Weitere Kapitel dieses Buchs durch Wischen aufrufen
Wilson reveals the value of the podcast medium when rendered both as a mode of participatory performance, or performative audio, and as a research tool. The chapter shines new light on traditional podcast forms by considering examples that operate at the fringes of the medium. Using his own creation, Wandercast, as a model—in comparison with other notable examples—Wilson explores how performative podcasts employ the portability and aural intimacy of the medium to invite dynamic interaction between listener and environment. When listeners engage with these artworks, Wilson argues, new modes of perceiving, performing, and being can result. Wilson’s analysis uses ecological and phenomenological lenses in combination. Together, they foreground performative podcasts’ capacity to both exemplify perceptual processes and recalibrate listeners’ relationships with their environments.
Bitte loggen Sie sich ein, um Zugang zu diesem Inhalt zu erhalten
Sie möchten Zugang zu diesem Inhalt erhalten? Dann informieren Sie sich jetzt über unsere Produkte:
Banes, S., & Lepecki, A. ( 2012). The senses in performance. Hoboken: Taylor and Francis.
Bateson, G. ( 2000). Steps to an ecology of mind. Chicago: University of Chicago Press.
Bateson, G. (1979). Mind and nature: A necessary unity. New York: Dutton.
Bateson, G. (1991). In R. E. Donaldson (Ed.), A sacred unity: Further steps to an ecology of mind. New York: HarperCollins.
Bateson, G., & Bateson, M. C. (1987). ANGELS FEAR: Towards an epistemology of the sacred. New York: Macmillan.
Bateson, P. (2010). Theories of play. In P. Nathan & A. D. Pellegrini (Eds.), The Oxford handbook of the development of play. Oxford: Oxford University Press.
Bateson, P. (2015). Playfulness and creativity. Current Biology, 25(1), R12–R16. CrossRef
Berry, R. (2006). Will the iPod kill the radio star? Profiling podcasting as radio. Convergence, 12(2), 143–162. CrossRef
Bishop, C. (2006). Participation (documents of contemporary art). London/Cambridge, MA: Whitechapel Gallery/MIT.
Bishop, C. (2012). Artificial hells: Participatory art and the politics of spectatorship. London: Verso.
Bishop, S. R., et al. (2004). Mindfulness: A proposed operational definition. Clinical Psychology: Science and Practice, 11(3), 230–241.
Bogost, I. (2016). Play anything: The pleasure of limits, the uses of boredom, and the secret of games. New York: Basic Books.
Bottomley, A. J. (2015). Podcasting, Welcome to Night Vale, and the revival of radio drama. Journal of Radio & Audio Media, 22(2), 179–189. CrossRef
Cazeaux, C. (2005). Phenomenology and radio drama. The British Journal of Aesthetics, 45(2), 157–174. CrossRef
Double, O. (2017). Introduction: What is popular performance? In A. Ainsworth, O. Double, & L. Peacock (Eds.), Popular performance (pp. 1–30). London: Bloomsbury Methuen Drama.
Gibson, J. J. (1966). The senses considered as perceptual systems. Boston: Houghton Mifflin.
Hanh, T. N. (1976). The miracle of mindfulness: A manual on meditation. Boston: Beacon Press.
Home-Cook, G. (2015). Theatre and aural attention: Stretching ourselves. Basingstoke: Palgrave Macmillan. CrossRef
Jenkins, H., & Deuze, M. (2008). Convergence culture. Convergence: The International Journal of Research into New Media Technologies, 14(1), 5–12. CrossRef
Kaye, N. (2000). Site-specific art: Performance, place and documentation. London: Routledge.
Kershaw, B. (2015). Performed by ecologies: How Homo sapiens could subvert present-day futures. Performing Ethos: International Journal of Ethics in Theatre & Performance, 4(2), 113–134. CrossRef
Kershaw, B. (2007). Theatre ecology: Environments and performance events. Cambridge: Cambridge University Press.
Lester, S., & Russell, W. (2008). Play for a change summary report. London: National Children’s Bureau.
Linked. (n.d.). Available from: http://www.linkedm11.net/index2.html. Accessed 24 Mar 2017.
Manovich, L. (2009). The practice of everyday (media) life: From mass consumption to mass cultural production? Critical Inquiry, 35(2), 319–331. CrossRef
Markman, K. M. (2015). Considerations – Reflections and future research. Everything old is new again: Podcasting as radio’s revival. Journal of Radio & Audio Media, 22(2), 240–243. CrossRef
McHugh, S. (2016). How podcasting is changing the audio storytelling genre. Radio Journal: International Studies in Broadcast & Audio Media, 14(1), 65–82.
Merleau-Ponty, M. ( 2012). The Phenomenology of Perception (trans: Landes, D. A.). Abingdon: Routledge.
Miller, G. (2005). Walking the walk, talking the talk: Re-imagining the urban landscape. New Theatre Quarterly, 21(2), 161–165. CrossRef
Mowlah, Andrew, et al. (2014). The value of arts and culture to people and society: An evidence review. Arts Council England [Online], Available from: http://www.artscouncil.org.uk/sites/default/files/download-file/Value_arts_culture_evidence_review.pdf. Accessed 20 Mar 2017.
Museum of Walking. (n.d.). Sound Walk Sunday. Available from: http://www.museumofwalking.org.uk/events/sound-walk-sunday/. Accessed 14 Aug 2017.
Myers, M. (2011). Vocal landscaping: The theatre of sound in audiowalks. In L. Kendrick & D. Roesner (Eds.), Theatre noise: The sound of performance (pp. 70–81). Newcastle Upon Tyne, Cambridge Scholars.
Nelson, R. (2013). Practice as research in the arts principles, protocols, pedagogies, resistances. Basingstoke: Palgrave Macmillan. CrossRef
Noë, A. (2004). Action in perception. Cambridge, MA: MIT Press.
Ong, W. J. ( 2002). Orality and literacy. New York: Routledge.
Pearson, M. (2010). Site-specific performance. Basingstoke: Palgrave Macmillan. CrossRef
Reason, M. (2017). Intrinsic and instrumental impacts in participatory arts. In N. Rowe & M. Reason (Eds.), Applied practice: evidence and impact in theatre, music and art (pp. 37–47). London: Bloomsbury Publishing.
Ritzer, G., & Jurgenson, N. (2010). Production, consumption, prosumption: The nature of capitalism in the age of the digital “prosumer”. Journal of consumer culture, 10(1), 13–36. CrossRef
Runco, M. A. (1996). Personal creativity: Definition and developmental issues. New Directions for Child and Adolescent Development, 72, 3–30. CrossRef
Runco, M. A., & Jaeger, G. J. (2012). The standard definition of creativity. Creativity Research Journal, 24(1), 92–96. CrossRef
Savage, J. (n.d.). A guide to getting lost. http://www.jenniesavage.co.uk/Guide to getting lost/guide to getting lost.html. Accessed 16 Feb 2015.
Schechner, R., & Brady, S. (2013). Performance studies an introduction (3rd ed.). London: Routledge.
Serres, M. (2008). The five senses: A philosophy of mingled bodies (trans: M. Sankey & P. Cowley). London: Continuum.
Shepherd, S., & Wallis, M. (2004). Drama/theatre/performance. London: Routledge.
Toffler, A. (1980). The third wave. New York: Bantam Books.
White, G. (2013). Audience participation in theatre aesthetics of the invitation. Basingstoke: Palgrave Macmillan. CrossRef
Wilkie, F. (2008). The production of “Site”: Site-specific theatre. In N. Holdsworth & M. Luckhurst (Eds.), The Blackwell companion to twentieth century British and Irish drama (pp. 87–106). Oxford: Blackwell.
- Welcome to the World of Wandercast: Podcast as Participatory Performance and Environmental Exploration
Robbie Z. Wilson
Best Practices für Web-Exzellenz im Online-Handel/© venimo | Fotolia