Materials vs Content in Digitally Mediated Performace
by Mark Coniglio

p.81
Instead, theatrical lighting technology has developed to the point where it is most often used to suport the narrative moood of a performance, and its presence as a technology is not questioned a priori.

p.82
Mr Rockwell is quite correct: I have absolutely no faith that the technology (the visuals and interaction) will provide enough meaning to communicate the themes in which we are interested.

Saira Virous; Game Choreography in Multiplayer online performance spaces
by Johannes Birringer

p.43
… thus involving cognitive and sensorimotor processes that are active in any engagement of spaces that can be heard, felt and intuited with our bodily intelligence.

p.45
What emerges here is a new composite form of human-machinic performance as the streaming media is produced by physical action.

p.47
[the title is worth to reconsider, the myth of interactivity]

The world has not become a better, more democratic place, participatory design is rare, and interactive art has not necessarily made the ‘user’ a co-author nor allowed the user-player the kind of active role and freedom of expression that is implied in an interactive exchange involving autonomous development.

the myth of participation

p.51
Many of our discussions at the festival focused on the relationship between games, play, ritual, fun and learning.

p.52
Thus we could almost argue that we ‘wear’ the filmic-projected textures differently, that we touch and sense the video images with our whole body.

p.56
It is crucial to recognise that live performance, unlike synthetic computer-generated environments, brings corporeality as real physical location

Truth-Seeker’s Allowance: Digitising Artaud
by Steve Dixon

[the problematic concept of the truth. what is truth?]

p.21
practicing multimedia truth-theater [this subtitle deal with dualities and the dividual concepts]

As I recall, neither did we the performers; the notion of truth was not fundamental at the time and I must confess it has only now occured to me, several years later.

Our use of the actor on stage and the double on screen, the performers acting with and against themselves at worst offers the actor two bites of the cherry, and at best opens the possibilities of some synergetic alchemy which might approach this notion of flame-licked delirium.

p.23
The use of technology in creating the projection enables each actor (in video recording) to reach a point of acting truth through focussed preparation and multiple takes where they concentrate on only one outcome – a moment of horror – rather than the many and varied ones required in the course of a live performance.

… ‘dramatic illusion is never . . . the illusion of reality; it is always imaginative illusion’ (1936: 166 Allardyce Nicoll, Film and Theater)

Nicoll’s ‘ideas are interesting in contrasting film as ‘truthful’, ‘complex’, and ‘real’ with the falsity, simplicity, and illusion of theater.

p.24
media projections do not enhance the intellectual power or visual spectacle of theatre, rather their technological intrusion is alien; the two forms are aesthetic enemies. [see S. Sontag, 1966]

A commonplace of discussion has it that film and theatre are distinct and even antithetical arts, each giving rise to its own standards of judgement and canons of form. (1966: 24 [‘Film and Theater’, TDR; Tulane Drama Review Vol. 2, no. 1: 24-37])

p.25
[screen imagery (inner) - live actor (outer)]
In his ‘theater of the future’ the live actor would thus represent the character’s outer self and the screen imagery the inner world of imagination, subconscious, and dream: ‘the two worlds that together make up the world we live in’.

At the all root of all living is a conscious of our essential duality. … The stage used objectively, the screen used subjectively … [the schizophrenic] The simultaneous expression of the two sides of our nature is an exact parallel to our life process. We are living in two worlds at the same time – an outer world of actually and an inner world of vision.

p.26
Breton positions surrealism ideologically as ‘a belief in the superior reality of certain forms of association hitherto neglected, in the omnipotence of the dream, in the disinterested play of thought’, …

p.29
…, the insult was a forceful means ‘to explode the social order . . . We exalted passion, mystification, black humour, the insult and the call to the abyss’

… the truth that may me enshrined in some sublime aesthetic image.

p.30
For Nietzsche, the distinctions between ‘appearance’ and ‘reality’ expounded by both Platonism and science constituted a false and hardened ‘mythology’ of dualisms (…), whereas in his view there was only one world, the world we find around us. … for a synthesis where the two elements – stage and screen – are not Platonic or scientific dualisms, but make up a new ‘one world’ of conjoined ‘mobile metaphors’ capable of expressing nothing more, and nothing less, than truth.

p.1
Duration is difference, the inevitable force of differentiation and elaboration, which is also another name for becoming.
- Grosz(2000)

p.2
note for Deleuzian logics
1. virtual philosophy, logic of sense is a matter of an ‘immaterial becoming.’
2. logic of becoming is a matter of the production ‘of beings.’
ans these two logics are in the chain of continuity and discontinuity.
for more information about the virtuality in Deleuzian immanence, see Zizek’s Organs without Bodies.
in Zizek’s book, ‘… a virtual spacetime progressively differentiates itself into actual discontinuous spatio-temporal structures’ (p.122)

p.3
… A Deleuzian logic of (performance productive) becoming would seem to involve, for an expert practitioner, processes allowing the ‘progressive differentiat[ion]‘ from ‘a continuous virtual spacetime’ (e.g. ‘devising’), on the basis of which ‘actual discontinuous spatio-temporal structures’ are arrived at, however temporarily.

… a momentary instantiation (Knorr, 2001), …

p.4
Far from swiftly achieving ‘fit’ (itself a matter measure), that emergent new performance material might well require, of the ‘plane of immanence‘ (Deleuze and Guattari, 1994) specific to the discipline (e.g. ‘new dance’, and what makes it ‘dance’), that it maintain its disciplinary identity, while expanding to accommodate the new.
[immanence(내재, 편재) <--> transcendence; the guality of being able to go beyond normal limits and boundaries.]

p.6
Now, ‘targeting’, ‘drawing’, and ‘holding’, metaphorical though these terms are here, tend to be a matter of time and timing. There is no visual ‘focus’, in the performance event, which is not time-gorverned. Its measure is bound up in its capacity to capture and to maintain attention over time where a ‘per-formance event’ is concerned.

[subtitle, 'Timely reconfiguration" is concerned on the three factor, the targeting, drawing and holding.]
Performance tends to evoke, rather more than to ‘represent’; on this basis, there is something curious about whatever is identified, in the show, in terms of ‘the body’.

p.7
Certain uses of nouns and verbs have been described as ‘ontologising’, in the sense that they enable wiriters to assert being, while believing that they are merely describing what already exists.

p.10
The term is a carrier. It is historically relational; it signals a semiotic domain, rather than that simpler ‘meaning’ others might be tempted to attribute.

… it is matter and measure of expertise – which spectators readily recognize, but may lack the means to analyse as such. It is matter of signature (the dancer’s name signals a complex measure of expertise, artistry, and the potential for qualitative transformation).

p.12
Memory and perception are thus the two fundamental [time-specific] tendencies underlying our experience (Bergson)

‘experience is [an indivisible]”mixture” of memory and perception’