By Gabriella Giannachi
The first full-length ebook of its variety to provide an research of the interface among theatre, functionality and electronic arts, Virtual Theatres offers the theatre of the twenty-first century within which every thing - even the viewer - could be simulated.
In this interesting quantity, Gabriella Giannachi analyzes the cultured matters of present computer-arts practices via dialogue of numerous artists and performers including:
* blast idea * Merce Cunningham * Eduardo Kac * pressured leisure * Lynn Hershman * Jodi Orlan * Guillermo G?mez-Pe?a * Marcel-l? Ant?nez Roca * Jeffrey Shaw * Stelarc.
Virtual Theatres not just makes it possible for a reinterpretation of what's attainable on the earth of functionality perform, but additionally demonstrates how 'virtuality' has come to symbolize a big parameter for our knowing and adventure of latest paintings and life.
Read or Download Virtual Theatres: An Introduction PDF
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Extra resources for Virtual Theatres: An Introduction
Example text
The textual buildings are in a constant process of appearance and disappearance – by being too far or too close, their components, the letters, are either dwarfed by distance or appear as ominously gigantic skyscrapers, allowing for occasional reading but always escaping more complex interpretation. Invoking Michel Foucault’s analysis of René Magritte’s Ceci n’est pas une pipe in Treachery of Images (1929), Dinkla thus shows how the letters in The Legible City are also in a situation of ‘not yet saying’ and ‘no longer representing’ (Dinkla 1997: 122).
In this way this city of words is a kind of three-dimensional book which can be read in any direction, and where the spectators construct their own conjunction of texts and meanings as they bicycle their chosen path there. (Ars Electronica in Wilson, 2002: 760) Just as the viewer encounters the city in the darkness of the room, the city’s borders are also engulfed by darkness, so that the viewer is immediately drawn into the light, towards the centre stage of this virtual world. The bicycle, almost hyper-real against the backdrop projection, is the medium by which the work of art can be entered and the journey begun.
As suggested by Forced Entertainment itself, Paradise is the plan for a deserted metropolis, waiting to be filled. Each of its one thousand imaginary buildings is the location for some untold story, some unspoken dialogue, some as-yet-unmade theory, some unscrawled poem, some unlived life [. ] Paradise invites you to explore – read its stories, search its streets. Paradise invites you to write – to fill its buildings, write its dreams. (Forced Entertainment 1998a) A model hypertextual environment, Paradise is both textual and metatextual, a real community and a utopia.