Digital Performance

Ənənəvi folklordan fərqli olaraq, İnternet folkloru virtual kommunikasiyada ortaya çıxır. Ünsiyyət prosesində baş verən bu dəyişiklik təkcə formal əlamət və xüsusiyyətlərlə deyil, eyni zamanda məzmun və mahiyyət səviyyəsində də özünü göstərir. Virtual kommunikasiya aktının forma baxımından yazıya, yazılı üsluba və yaxud yazı mədəniyyətinə əsaslanması xalq biliyinin yeni şəraitdə təzahüründə bir sıra özəlliklərin ortaya çıxmasına səbəb olmuşdur. Bir tərəfdən folklorun şifahilik və variantlılıq zərurəti, digər tərəfdən isə virtual ünsiyyətin yazı, göstərmə, nümayiş çərçivəsində icra olunması unikal, eyni zamanda spesifik vəziyyət yaradır. Lakin aparılan araşdırmalar nəticəsində müəyyən olunmuşdur ki, virtual ünsiyyət zahirən, formal strukturu baxımından yazı üzərində qurulsa da, onun psixoloji prototipində şifahilik emosiyası dayanır. Yəni virtual ünsiyyət yazmağa deyil, danışmağa, söhbətə əsaslanır. Belə bir reallıq ənənəvi folklor üçün zəruri şərt hesab olunan variantlılığın İnternet folklorundakı spesifikasını da nəzərdən keçirməyi zəruri edir. Bu baxımdan araşdırmada İnternet folklorunun variantlılığını şərtləndirən faktorlar – virtual ünsiyyət, dinamik sosial proseslər və cari maraqlar diqqət mərkəzinə gətirilmiş, rəqəmsal performans, mətnlərarası əlaqə kontekstində məsələyə yanaşılmışdır. Müəyyən  olunmuşdur ki, İnternet folklorunun variantlılığı təkcə folklorik resursların variantlılığı ilə deyil, situasiyalara görə nümunələrin fərqli interpretasiyaları ilə də xarakterizə olunur. Müəyyən bir rəqəmsal semiotik resurs dəyişdirilmədən fərqli situasiyalarda fərqli şəkildə yozularkən yeni məna qazanır ki, bu da variantlılığa səbəb olur. Beləliklə, interaktiv ünsiyyət planı, iştirakçı sosial mühit, rəqəmsal performans, yeni yaradıcı-icraçı subyektlər (söyləyici tipləri), virtual sosial şərtlər, dinamik proses və cari maraqlar İnternet folklorunun variantlılığını şərtləndirən əsas amillərdir.
Qeyd olunan elmi-nəzəri yanaşmalar əsasında Azərbaycandilli virtual folklor mühitində meydana gələn folklorik faktların variantlılığı araşdırılmış, konkret nümunələr əsasında faktlar təhlilə cəlb olunmuşdur.

Modernity is characterized by presentism and by the spread of digital culture and mediatization. In these conditions, we think about the environmental problem, about preserving nature as a habitat for humanity. The problem of nature is political, on this I agree with Bruno Latour. Political problems in the last three centuries were solved in the context of historicism, which lay at the basis of all political ideologies of modern. Postmodern presentism is the antithesis of historicism and replaces it with weakened narratives that are schematic and imaginary. Popular history and the fantasy genre are merging, displacing even science fiction. The politics of nature is an as yet unrealized prospect of rethinking the essence of man and humanity. In it, man and nature should be equal in rights. For such a revolution, it is necessary to launch political processes of the emancipation of nature. They require a new historicity, which is impossible due to the rise of presentism. But this same presentism made it possible to raise the very question of the rights of nature and its subjectivity. Nature as a discriminated subject today shares space with diverse discriminated minorities. How could this happen if nature creates the conditions for the survival of humanity as a whole? The answer comes from a combination of presentism and digital culture. For a person in the post-industrial world, they create a specific image of nature, which can be called virtual. Regarding him, there is an affect of moral duty, an obligation without a statute of limitations. His experience is also accompanied by ideas about lost harmony with nature and about balance, homeostasis, which must be achieved. These ideas and images are, however, unevenly distributed. They concern a rich part of humanity, whose lifestyle is as far removed from nature as an object of economic exploitation. For the poor part of humanity, mediatized virtual nature doubles the nature that provides resources for life. This social order does not prevent the rich part of humanity from performing imitative actions to protect virtual nature. They do not in any way affect the ecological situation, but create cognitive and affective conditions for thinking through a new social order in which humanity would not think of the essence and purpose of its existence separately from the natural environment. What is happening in the sphere of imagination is a collision of what is and what should be, that is, a symptom of a crisis and the opening possibilities of change.

Digital performances have been remarkably influenced by the convergence of arts and technology which has recorded very significant breakthrough in the world of entertainment. Performances have grown beyond traditional spaces on account of the instrumentality of the electronic and interactive nature of social media, curtsey of the ever improving and innovating wonders of the electronic and digital revolution. The emerging concern of this study revolves around the degree of sexual objectification in Nigerian digital performances; interrogating how digital performances reference women within set roles, objectify them and offer objectified generalised opinions. This study leans on feminists' criticism and digital media theories to present a nuanced study of selected Mr. Macaroni's performances. The study adopts qualitative content analysis to examine the selected performances. The findings of this study reveal that digital performances employ humour as a platform for conveying objectification. Interlaced beneath the entertaining frontals of these humour filled performances are deep rooted objectifying statements. A thorough analysis of these productions resolve that each fit very snugly into the Marxist approach to capitalism which is seen as a system of dominance and oppression and in this case, focused on women. The performances could be described as digitally infused capsules of objectifying aesthetics, with turgid reflexivity and selfish deconstructionist panorama.

Γιατί η ενσωμάτωση των ψηφιακών τεχνολογιών στις επιτελεστικές τέχνες, όπως το θέατρο, η μουσική, η performance art, θεωρείται συχνά απειλητική για τη ζωντανότητά τους, δηλαδή για τη φυσική ενσώματη παρουσία καλλιτεχνών και κοινού στον ίδιο φυσικό χώρο και χρόνο; Διερευνώντας τη συζήτηση που αναπτύσσεται γύρω από αυτό το ερώτημα, η συγγραφέας διαπιστώνει ότι οι απόψεις που διατυπώνονται στο πεδίο των σπουδών επιτέλεσης (και άλλα συναφή αντικείμενα), μολονότι πολλές και διαφορετικές, είναι συνήθως θεμελιωμένες στο δίπολο πραγματικότητα-δυνητικότητα, και εγκλωβισμένες στις αντιφάσεις που προκύπτουν από αυτό. Η συζήτηση φανερώνει μια αγωνία, η οποία αφορά όχι την οντολογία της επιτέλεσης, αλλά την οντολογία του ανθρώπου, και ανακυκλώνει, στα σύγχρονα τεχνοπολιτισμικά συμφραζόμενα, προβλήματα (επιστημολογικά, ηθικά και πολιτικά) που συνδέονται με το γνωστό δίπολο φύσηπολιτισμός. Το βιβλίο αξιοποιεί προβληματισμούς ανθρωπολόγων, το έργο των οποίων εντάσσεται (ρητά ή άρρητα) κυρίως, αλλά όχι αποκλειστικά, σε ποικίλα ρεύματα του μετανθρωπισμού, και προτείνει έναν διαφορετικό τρόπο κατανόησης της ψηφιακής επιτέλεσης: ως πεδίο ανάδυσης νέων ενσώματων υποκειμένων, τα οποία συγκροτούν και κατοικούν νέους χώρους και χρόνους, και συνεπώς αμφισβητούν περαιτέρω, στο επίπεδο τόσο της ζώσας και βιωμένης εμπειρίας όσο και της γνώσης αυτής της εμπειρίας, επίμονες βιολογικές και ουσιοκρατικές εννοιολογήσεις του ανθρώπου και της φύσης (του).

Sarah Crews is a senior lecturer in performance and media at the University of South Wales, where she leads the BA (Hons) Performance and Media degree and teaches new media performance, performer training for stage and screen and critical and cultural theory. Sarah's research interest are gender and sexuality in performance, radical pedagogies and the connections between boxing and performance.

This piece provides an overview of two artworks, On View (2019) and Human Unreadable (2023), both of which are conceptual artworks that include technology and performance created by Operator, my collaborative art practice with Dejha Ti established in 2016. My background is in choreography and performance art, and Dejha is a multimedia artist and HCI technologist. Rather than go into deep detail about each of the works in all their complexity, I will give a brief overview of the work as a whole and focus the text on the precise moments and instances in which performance and technology interface. Asking such questions as: how do technology and interface design choreograph participation in the audience? How does performance expose the limits of technical systems? How does performativity emerge in new ways through and within the confines of new technologies? How do these mediums evolve when needing to adapt to the limitations of technology? How does technology perform for us? Also, considering the financial hardships associated with performance and the inevitably stunted growth when the ability to take risks disappears, it is certainly worth asking: does blockchain technology and digital scarcity have a role to play in ensuring that performance practices are able to continue evolving? With theaters increasingly being shut down, cultural funding cuts ubiquitous, and the difficulty in the US of sustaining an independent dance company or performance practice, one could say that movement and performance are increasingly being relegated to service industries. The impact of infrastructures for art’s creation, distribution, financialization, and preservation cannot be overstated; while it is interesting to discuss performance and technology from an artistic innovation perspective, there are equally important considerations and conversations to be had about technology’s potential role in supporting the continued evolution of performance as a medium.

This essay explores the emerging phenomenon of dance as a collectible within the crypto landscape, exploring how blockchain technology is reshaping the way dance is valued and experienced. Through the lens of non-fungible tokens (NFTs), the essay examines how dance is being transformed into a collectible object, complicating conventional paradigms of commodification. Focusing on the work of the Chilean dance duo CryptoMoves and the practices of collectors like Anna Condo, the essay highlights how the blockchain not only enables the commodification of dance but also introduces new affective dimensions and knowledge production avenues. By tracing the historical context of dance as both commodity and gift, the essay argues that the NFT marketplace catalyzes a new paradigm where the role of the collector becomes central in defining the cultural and economic value of dance in the 21st century. This shift, as the essay suggests, has profound implications for the future of dance, its cultural identity, and its place within the broader digital economy.

ISBN 97912-5510-061-4 (print) ISBN 979-12-5510-062-1 (PDF) ISBN 979-12-5510-063-8 (EPUB) DOI 10.54103/milanoup.134 Questo volume e, in genere, quando non diversamente indicato, le pubblicazioni di Milano University Press sono sottoposti a un processo di revisione esterno sotto la responsabilità del Comitato editoriale e del Comitato Scientifico della casa editrice. Le opere pubblicate vengono valutate e approvate dal Comitato editoriale e devono essere conformi alla politica di revisione tra pari, al codice etico e alle misure antiplagio espressi nelle Linee Guida per pubblicare su MilanoUP. Le edizioni digitali dell'opera sono rilasciate con licenza Creative Commons Attribution 4.0 -CC-BY, il cui testo inte-

In this doctoral dissertation we aim to contribute to a theoretical framework for cyberformance, live performance taking place in virtual worlds, platforms and environments. This emerging genre is intermedial, multimodal, hybrid, liminal, collaborative, low cost, low tech and interventive, both aesthetically and socially. Through the Internet, connecting remote performers and audiences, this kind of performance has been developing for the last two decades. Chat rooms and Multi User Dungeons where the first cyberspaces where this artistic practice happened. However, soon it transited into graphic environments and virtual worlds, even creating its own platforms and festivals.

Towards the end of 2020 and throughout 2021 - the year in which the Greek state celebrated the 200th anniversary of the Greek Revolution and in the midst of the covid-19 pandemic - digital historical narratives were projected onto the façade of the Hellenic Parliament. The initiative was spearheaded by the Hellenic Armed Forces, the “Greece 2021” Committee and the Hellenic Parliament, using projection mapping technology. What happens when digital technology converges with “history coming alive” on the façade of the most emblematic building of the Greek state? By examining the transformation of the Parliament building into a digital screen, this essay presents a significant case study that underscores the coordination of official public history with digital economy networks and highlights “liveness” as the most distinctive and urgently claimed understanding of “historicity” in contemporary society.

Alors meme que l'etau ideologique se resserre sur la creation artistique sovietique et que les pieces etrangeres sont de plus en plus ecartees du repertoire, Stanislavski a l'audace de monter, l'annee d'anniversaire de la Revolution d'Octobre, un melodrame francais. C'est l'etude des motivations du metteur en scene et l'examen de la censure qui s'opera autour de ce projet qui font l'objet de la recherche, appuyee sur les archives du Theâtre d'Art de Moscou.

Resumen: Del mismo modo en que el ser humano ha sentido la necesidad de inventar mundos ficticios y virtuales, también siempre experimentó una atracción por las ideas amenazadoras y fascinantes del doble (doppelgänger), de los autómatas, y por fenómenos tales como la ubicuidad, incorporeidad (disembodiement), la visión a distancia, la bilocación y las personalidades múltiples. El fenómeno de la bi-locación, por ejemplo, ha sido mencionado extensamente en diferentes sistemas religiosos y filosóficos como el chamanismo, el hinduismo, el misticismo cristiano, el paganismo y otros, como la habilidad que tendrían ciertos individuos (generalmente santos, monjes o místicos) de encontrarse en dos o más lugares al mismo tiempo. El advenimiento de Internet, las nuevas tecnologías y las redes sociales han abierto nuevas posibilidades respecto a esto, permitiendo la expansión del «yo» en cuerpos virtuales teledirigidos. Si no mucho tiempo atrás, experiencias de este tipo debían ser vividas a través del cine o la literatura, hoy es posible atravesarlas en primera persona: todo el mundo es capaz de crearse extensiones virtuales del «yo», otros perfiles, avatares, entidades o doppelgängers que pueden operar (controlados de manera remota) como extensiones de uno mismo. Como consecuencia, la imagen ha sufrido un cambio en su función y estatus, al mismo tiempo que se abren nuevas posibilidades a través de los procesos de digitalización. El presente trabajo intenta explorar la actual relación entre la presencia, la tele-presencia, las imágenes y las extensiones del yo.

Mula sa dalawang salita: monologo at vlog, ang monoVlog ay isang hybrid na pagtatanghal sa internet noong panahon ng pandemya. May pagkakahawig at pagkakaiba ang monologo at ang vlogging: parehong iisang tao ang nagtatanghal at kailangang live ang mga ito. Gayunpaman, noong nagsimula
naman ang vlogging, hindi naman nangangahulugang live ito agad. Karamihan sa mga vlogger ay nagrerekord muna bago ilagak ang content sa kanilang sariling channel sa social media. Noong kasagsagan ng COVID-19, nag-shift sa live ang mga vlogger. Ang kaibahan naman nito sa monologo,
mas maiksi ang pagtatanghal ng monoVlog kumpará sa pagtatanghal ng monologo sa entablado. Ang papel na ito ay isang artikulong-panayam hinggil sa MonoVlog. Layunin nito ang maidokumento ang
pag-usbong ng porma at ang pagtala ng isang espekulasyon hinggil sa posibleng direksiyon nito sa hinaharap. Layunin rin ng panayam ang maisalin ang mga idea ni Layeta Bucoy, ang pigura sa likuran ng pormang nabanggit, sa akademikong sulatín. Panghulí, layunin din ng papel na maging bahagi
ang porma sa sinupan ng mga pagtatanghal sa Pilipinas. Inaasahan na ang artikulong ito ay isang mahalagang reperensiya sa mga susunod na taon hinggil sa katatagan ng mga artistang Filipino at ang kanilang pagiging malikhain sa likod ng krisis. Ang hulíng bahagi ng papel ay ang dulang JonaLive, dalawang pinag-isang MonoVlog na isinulat ni Bucoy. Ang pagpasok ng iskrip sa artikulo ay mahalaga upang mas lalong maintindihan ang aspektong dramatiko (o monologo) at aspektong vlog ng porma.

This study looks into the nuanced interaction between AI-driven autonomy and animator control within digital animation, a domain witnessing rapid technological advancements. Focusing on the AI-rendering techniques demonstrated in the works of Mick Mahler, with his explicit permission, we explore the balance of creative expression and automated efficiency in producing high-quality animations. The research critically evaluates the effectiveness and artistic fidelity of AI-assisted processes in animation, using Mahler's innovative methods as a case study. It proposes a novel framework for incorporating AI in animation workflows, emphasizing enhancement of the animator's creative agency. The methodology includes a qualitative analysis of animations rendered with AI, a quantitative comparison to traditional methods, and experimental application of the proposed framework in animation projects. By bridging the gap between the technical prowess of AI and the creative vision of animators, this study seeks to enrich the toolkit of digital animators, fostering a collaborative relationship between advanced technology and artistic creativity.

Der Beitrag beschäftigt sich mit der Frage, inwiefern performative digitale Musikpraktiken als Grundlage für körperlich-ästhetische Erfahrungen in musikalischen Bildungsangeboten dienen können. Dazu wurden exemplarisch Videoaufzeichnungen künstlerischer Live-Performancepraktiken näher untersucht, in denen Musikapps zur Musikhervorbringung genutzt werden, wobei der Fokus vor allem auf der Betrachtung der Spielbewegungen der Performer*innen lag.

Defining cyberformance as an emergent kind of art is the object of this paper. Cyberformance is developed through the Internet using digital technologies, like the computer, a narrower category than digital performance, that is defined for taking place through any digital means. Cyberformance happens live, in cyberspace-be it in a chat room or a MUVE (Multi User Virtual Environment)-and its performers and audience are distributed physically, sometimes around the globe, developing a form of telepresence. It is risky, deals with post-modern subjects and it is liminal in its experimentation. Cyberformance uses different sources but is mainly dependent on the computer and tends to never be finished and, so, to be an open work in Humberto Eco's (1962) sense. To define it, we work within a hybrid paradigm of theatre and performance happening in cyberspace. Certain cases-from performance using mainly text to performance using wearables and game consoles-and some ongoing projects will be evoked, notably the ones by the author of the term cyberformance, Helen Varley Jamieson as well as Cochrane and Valverde's Senses Places, a mixed reality performance using Second Life, with which the researcher has been collaborating. These experiments at the verge of the physical or actual world and the virtual one go beyond the purposes of art, creating new tools for Human Computer Interaction (HCI) and promising new and more corporeal ways of distributed communication.
Gomes, C. 2016. Cyberformance – Performance art as a bridge between the actual and the virtual. In Current Audiovisual Productions (pp.167-186). Coord. Terceño, José Rodrigues. Florida: Journal of Alternative Perspectives of Social Sciences
ISBN: 978-1-312-18803-7

Czeskie twórczynie Zden Brungot Svíteková i Tereza Ondrová pracują z "granicami wyobraźni środowiskowej", proponując choreograficzne i somatyczne narzędzia nawiązywania relacji z otoczeniem ak ucieleśnić ruch skał, który jest niewidoczny dla oka, a w dodatku dzieje się każdorazowo przez miliardy lat? Choreograficzne ćwiczenia i partytury bazują na ucieleśnionej wyobraźni: jak mogę poczuć taki niemożliwy do zaobserwowania ruch w moim ciele? Jak zrytmizować go z biciem serca i połączyć z siłami grawitacji? Może spotkanie ciała skały z moim ciałem pozwoli mi lepiej zrozumieć głęboki czas, a przez to fizyczną historię Ziemi zapisaną w miejscu, którego dotykam? Albo rzekę? W praktykach somatycznych, w ich relacji z wyobraźnią nie ma mowy o wirtuozerii. Liczy się otwarcie, słuchanie, zestrajanie się z otoczeniem. Skała Zden Brungot Svíteková, choreografka i tancerka, w ramach projektu badawczego "Geology of Choreografie skał, geologia tańca | Teatr | Dwutygodnik https://www.dwutygodnik.com/artykul/11368-choreografie-skal-geologi...

The Justice Syndicate is an interactive performance, featuring an audience who take on the role of jurors considering a difficult case. Participants receive evidence, witness testimonies and prompts to vote and discuss the case on iPads. With this practice-as-research project we sought to explore what are the most effective means of inviting people to participate; how to widen their "horizon of participation"; how to increase the intensity of interaction in order to increase the level of "agentive behaviour" of the participants; and how to create a sense of flow in participants. We found that an effective solution to the fear of experiencing or causing embarrassment is for the invitation to participate to come from a machine and for there to be no distinction between "audience" and "participants." The use of machines to stimulate interaction in the absence of live performers also proved an effective way of stimulating a high intensity of "agentive behaviour" among audience members, although it did not automatically lead to a greater feeling of agency. Applying an adapted version of Lindinger and colleagues' (2013) codification of how to stimulate a state of flow in audience members also proved effective in creating a highly immersive experience.

This report outlines the research methodology, research imperatives and process used in the development of the multi-user interactive installation "Sensuous Geographies". A collaboration between composer Alistair MacDonald and choreographer Sarah Rubidge, this installation explored the sensuous geographies inherent in this immersive sonic environment.

This co-authored paper is a reflection on our collective and individual experiences creating and performing in dist[Sense], a virtual performance experience for one audience-participant and one performer-participant to be present together in a single Zoom box. dist[Sense] was created as a reaction to global stay-at-home orders and a widely shared sense of isolation and need for human connection during the summer of 2020. Using Zoom Telematics, dist[Sense] created a shared virtual space in which the performer-participant and audience-participant could be copresent. Through writing this performance reflection, we (the creative team) have wrestled with our own definitions of presence. What does it mean to be both materially alone and virtually together? Can we really achieve shared meaning with another? Or is the experience of mutual understanding a projection of our thoughts and desires? Although these questions exist in Face-to-Face interactions, the virtual shared space of dist[Sense] brought their urgency to the forefront. In dist[Sense], the medium became the message: the medium of Zoom became the meaning we learned about-how to connect in virtual space. Through the creation and performance of dist[Sense], we each found our own way to be present and find connection in a time of mass isolation.

In digital performance, video and sound technologies are frequently used to establish simultaneous presences of performers and their non-material counterparts. From the early explorations of closed circuit television by artists such as Dan Graham and Bruce Nauman to the advanced digital sound and video synthesis by contemporary groups like Blast Theory and the Chameleons Group, the use of technological means to multiply performers' presence has been an important strategy to thematize issues of the subject's embodiment and consciousness. The combination of 'live' and 'mediated' presence in performance has been discussed by theorists such as Philip Auslander and Steve Dixon. Whilst Auslander discusses the tension between the 'live' and the 'mediated' presence of performers, and argues how this opposition tends to contract in people's perception in present day's mediatized culture, Dixon suggests that, in digital performance, a simultaneously present 'mediated' performer may be considered as a 'digital double'. Dixon identifies Artaud's The Theatre and its Double as the primary cue for his concept of the digital double and describes Artaud's notion of the double as 'theatre's true and magical self' (2007: 241). In a letter to his publisher, Artaud concisely, and in an equally mysterious manner, described the theatre's double as 'reality untouched by the men of today' (1989: 87-8). Possibly giving somewhat more insight into his understanding of the concept, Artaud's call for a 'Theatre of Cruelty' proposes a cruel, violent attitude to performance. Not in a literal, physical sense, but in an endeavour to confront audiences with uncomfortable realities of life (theatre's double) and remind them of the fact that '[w]e are not free. And the sky can still fall on our heads' (1958: 79).

This article proposes to address the tension between digital co-presence and embodied spectatorship inaugurated by the pivot to online and hybrid forms of (post-)pandemic performance through the lens of the postdigital. The term is developed as a way of accounting for the complex mediatized co-presence between performer and audience in a representative example of this genre, Dead Centre's To Be a Machine (Version .). As its theoretical framework, the article brings together the concept of 'postdigital performance' (Causey) with co-presence as a central element of liveness and spectatorship. It puts forth the hypothesis that To Be a Machine (Version .) constructs a postdigital sense of co-presence that is characterized by a blurring of the lines between embodied and virtual spectatorship, temporal co-presence and real-time interaction with the remote audience, and an increased sense of emotional alignment with the remote audience in lieu of physical proximity. The COVID--related closures of theatres and performance spaces, which led to a watershed of innovative approaches to theatre-making in the past three years, have reinvigorated long-standing debates surrounding the ontology of spectatorship and liveness in theatre and performance studies. Originally born out of necessity, shows produced during this time soon developed increasingly complex setups with regard to mediatization and new possibilities of audience participation. The pandemic threw into sharp relief the need to find alternative ways of keeping audiences engaged in performances in the absence of physical co-presence. In her recent monograph Theater of Lockdown, Barbara Fuchs outlines some of the strategies employed by theatre-makers 'desperately attempt[ing] to figure out how to connect with their audiences' that ranged from scaling down and shortening productions to counter 'Zoom fatigue' to productions that 'explored the tactile, the intimate, the miniaturized'. 1 Noting that 'the effects of the COVID- pandemic hurriedly dissolved [the] fundamental fabric' of theatre, Paul Sermon et al. discuss 'telepresence stage techniques' 2 developed during this time, contextualizing them historically with regard to earlier forms of digital performance.

This article proposes to address the tension between digital co-presence and embodied spectatorship inaugurated by the pivot to online and hybrid forms of (post-)pandemic performance through the lens of the postdigital. The term is developed as a way of accounting for the complex mediatized co-presence between performer and audience in a representative example of this genre, Dead Centre's To Be a Machine (Version 1.0). As its theoretical framework, the article brings together the concept of ‘postdigital performance’ (Causey) with co-presence as a central element of liveness and spectatorship. It puts forth the hypothesis that To Be a Machine (Version 1.0) constructs a postdigital sense of co-presence that is characterized by a blurring of the lines between embodied and virtual spectatorship, temporal co-presence and real-time interaction with the remote audience, and an increased sense of emotional alignment with the remote audience in lieu of physical proximity.

En el marco de las manifestaciones ciudadanas asociada al Paro Nacional de Colombia, entre abril y junio de 2021, muchas propuestas artísticas resultaron significativas en la interacción social, física y digital. Algunas de estas muestran nuevos matices de la relación arte y sociedad, y permiten entrever cómo desde el arte se puede generar resistencia. Una de ellas, es la propuesta tipográfica y de cartelismo impulsada por la artista Natalia Calao, “Todo está muy paro”, en la cual retomó códigos del artista recientemente extinto Antonio Caro. En ella, cada día del paro dejaba una inscripción que se acomodaba a la estructura de la famosa obra de Caro, “Todo está muy Caro”. Los esquemas de creación de la obra, sus derivas en redes y su manera de llegar a la calle sirven para reflexionar como el arte puede, en una sociedad digital, allegar nuevos horizontes de interacción con la ciudadanía. Este trabajo revisa el marco de antecedentes estéticos de la obra y algunos fenómenos que se die...

This article focuses on the working conditions-including everything from the terms of employment to the rehearsal situation-of freelance dancers and of dancers within companies. 1 My experience both as a freelance dancer and as a rehearsal director for ballet (repertoire) companies-with more stable institutional structures and dancers on longer contracts-will serve as a point of departure. I hope to uncover some procedures and methods in these different regimes and discuss how they might bear upon the future for dance as an arts field.

In Romania, sociological investigations on theatre are mere illusions that drift further and further away into the sky. In the last 30 years, a few theatres commissioned surveys to measure, as best as they could, the structure and the preferences of their own audience, over shorter (in the case of the 2003 first survey draft at Odeon Theatre, the research lasted no more than one weekend) or longer spans of time (in 2015, at Nottara Theatre, IMAS conducted a survey during a month; the survey applied at the Bucharest National Theatre in 2013 remained a legend, or a rumour rather, as the management treated it with mysterious silence). This paper tries to follow the intentions and the destiny of the researches and surveys dedicated to the theatre sociology by Pavel Câmpeanu and his small team between 1968-1974.

The last fifty years of theatre have put us closer to one of the most spectacular facts of this art: every generation of theatre makers managed – we do not know if programmatically – to build its own repertoire based on its own reality. In other words, every new wave of stage directors claimed that the dramatic authors define a new formula for the stage text and the reverse. This new reality also acted on a revisiting of the classical text or of the modern text deemed classical.

The author discusses the Dictionary of Contemporary Dance (2022) reconstructing its structure and the main thematic areas. She refers to the metaphor of the rhizome book by Gilles Deleuze and Félix Guattari, activating it both in the context of the dictionary's shape and dramaturgy, and in relation to contemporary dance as a field of performative arts characterized by heterogeneity and multiplicity. The main focus of the article is on the absence of the history of non-normative bodies and the work of artists with disabilities; the author critically examines this omission. Another strongly emphasized theme in the article is the connections between contemporary dance and phenomena such as orientalism and cultural imperialism. The aim of the article is, on one hand, to highlight the importance of the dictionary as a publication strengthening the autonomy of dance and choreography in Poland, and on the other hand, to expand the stories presented therein by reflecting on the mechanisms of exclusion and appropriation.

This report outlines the research methodology, research imperatives and process used in the development of the multi-user interactive installation "Sensuous Geographies". A collaboration between composer Alistair MacDonald and choreographer Sarah Rubidge, this installation explored the sensuous geographies inherent in this immersive sonic environment.

From this last stage he climbs again to the starting point." (Diderot 1770; as cited in Wilson 1961). This is indeed an overwhelming act of acting and has often become a starting point for questioning the emotional conditioning, the "sensibilité" of actors. In the 20th century-from Konstantin Stanislavski's theoretical writings and practical approaches at the Moscow Art Theatre through Lee Strasberg, who commented that Diderot's analysis "has remained to this day the most significant attempt to deal with the problem of acting" (Strasberg 2012), or Bertolt Brecht, Jerzy Grotowski, Eugenio Barba, Sanford Meisner and many others-countless theories and practical approaches have referred to Diderot and his question about how actors can best perform an emotional scene in order to be credible, convincing, persuasive and truthful. But how is credibility or "truth" to be measured and compared when talking about artificially produced emotions or rather deliberately produced emotional facial expressions? Does digital technology help or hinder distinguishing real from fake faces? "Tears of Truth", an offshoot of the "Actor & Avatar" project, was conceived to systematically examine crying, blushing and other facial signals forming part of emotional expression from the perspective of production aesthetics. The aim was to develop a framework and extensive database in order to examine production mechanisms in professional acting and their underlying determinants. A close cooperation between several disciplinesacting, theatre studies, psychology and computer science-was started to investigate the production and reception of complex emotions like crying and blushing because of their cultural-historical importance. Actors' access to and execution of emotional scenes are highly individual, making comparison a challenge, especially if we miss the opportunity to measure the emotion and ask about the subjective experience. Central in this investigation would be the expertise of professional actresses and actors. They would perform typical emotional states on a scale of increasing emotional intensity: joy, sadness, fear, anger and disgust, but also shame, pride, relief, as well as surprise, interest, pleasure, awe, triumph, and compassion, everything in fine gradation and convincing appearance. The coupling of theoretical, neuropsychological and practical expertise could help to better understand how professional actors perform a role and express feelings "on demand". "The mark of a good actor or actress is indeed the ability to cry on command" (Nochlin 2004). An investigation on facial expressions-both performed live and reproduced digitally-would help to model emotions along stringent "TEARS OF TRUTH"

Το βιβλίο Ψηφιακό Θέατρο: η δημιουργία και η σημασία των πολυμεσικών παραστάσεων (ΗΠΑ & Ηνωμένο Βασίλειο 1990-2020) της Nadja Masura αποτελεί μια σημαντική συνεισφορά στην έρευνα και τη μελέτη του ψηφιακού θεάτρου, εξετάζοντας εμπεριστατωμένα την επίδραση των ψηφιακών τεχνολογιών στην αναπαράσταση της πραγματικότητας και την αλληλεπίδραση μεταξύ θεατή και παράστασης. Υπό την επιστημονική επιμέλεια της Μαρίας Κλαδάκη και του Κωνσταντίνου Μαστροθανάση για την ελληνική γλώσσα, διερευνάται η ενσωμάτωση των ψηφιακών και αναδυόμενων τεχνολογιών σε θεατρικές και πολυμεσικές παραστάσεις, αναδεικνύοντας την επίδραση της τεχνολογικής διαμεσολάβησης στη σκηνογραφία, την υποκριτική, τη συγγραφή και στην ουσία της ζωντανής παράστασης. Μέσα από μελέτες περίπτωσης εξετάζεται η σύνδεση μεταξύ ψηφιακών και φυσικών στοιχείων στο θέατρο, με στόχο να εξοικειώσει τους αναγνώστες με καινοτόμες τεχνικές και σύγχρονες πρακτικές. Το πρωτοποριακό αυτό έργο πραγματεύεται μια ολοκληρωμένη σειρά θεμάτων που αφορούν στις παραστατικές τέχνες την ψηφιακή εποχή, συγκροτώντας ένα θεμελιώδες βοήθημα για ακαδημαϊκούς, επαγγελματίες, σπουδαστές και λάτρεις του χώρου. Παράλληλα το έργο εμπλουτίζεται και το πρώτο γλωσσάρι εννοιών και όρων του ψηφιακού θεάτρου, το οποίο συντάχθηκε από τους επιμελητές της έκδοσης για την ενίσχυση της επικοινωνίας και της κατανόησης στον ελληνικό πολιτιστικό χώρο.

Columbia * Figure 1: Eye movement without any skin deformation looks unrealistic (a). Our model interactively computes skin deformation introducing realism in eye movements (b). After training the model on one actor (c), it can be used to transfer expressions to other characters (d). Wrinkles can be added using our model to produce realistic deformation (e). We also developed a real-time application that generates deformation at an interactive rate for user controlled gaze (f).

6 3.3 Human-centered concepts in digital dance literature A. From frozen to live media B. Body incorporates the technology: Metaphysical Extension C. Body and technology "in dialogue"? 3.4 Conclusion CHAPTER 4. Technological performance in staged digital dance 4.0 Introduction 4.1 From quantity to quality: The effectiveness of technological performance 4.2 Establishing evaluative criteria of technological performance for digital dance 4.3 Analyzing technological performance in digital dance A. Quantification of technological performance B. Qualitative dimensions of technological performance 4.4 Discussion of the framework of technological performance 4.5 Conclusion CHAPTER 5.

Muzyka baletowa w polskiej refleksji teoretycznej i muzykologicznej jawi się jak uboga krewna, a ta, która tworzona była przez kobiety-to czysta kartka 1. Aby chociaż w minimalnym stopniu ją zapisać, postanowiłem przyjrzeć się polskim kompozytorkom XX i XXI wieku. Ze względu na szeroki zakres problematyki, na początku zamierzam podjąć badania dotyczące kwestii ilościowych, innymi słowy-spróbować ustalić, które polskie 205

Figure 1: This paper investigates the perception of different emotions in reenacted portrait videos. Using a modified state-of-the-art technique that operates on the uv maps (b) of the manipulated meshes, we alter the facial expression of an input video (a) to display happiness (c), disbelief (d), positive surprise (e) and disgust (f).

Abordo desde la praxis artística sesgos e interferencias detectados como emergentes en la relación entre cuerpos y tecnologías. Abordo la reducción de singularidad efectuada por la biodata, los recortes de
experiencia y la “aceptación suave” de la tecnología a partir de las reflexiones de artistas pioneros en sistemas interactivos como David Rockeby y Mark Coniglio. Algunas tácticas de resistencia asoman como vías de emancipación tecnocultural en las que se incluye el vector humanista del teatro sagrado. En consonancia, mi serie de obras performáticas Arquemáquinas, recuperan la noción del “ser íntegro” amplificando el
potencial de la transdisciplinariedad.

Art of (un) famous women. Set designer Aniela Wojciechowska in the light of unique historic collection of the Alfons Parczewski Pedagogical Library in Kalisz The article is and attempt to get acquainted with the creative output of Aniela Wojciechowska, Polish set designer. Material traces related to Wojciechowska are kept, among others, in the special collections of the Alfons Parczewski Pedagogical Library in Kalisz. These materials, donated to the library by Fr. Andrzej Gładysz, became part of the legacy of the Wiłkomirski family collection. Aniela Wojciechowska was the daughter of Kazimierz Wiłkomirski (1900-1995), a world-famous musician, cellist, conductor, composer and teacher. Her work as a set designer remains mostly forgotten.

Books included in this cutting-edge series centre on global and embodied approaches to performance and technology. As well as focussing on digital performance and art, books in the series also include the theoretical and historical context relevant to these practices. The series offers fresh artistic and theoretical perspectives on this exciting and growing area of contemporary performance practice, and includes contributors from a wide range of international locations working within this varied discipline. Titles in the series will include edited collections and monographs on issues including (but not limited to): identity and live art; intimacy and engagement with technology; biotechnology and artistic practices; technology, architecture and performance; performance, gender and technology; and space and performance.

This document is the author's post-print version, incorporating any revisions agreed during the peer-review process. Some differences between the published version and this version may remain and you are advised to consult the published version if you wish to cite from it.

Technology in the animation industry has evolved significantly over the past decade. The tools to create animation are becoming more intuitive to use. Animators now spend more time on the artistic quality of their work than wasting time figuring out how to use the software that they rely on. However, one particular tool that is still unintuitive for animators is the motion graph editor. A motion graph editor is a tool to manipulate the interpolation of the movements generated by the software. Although the motion graph editor contains a lot of options to control the outcome of the animation, the emotional rhythm of the movements desired by the animator still depends on the animator's skill, which requires a very steep learning curve. More often than not, animators had to resort to trial and error methods to achieve good results. This inevitably leads to slow productivity, susceptible to mistakes, and waste of resources. This research will study the connection between the motion graph profile and the emotions they portray in movements. The findings will hopefully be able to provide animators reference materials to achieve the emotional animation they need with less effort.

Introducción: Un uso positivo de internet y de los medios sociales, aprovechando sus oportunidades o afrontando sus peligros, requiere de habilidades digitales. La mediación parental es considerada como un factor crítico para que los adolescentes adquieran estos conocimientos y habilidades digitales, adoptándolos en su comportamiento cotidiano. Metodología: Este artículo examina las relaciones entre las diferentes formas de mediación parental reportadas por los adolescentes, por un lado, y sus competencias digitales y desempeño, por otro. A partir de los datos de una encuesta a una muestra representativa de 524 alumnos matriculados en Educación Secundaria Obligatoria (12-16 años) de la Comunidad de Madrid (España) con dos estudios de regresión lineal jerárquica por pasos. Resultados: El análisis mostró que tanto la mediación parental restrictiva como la mediación parental orientada hacia el bienestar de los menores impactan, aunque de forma débil, en las competencias online de los a...

The emergent research project explores mediated realities and mnemonic structures by examining the modality of performative engagement through raumfindung (felt-presence), in an attempt to originate composition strategies and ordination opportunities for the creation of 'amplified somatosensory environments'. The research promotes a synergistic relationship between space, time and perception, and throughout the investigation, the paper aims to advance a theory of PhaseSpace, a theoretical model for exploring the polarity of estrangement and niche environments. The project is an international collaboration between Estranged Space, a spatiodynamic research group co-founded