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2017 | OriginalPaper | Chapter

2. Digital Performance and Creativity

Author : Susan Broadhurst

Published in: Digital Bodies

Publisher: Palgrave Macmillan UK

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Abstract

This chapter relates to ‘Methodological Innovation in Digital Arts and Social Sciences’, an interdisciplinary project funded by the ESRC. MIDAS was intended to synthesise approaches from the arts and social sciences and to develop innovative multi-modal methods of research. In looking at the performative element of the project, I highlight the role of technologically assisted creativity. The location for the performance element was at Brunel University. I discuss the resulting performance projects as exemplifying Gesamtkunstwerk, both in its Wagnerian connotation and in Antonin Artaud’s concept of ‘Total Theatre’. I would argue that the performances by means of their creative engagement can be seen as contemporary manifestations of this paradigm, providing their audiences with, in varying ways, multi-sensory and multi-layered experiences.

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Literature
Artaud, Antonin. 1958. The Theater and its Double, trans. Mary Caroline Richards. New York: Grove Press.
Broadhurst, Susan. 2007a. Digital Practices: Aesthetic and Neuroesthetic Approaches to Performance and Technology. London: Palgrave Macmillan.
———. 2007b. Digital Practices: An Aesthetic and Neuroesthetic Approach to Virtuality and Embodiment. Performance Research 11 (4): 137–147.
Broadhurst, Susan. 2012. Merleau-Ponty and Neuroaesthetics: Two Approaches to Performance and Technology. Digital Creativity 23 (3–4): 225–238.CrossRef
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Malgrave, Harry Francis, and Eleftherios Ikonomou (eds.). 1994. Empathy, Form and Space: Problems in German Aestethics 1873–1893. Santa Monica, CA: The Getty Centre for the History of Art and the Humanities.
Merleau-Ponty, Maurice. 1945. Phenomenology: Language and Society, 1974th ed. Portsmouth, New Hampshire: Heinemann.
———. 1962. Phenomenology of Perception, trans. Colin Smith. London: Routledge.
Roberts, David. 2011. The Total Work of Art in European Modernism. Cornell: Cornell University Press.CrossRef
Smith, Matthew Wilson. 2007. The Total Work of Art: From Bayreuth to Cyberspace. New York: Routledge.
Stelarc. 2014. Interrogating Embodiment, Aliveness & Agency in Digital Spaces. Midas Symposium and Performance, July 18.
Trahndorff, Karl Friedrich Eusebius. 1827. Aesthetik oder Lehre von der Weltanschauung und Kunst, vol. 2. Berlin: Maurer.
Wagner, Richard. 1993. The Art-Work of the Future and Other Works, 2nd ed., trans. William Ashton Ellis. Omaha, UP: University of Nebraska.
Wilson, Francis. 2014. Dissertation Publicity Statement, June.
Xambó, Anna. 2014. MIDAS ‘Digital Performance Fieldnotes’ (Unpublished).
Metadata
Title
Digital Performance and Creativity
Author
Susan Broadhurst
Copyright Year
2017
Book
Digital Bodies

Print ISBN: 978-1-349-95240-3

Electronic ISBN: 978-1-349-95241-0

Copyright Year: 2017

DOI
https://doi.org/10.1057/978-1-349-95241-0_2

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