Ch 11 The Digital Double; Ch 12 Robots; Ch 13 Cyborgs; Ch 14 Digital Theater and Scenic Spectacle; Ch 15 Virtual Reality: The Search for Immersion 327 $aCh 16 Liquid Architectures and Site-Specific Fractures in RealityCh 17 Telematics: Conjoining Remote Performance Spaces; Ch 18 Webcams: The Subversion of Surveillance; Ch 19 Online Performance: "Live" from Cyberspace; Ch 20 "Theater" in Cyberspace; Ch 21 Time; Ch 22 Memory; Ch 23 "Performing" Interactivity; Ch 24 Videogames; Ch 25 CD-ROMs; Ch 26 Conclusion; Notes; Bibliography; Index 330 $aThe historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts.The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media's novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the "extratemporal" illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance--including what he calls postmodernism's denial of the new--and offers a series of boldly original arguments in their place. 606 $aTechnology and the arts 606 $aDigital media 606 $aArts, Modern$y20th century 606 $aPerforming arts$xHistory$y20th century 608 $aElectronic books. 615 0$aTechnology and the arts. 615 0$aDigital media. 615 0$aArts, Modern 615 0$aPerforming arts$xHistory 676 $a700/.285 700 $aDixon$b Steve$0625113 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910454495603321 996 $aDigital performance$91096137 997 $aUNINA