Body, Space and Technology

Before and since the pandemic, online virtual environments have emerged as critical sites for social and cultural experiences, facilitating conversations, creative projects, collective endeavours, and commercial exchanges. The rise of the Metaverse (Ball, 2021) represents a fundamental shift in today's digital presence. After Eva and Franco Mattes' historical happenings in Second Life, some recent hypermedia performances force a re-evaluation of the nature of performance, with a recontextualisation of the notions of reality, presence, community, and simulation. UX design reshapes and situates the emergence of 'metaverse-native' art in adjacent fields such as online 3D collaboration platforms: actual and perfect virtual stages.&amp;nbsp;&amp;nbsp;Since the mid-1990s, the user has increasingly been invited to live an unusual experience in which the physical and the digital merge. The noun 'user experience' refers to how people experience the encounter with a system. It extends traditional human-computer interaction design by addressing all aspects of the product or service as perceived by the user, increasing satisfaction and loyalty by improving usability. The UX classification system is based on the user's emotions, preferences, attitudes, and emotional responses (Hussain et al., 2021). Its dramaturgical importance in an online digital performance has yet to be recognised.&amp;nbsp;&amp;nbsp;This article proposes the analysis of three examples of digital performances (Dixon, 2007), in virtual 3D online environments, following the philosophy of User Experience Design, focusing on the perspectives and productions of Italian artists.Before and since the pandemic, online virtual environments have emerged as critical sites for social and cultural experiences, facilitating conversations, creative projects, collective endeavours, and commercial exchanges. The rise of the Metaverse (Ball, 2021) represents a fundamental shift in today's digital presence. After Eva and Franco Mattes' historical happenings in Second Life, some recent hypermedia performances force a re-evaluation of the nature of performance, with a recontextualisation of the notions of reality, presence, community, and simulation. UX design reshapes and situates the emergence of 'metaverse-native' art in adjacent fields such as online 3D collaboration platforms: actual and perfect virtual stages.&amp;nbsp;&amp;nbsp;Since the mid-1990s, the user has increasingly been invited to live an unusual experience in which the physical and the digital merge. The noun 'user experience' refers to how people experience the encounter with a system. It extends traditional human-computer interaction design by addressing all aspects of the product or service as perceived by the user, increasing satisfaction and loyalty by improving usability. The UX classification system is based on the user's emotions, preferences, attitudes, and emotional responses (Hussain et al., 2021). Its dramaturgical importance in an online digital performance has yet to be recognised.&amp;nbsp;&amp;nbsp;This article proposes the analysis of three examples of digital performances (Dixon, 2007), in virtual 3D online environments, following the philosophy of User Experience Design, focusing on the perspectives and productions of Italian artists.

Federica Patti

Body Space & Technology

The FIFTH WALL. On DIGITAL PERFORMANCE between USER EXPERIENCE DESIGN and the METAVERSE

第五堵墙：在用户体验设计与元宇宙之间的数字表演

This paper builds on my on-going research into the playwright’s role within the collaborative devising process, which includes questioning traditional pedagogical approaches to writing for the stage. In addition, it references the practical experience of developing and teaching modules focused on the craft of playmaking for the online Theatre Studies BA at Rose Bruford College of Theatre and Performance. Although there may appear to be a disconnection between encouraging playwrights to engage with collaborative theatre making and the mainly asynchronous nature of an online degree, where students often work in isolation, the core tenet of this ‘Perspectives’ piece is that all teaching of playwriting, regardless of whether it is online or not, needs to move beyond the traditional classroom/workshop approach.Whilst the pedagogical framework that sees students engage in text-based studies of scripts and books about writing cannot be entirely abandoned, students benefit from a more embodied approach, which reminds them that they are writing for a medium which communicates in a multi-faceted way and is negotiated in the moment, so that they gain a more holistic understanding of how a script might be interpreted in live performance. Drawing on both my practice as a playwright and dramaturg, and my work in online teaching, I argue that there is potential to treat the ‘Zoom room’ as workshop, where students can work together, improvise, and treat their screens as spaces for experimentation and performance. In addition, this more dynamic approach helps to prepare students for a rapidly evolving theatre ecology, which had embraced digital technology long before Covid-19 entered our lives. @font-face{font-family:Arial;panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}@font-face{font-family:Arial;panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin-top:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;line-height:115%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:Calibri;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}p.yiv1533337505msonormal, li.yiv1533337505msonormal, div.yiv1533337505msonormal{mso-style-name:yiv1533337505msonormal;mso-style-unhide:no;mso-margin-top-alt:auto;margin-right:0cm;mso-margin-bottom-alt:auto;margin-left:0cm;mso-pagination:widow-orphan;font-size:10.0pt;font-family:"Times New Roman";mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:Calibri;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}.MsoPapDefault{mso-style-type:export-only;margin-bottom:10.0pt;line-height:115%;}div.WordSection1{page:WordSection1;}

Karen Morash

Teaching Writing for Performance Online: Dynamic Approaches to the Online Workshop

在线写作教学：在线工作坊的动态方法

Link to performance: https://vimeo.com/640946914/cf858052e1This performance-lecture was originally presented at the DRHA (Digital Research in the Humanities and Arts) conference in 2021 in Berlin. 3BP (Paul Stapleton, Adam Pultz Melbye and John Bowers) presents three views on the creation of an online performance ecology that allows the trio to improvise together, despite living in three separate locations. Rather than trying to overcome the instabilities and artefacts introduced by the fluctuations in data transfer, 3BP describe how such properties become native to the trios understanding of its own practice, affording new areas of creative exploration and consideration. The trio draws on Karen Barad’s use of terms such as diffraction and apparatus to discuss how music-making and improvisation embedded in run-away technologies affords emergent behaviour that transcends reflection to allow for diverse and unstable non-linear performances.

Paul Stapleton

John Bowers

Adam Pultz Melbye

The Virtual is Material: Music Improvisation in Post-Digital Ecologies

虚拟即物质：后数字生态中的音乐即兴创作

This article presents findings from first-person accounts of shifting choreographic practice into mixed-reality environments. Dancing in/Dancing with the Digital, a transdisciplinary practice-based project exploring embodiment and movement in XR. In the research and design phases of the project, all authors kept reflective practice journals, which form the data for this auto-ethnographic and phenomenologically-driven reflexive practice analysis. We further support these perspectives by user-testing with professional dancers and the engineering students who developed the XR configurations. Through a kaleidoscope of perspectives, including dance, psychology, somatic practices, digital technologies, and design approaches, we explore embodied awareness and practice in existing and novel XR design. Themes discussed include elements of disorientation in digital environments and touch as a grounding point, the prospect of multimodal creative stimuli, complications of representation in digital spaces, and the digital-as-site for choreography.

Rebecca Weber

Joanna Cook

Choreographic Encounters in XR: Reflections on Dancing in/Dancing with the Digital

XR中的编舞邂逅：对在数字中舞蹈/与数字共舞的反思

This Perspective's paper focuses on the interdisciplinary, communal art project: Dello Scompiglio and one of its multi-layered, hybridised art projects presented&amp;nbsp; there, titled: Camera# 3 (Chamber 3). I visited both the project spaces and some of the external art projects including the one above during a visit to Lucca in June, 2021. The aim of the association is to offer to musicians, performers, installation artists and dancers the possibility to create their work in an outdoor environment and recreate this as a transmutation in the performance and exhibition spaces. I found the range of creative art topics covered, which are aimed at varying age groups, to be fascinating and very relevant to contemporary experimental and digital performance.

Sue Broadhurst

The Dello Scompiglio Project and Camera #3 (Chamber 3

德洛·斯康皮格里奥项目与第三摄影机（第三室）

In this article we will look at a practice-as-research collaboration between us Author A, Author B, Eddie Ladd and formerly Karoline Gritzner which explored the aesthetics of neo-medievalism through an intermedial dramaturgy and digital scenography. Currently the project has two forms, an intermedial theatrical version of Author A's radio play Our Lady of Shadows (broadcast on BBC Radio 3), which is a radical adaptation of Alfred Tennyson's famous poem, The Lady of Shalott and an augmented reality version of the radio play which also functions as its documentation. The work combines dramatic text, physical performance, digital scenography, painting, animation and music in an intermedial exploration of the tenuous pact between reality and imagination.In the first instance we will introduce the project and then we will explore how Karen Barad’s concept of ‘diffraction’ can form the basis of a dramaturgical approach as suggested by Vlad Butucea (2022) and analyse how it manifests itself in our practice-as-research. Even though Barad’s concept is an analytical methodology in her writing, we are wondering what a concept of a ‘diffractive dramaturgy’ would be like, one that is based on the interferences between layers of technology and live performance? As such we will attempt to present our research findings in the form of a manifesto for a ‘diffractive dramaturgy’. In the final section of the article, we will explore the wider cultural and political implications of this project by framing it through Katherine Hayles’ concept of the ‘posthuman’.

Piotr Woycicki

Lucy Gough

Title Pending 11209

标题待定11209

This paper looks at the new field of the critical posthuman disability studies and its potential to provide theoretical framework for critical theory’s engagement with modern technologies. How the concept of the bionic body affects representation of the disabled in contemporary culture and, in turn, how representation of the disabled body affects the changing boundaries of what is and what isn’t considered ‘human.’ Historically, the human body, as represented and defined on stage and in art, has maintained a strictly defined visual integrity. Anything not shaped as ‘human’ was typically deemed monstrous (from hybrid mythological creatures to severely disabled ‘elephant men’). Simultaneously, the category of ‘human’ was used to circumscribe the boundaries of belonging and the categories of valuation: some groups, including the disabled were deemed ‘sub-human’ and designated to either be disposed of (as the carrier of ‘life unworthy of life’) or, if possible, to approximate the ‘human’ body. (Romanska 2019: 92-93). Until very recently, the goal of the prosthetics industry was to create limbs that would serve as visual stand-ins for missing limbs. Similarly, the technological capacities of prosthetic limbs were delineated by human capacities: the disabled were to be given as much ‘abilities’ as the non-disabled, but no more. However, this perception of what the disabled body can and should do has changed with technological progress: not only do the newest prosthetics often look as ‘unhuman’ as possible, but their capacities put into question the capacities and limits of the non-disabled body. All of these and other issues that have emerged in recent years at the crossroads of posthumanism, disability, and biomimicry have led to the development of posthuman disability studies, which tries to untangle and reconceptualize the ethical, legal and philosophical boundaries of human enhancement, species belonging, life and death, and human rights. The posthuman biomimicry, and the prosthetic aspects of digital and AI technologies presupposes a form of disabling of the human body: body without any connection to some type of machine is an inferior body.&amp;nbsp;&amp;nbsp;In this context, understanding the historical dynamics, critical, philosophical, and ethical debates that have dominated disability studies can provide a framework to how we reconceptualize our posthuman, hybrid future in which our existence with the machines that redefine previous hierarchies is inevitable.&amp;nbsp;&amp;nbsp;

Magda Romanska

Title Pending 11480

标题待定11480

&amp;nbsp;The purpose of this article is to analyse how the concept of choreography developed in the post-digital era. The modern term choreography indicates the making process of a 'relational performance architecture' consisting of the hybridisation of kinaesthetic and mediatic presences (Birringer 2004). Accordingly, the paper aims to discuss recent the decline of digital performance based on the migration (Bishop 2018; Monda 2020) of the kinaesthetic experience in choreographic artifacts. By considering three artworks performed in the context of the DRHA Conference Exhibition 2023 – a demo in Extended Reality, a performance in Virtual Reality, and a digital installation with the application of Artificial Intelligence. The subject will be discussed, going through three definitions of choreography.&amp;nbsp; Firstly, choreography is examined as the transcodification of the movement qualities into a 'liquid architecture' (Novack 2010) planned to transmit and translate somatic information throughout digital circuits. Secondly, the paper explores the concept of 'mobile architecture' (Manning 2013), which underlined a conception of choreography as an event for the ontogenetic architecture of environments in movement (Manning &amp;amp; Massumi 2014). A third approach considers the multiple ways of writing/coding/designing computer-generated movements by transmedia strategies (Jürgon 2016).&amp;nbsp; The term transmedia choreography is investigated taking into consideration how the knowledge embodied by experiencing movement, can shape the dialogue between several media choreographed together to establish a ‘kinesfield’ (Shiller 2003), an interactive platform designed for disseminating intangible cultural heritage (Monda 2022).&amp;nbsp;

Letizia Gioia Monda

Title Pending 11231

标题待定11231

‘Intermediality’ and ‘Hybridity’ are often discussed as if they apply only to creative works of the last century and of the future, and that their use necessarily entails the presence of contemporary technology. But in our careers as academic, author and artist, we are increasingly reminded of how the most innovative work in performance almost inevitably resonates with that of the past, sometimes quite remote past, and with genres which may, today, frequently seem conservative in their realisation. Recently we have come to see that many of our discussions could relate to a complex, and of course, deeply hybrid genre of performance, so thoroughly embedded in our culture that we no longer perceive how strange and problematic it is, that is Opera.&amp;nbsp;

Publication Information	Publisher: Open Library of Humanities，Publishing cycle: ，Journal Type: journal，Open Access Journals: Yes
Basic data	Year of publication: 2018，Proportion of original research papers: 0.00%，Self Citation Rate:N.A.， Gold OA Rate: 0.00%
Average review cycle	网友分享经验：10 Weeks

Body, Space and Technology

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The FIFTH WALL. On DIGITAL PERFORMANCE between USER EXPERIENCE DESIGN and the METAVERSE

Teaching Writing for Performance Online: Dynamic Approaches to the Online Workshop

The Virtual is Material: Music Improvisation in Post-Digital Ecologies

Choreographic Encounters in XR: Reflections on Dancing in/Dancing with the Digital

The Dello Scompiglio Project and Camera #3 (Chamber 3

Title Pending 11209

The FIFTH WALL. On DIGITAL PERFORMANCE between USER EXPERIENCE DESIGN and the METAVERSE

Title Pending 11480

Title Pending 11231

Title Pending 11229

ISSN	1470-9120
h-index	4