Digital Theatre: A "Live" and Mediated Art Form Expanding Perceptions of Body, Place, and Community

This work discusses Digital Theatre, a type of performance which utilizes both "live" actors and co-present audiences along with digital media to create a hybrid art form revitalizing theatre for contemporary audiences. This work surveys a wide range of digital performances (with "live" and digital elements, limited interactivity/participation and spoken words) and identifies the group collectively as Digital Theatre, an art form with the flexibility and reach of digital data and the sense of community found in "live" theatre. I offer performance examples from Mark Reaney, David Saltz, Troika Ranch, Gertrude Stein Repertory Theatre, Flying Karamazov Brothers, Talking Birds, Yacov Sharir, Studio Z, George Coates Performance Group, and ArtGrid. (The technologies utilized in performances include: video-conferencing, media projection, MIDI control, motion capture, VR animation, and AI). Rather than looking at these productions as isolated events, I identify them as a movement and link the use of digital techniques to continuing theatrical tradition of utilizing new technologies on the stage. The work ties many of the aesthetic choices explored in theatrical past by the likes of Piscator, Svoboda, Craig, and in Bauhaus and Futurist movements. While it retains the essential qualities of public human connection and imaginative thought central to theatre, Digital Theatre can cause theatrical roles to merge as it extends the performer's body, expands our concept of place, and creates new models of global community

Central Washington University 2018-2019 Undergraduate Catalog

https://digitalcommons.cwu.edu/catalogs/1180/thumbnail.jp

Space, people, networks:exploring the relationship between built structures and seamless wireless communication infrastructures

In this thesis, I investigate wireless communication from an architectural perspective. I am using design prototypes to explore possibilities for interaction and designing with wirelessness in mind. The public primarily regards wireless networking technology as a technical infrastructure that should provide a seamless flow of information across a network of base stations, access points and mobile devices. From this perspective, wireless infrastructure is evaluated in terms of network availability and speed, and is continuously optimised. Researchers explored some other perspectives on wireless communication technology: they used computational spatial analysis to measure signal propagation in space. Some ethnographic studies explored its effect on the use of public space. Wireless connectivity was also explored through the philosophical framework of radical empiricism. All this points to the fact that wireless network infrastructure is a complex topic, spanning multiple fields of expertise and interest (engineering, architecture, urban studies but also sociology and philosophy). It is rarely explored from a plural perspective, as each study typically focuses on the one aspect within its expertise. I propose a more complex view of wireless connectivity, encompassing these different perspectives through an intellectual framework that is based on the notion of architecturality. Architecturality, a property common to all architecture but exceeding the limits of built artefacts, is a measure of the effect something has on the experience of space. Through the lens of the built environment, I expose the complex transactions that take place between networks, people and space. In order to evaluate architecturality of wireless communication signals, I conducted a series of practical design experiments, involving people and interactive installations, and using data gathered from mobile devices and wireless access points. The design of these experiments relies on the principles described by human-computer interaction (HCI) researchers as seamful design. Seamful design reveals underlying structures and relationships behind what appears as a utilitarian infrastructure. The design experiments contribute to the discussion on the use of design artefacts in practice-based research methodologies, thus challenging the different agents of knowledge production and the superiority of established research traditions. The insights gained from this complex examination of wireless networks are important for architectural design, as a way to account more adequately for signal propagation through buildings. The experience of internalising wireless networks in the process of design engenders a designerâs sensitivity towards the presence of wireless communications in space. This sensitivity, similar to the one we have for the distribution of natural and artificial lighting, will be needed in the ever more challenging design of the built environment. The sensible designer can account for, and envision, more dynamic environments that are able to accommodate change and information in completely new ways

BGSU 1980-1981 Undergraduate Catalog

Bowling Green State University undergraduate catalog for 1980-1981.https://scholarworks.bgsu.edu/catalogs/1021/thumbnail.jp

Social context of creativity

This thesis analyses the long-distance control of the environmentally-situated imagination, in both spatial and temporal dimensions. Central to the project is what I call the extended social brain hypothesis. Grounded in the Peircean conception of 'pragmaticism‘, this re-introduces technical intelligence to Dunbar‘s social brain—conceptually, through Clark‘s 'extended mind‘ philosophy, and materially, through Callon‘s 'actor–network theory‘. I claim that: There is no subjectivity without intersubjectivity. That is to say: as an evolutionary matter, it was necessary for the empathic capacities to evolve before the sense of self we identify as human could emerge. Intersubjectivity is critical to human communication, because of its role in interpreting intention. While the idea that human communication requires three levels of intentionality carries analytical weight, I argue that the inflationary trajectory is wrong as an evolutionary matter. The trend is instead towards increasing powers of individuation. The capacity for tool-use is emphasized less under the social brain hypothesis, but the importance of digital manipulation needs to be reasserted as part of a mature ontology. These claims are modulated to substantiate the work-maker, a socially situated (and embodied) creative agent who draws together Peircean notions of epistemology, phenomenology and oral performance