Futile Labor : [Digital] Performance at the Edge of Visibility.
Using a recent exhibition work entitled Futile Labor involving the use of tissue-culturing techniques to create a ‘living machine’ , this article explores the relations between the biological and the digital in a post-439 humanist context. Beginning with a first person description of the encounter w...
| Publicado en: | Contemporary Theatre Review Vol. 27; no. 3; pp. 398 - 405 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
Aug2017
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=126022735&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 126022735 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10486801 7VS jtl: Contemporary Theatre Review issn: 10486801 maglogo: N pubinfo: dt: Aug2017 vid: 27 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 126022735 10.1080/10486801.2017.1343246 ppf: 398 ppct: 7 formats: fmt: – @attributes: type: T – @attributes: type: P size: 720KB tig: atl: Futile Labor : [Digital] Performance at the Edge of Visibility. aug: au: Salter, Chris su: Installation art Art & science Digital technology Biology in art Art exhibitions Performances sug: subj: Installation art Art & science Digital technology Biology in art Art exhibitions Performances ab: Using a recent exhibition work entitled Futile Labor involving the use of tissue-culturing techniques to create a ‘living machine’ , this article explores the relations between the biological and the digital in a post-439 humanist context. Beginning with a first person description of the encounter with the work, I focus on ‘the aesthetics of disappointment’ (Catts and Zurr) that occurs in the encounter between the spectator and living cells – cells whose action and agency lie beyond the threshold of the human perceptual apparatus, and hence, frustrate the spectator’s expectations for the visually spectacular, which normally accompanies digital performance practice. Futile Labor thus sets up the (false) hope that somehow an artistic event will overcome the disappointing limitations of both human perception (the inability to see and experience the world directly at cellular scale) and the media generated hype of new biological entities that we somehow imagine artists have the possibility of creating with new technologies. Indeed, the larger question of how the digital and the biological are enmeshed in the performative and what affects are produced in the perceiver is exactly what haunts the work. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Theatre Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Theatre Review holder: Taylor & Francis Ltd dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
|---|