The Experiential Turn: Ways of Exploring the Past Through Enhanced Senses in Digital Performance Arts

Authors

DOI:

https://doi.org/10.24193/subbdrama.2019.1.13

Keywords:

digital interactive performance, digital technology, human-machine interaction

Abstract

Digital technology research and artistic practice influence each other regarding user sensory experience. On the one hand, research on new technology brings a different dimension to performing and cinematic arts offering the user the possibility of exploring the past through enhanced senses. On the other, in the field of human-computer interaction, there is an increased interest in the aestheticization of experience, a special attention being given to performance and theatricality, considered to be the basis for new paradigms in design and operating systems. I refer to the cross-disciplinary encounters as being “experiential turns”, a series of innovations that could be the basis of new paradigms of design and operating systems, with applicability in both technology and creative industry. The paper will explore some art works that are representative for the experiential dimension of technologically mediated performance art.

Author Biography

Rodica MOCAN, Faculty of Theatre and Film, Babeș-Bolyai University, Cluj-Napoca, Romania. rodica.mocan@ubbcluj.ro

RODICA MOCAN is Associate Professor and Vice dean of the Faculty of Theatre and Television from Babes-Bolyai University in Cluj-Napoca. She is focusing on new emerging media genres like interactive documentaries and interactive digital performance. Her research interests are focused on the impact of new media technologies on different fields of life. As a mother of three and an academic that is teaching digital media-related disciplines, she strongly believes in the power of mentoring the new generation to harness the great potential of new technologies, in order to further knowledge and better understand the times we live in.

References

BENFORD, Steve, and Gabriella Giannachi. Performing Mixed Reality. Cambridge, MA: The MIT Press, 2011.

HEITLINGER, Sara, and Nick Bryan-Kinns. “Understanding Performative Behaviour within Content-Rich Digital Live Art.” Digital Creativity 24, no. 2 (June 2013): 111–18. https://doi.org/10.1080/14626268.2013.808962.

“MY FRIEND – Instalație Performativ Experimentală.” Teatru Fix, n.d. http://teatrufix.ro/my-friend-instalatie-performativ-experimentala.

SPENCE, Jocelyn, Stuart Andrews, and David M. Frohlich. “Now, Where Was I? Negotiating Time in Digitally Augmented Autobiographical Performance.” Journal of Media Practice 13, no. 3 (September 1, 2012): 269–84. https://doi.org/10.1386/jmpr.13.3.269_1.

SPENCE, Jocelyn, David Frohlich, and Stuart Andrews. “Performative Experience Design: Where Autobiographical Performance and Human–Computer Interaction Meet.” Digital Creativity 24, no. 2 (June 2013): 96–110. https://doi.org/10.1080/14626268.2013.808964.

UDSEN, Lars Erik, and Anker Helms Jørgensen. “The Aesthetic Turn: Unravelling Recent Aesthetic Approaches to Human-Computer Interaction.” Digital Creativity 16, no. 4 (January 2005): 205–16. https://doi.org/10.1080/14626260500476564.

STUDIA UBB DRAMATICA, Volume 64 (LXIV), No. 1, March 2019

Downloads

Published

2019-03-30

How to Cite

MOCAN, R. (2019). The Experiential Turn: Ways of Exploring the Past Through Enhanced Senses in Digital Performance Arts. Studia Universitatis Babeș-Bolyai Dramatica, 64(1), 191–207. https://doi.org/10.24193/subbdrama.2019.1.13

Issue

Volume 64, No. 1, March 2019

Section

Articles

License

Copyright (c) 2019 Studia Universitatis Babeș-Bolyai Dramatica

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Similar Articles

1 2 3 4 5 6 7 8 9 10 > >> 

You may also start an advanced similarity search for this article.