Uncanny Interactions

Dixon, Steve

doi:10.1080/13528160701363473

Cited by 2 publications

(1 citation statement)

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“…It also embraces the field of telematics, 2 which literally takes performance into a different realm altogether by bringing geographically distant performers and audience together in a shared virtual environment using blue-screen space, projections and videoconferencing technology (e.g. The Chameleons Group's Unheimlich [Dixon 2006;Fenemore 2007]). And it can also involve the application of motion-sensing software such as the EyeCon system, which uses an infrared light source and sensitive camera to project the performer's shadow alongside the performer herself, with varying degrees of orientation shifts and time-delay (e.g.…”

Section: Adding Dimensions: the Uses Of Digital Technology In Performmentioning

confidence: 99%

Depth‐charge in the archive: the documentation of performance revisited in the digital age

Allen

2010

Research in Dance Education

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The debate surrounding the documentation of performance is principally concerned with the ephemerality of the live event, set against the stasis and 'death' that the archive is conventionally believed to represent. The advent of digital technology in live performance has complexified this still further, by altering the architecture, space and dimensionality of the live event. Time-delay, live motion capture, feedback loops, dancing avatars and images projected in and onto the space all conspire to generate a liminal zone between the virtual and the real, fracturing audience perception and subverting still further the already-contested notion that performance can in any way be repeatable or 'captured'. Telematics and immersive/interactive environments, such as virtual reality, also complicate what the performance is and where it resides: here it becomes a personal exchange, in an intimate space generated afresh between the artist/performer and each spectator/participant. As our experience of performance becomes ever more personalised it reinforces the notion that multiple truths must emerge from any performance event and validates individual memory as a site for 'documents' to reside. Digital technology here comes to the fore as a documentation medium as well as a performance device: it allows us to upload, disseminate and share personal perspectives on a performance event and to challenge the limiting linearity of bound text and film, navigating dynamically between documentobjects and playfully (re)performing the documentation each time we visit it.

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Section: Adding Dimensions: the Uses Of Digital Technology In Performmentioning

confidence: 99%