Digitally Disposed and Compromised.
Music technology and electronic music performance, dance, interactive design and movement animation (visual and sonic) have enjoyed challenging partnerships for some decades now, but the constant evolution of software capabilities and multimodal design, in the current context of so-called immersive...
| Publicado en: | Contemporary Music Review Vol. 44; no. 4; pp. 349 - 365 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Dec2025
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| 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=194937490&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 194937490 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Dec2025 vid: 44 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 194937490 10.1080/07494467.2025.2520058 ppf: 349 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 857KB tig: atl: Digitally Disposed and Compromised. aug: au: Birringer, Johannes affil: DAP-Lab, London su: Dance Motion capture (Cinematography) Musical performance Immersive design sug: subj: Dance Motion capture (Cinematography) Musical performance Immersive design keyword: choreographic evolution Dance-technology movement digital choreography immersive installations interactive performance ab: Music technology and electronic music performance, dance, interactive design and movement animation (visual and sonic) have enjoyed challenging partnerships for some decades now, but the constant evolution of software capabilities and multimodal design, in the current context of so-called immersive performance, has also raised critical questions about embodiment and the digital disposition or rendition of dancers or performers whose gestures and 'movement data' are captured and transmuted. This paper's investigation of older and newer dimensions of interactive technological design of performance was motivated by two recent concerts (Habiter (avec) Xenakis, an Augmented Reality recital at Enghien-Les-Bains' Centre des Arts; Anti-Body, by Alexander Whitley Dance Company, Sadler's Wells) which seemed to point in a direction that requires careful attention—also in the controversial context of AI and algorithmic fungibility of digitised objects—in order to parse some of the uses of technological constraints and operational processes which the author here bemoans as dispossession and disintegration of the performers' physical presence in a stage concert. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music 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 Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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