Skip to main content
SpringerLink
Log in

Digital Performance and Creativity

  • Chapter
  • First Online:
Digital Bodies

Part of the book series: Palgrave Studies in Performance and Technology ((PSPT))

  • 871 Accesses

Abstract

This chapter relates to ‘Methodological Innovation in Digital Arts and Social Sciences’, an interdisciplinary project funded by the ESRC. MIDAS was intended to synthesise approaches from the arts and social sciences and to develop innovative multi-modal methods of research. In looking at the performative element of the project, I highlight the role of technologically assisted creativity . The location for the performance element was at Brunel University. I discuss the resulting performance projects as exemplifying Gesamtkunstwerk, both in its Wagnerian connotation and in Antonin Artaud’s concept of ‘Total Theatre’ . I would argue that the performances by means of their creative engagement can be seen as contemporary manifestations of this paradigm, providing their audiences with, in varying ways, multi-sensory and multi-layered experiences.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution
Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 99.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 129.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 129.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

References

  • Artaud, Antonin. 1958. The Theater and its Double, trans. Mary Caroline Richards. New York: Grove Press.

    Google Scholar 

  • Broadhurst, Susan. 2007a. Digital Practices: Aesthetic and Neuroesthetic Approaches to Performance and Technology. London: Palgrave Macmillan.

    Google Scholar 

  • ———. 2007b. Digital Practices: An Aesthetic and Neuroesthetic Approach to Virtuality and Embodiment. Performance Research 11 (4): 137–147.

    Google Scholar 

  • Broadhurst, Susan. 2012. Merleau-Ponty and Neuroaesthetics: Two Approaches to Performance and Technology. Digital Creativity 23 (3–4): 225–238.

    Article  Google Scholar 

  • Crow, Graham, Rosalind Edwards, Melanie Nind, and Rosemary Wiles. 2011. Opportunities for Methodological Synergies at the Boundaries of the Social Sciences and the Arts and Humanities. Report for ESRC, National Centre for Research Methods.

    Google Scholar 

  • Dunne, Anthony. 2011. Design Interactions, Exhibition Catalogue. London: Royal College of Art.

    Google Scholar 

  • Haraway, Donna. 1988. Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies 14 (3): 575–599.

    Article  Google Scholar 

  • Heidegger, Martin. 1977. The Question Concerning Technology and Other Essays, trans. William Lovitt. New York: Harper and Row.

    Google Scholar 

  • ———. 1978. Being and Time, trans. John Macquarrie and Edward Robinson. Oxford: Basil Blackwell.

    Google Scholar 

  • Kummer-Seddon, Bryony. 2014. Dissertation Publicity Statement, June.

    Google Scholar 

  • Malgrave, Harry Francis, and Eleftherios Ikonomou (eds.). 1994. Empathy, Form and Space: Problems in German Aestethics 1873–1893. Santa Monica, CA: The Getty Centre for the History of Art and the Humanities.

    Google Scholar 

  • Merleau-Ponty, Maurice. 1945. Phenomenology: Language and Society, 1974th ed. Portsmouth, New Hampshire: Heinemann.

    Google Scholar 

  • ———. 1962. Phenomenology of Perception, trans. Colin Smith. London: Routledge.

    Google Scholar 

  • MIDAS: Digital Technology and Embodiment, Case Study. 2014. Methodological Innovation in Digital Arts and Social Sciences. Website. URL: http://midas.ioe.ac.uk/case-studies/. Accessed 20 Feb 2016.

  • Roberts, David. 2011. The Total Work of Art in European Modernism. Cornell: Cornell University Press.

    Book  Google Scholar 

  • Smith, Matthew Wilson. 2007. The Total Work of Art: From Bayreuth to Cyberspace. New York: Routledge.

    Google Scholar 

  • Stelarc. 2014. Interrogating Embodiment, Aliveness & Agency in Digital Spaces. Midas Symposium and Performance, July 18.

    Google Scholar 

  • Trahndorff, Karl Friedrich Eusebius. 1827. Aesthetik oder Lehre von der Weltanschauung und Kunst, vol. 2. Berlin: Maurer.

    Google Scholar 

  • Wagner, Richard. 1993. The Art-Work of the Future and Other Works, 2nd ed., trans. William Ashton Ellis. Omaha, UP: University of Nebraska.

    Google Scholar 

  • Wilson, Francis. 2014. Dissertation Publicity Statement, June.

    Google Scholar 

  • Xambó, Anna. 2014. MIDAS ‘Digital Performance Fieldnotes’ (Unpublished).

    Google Scholar 

Download references

Author information

Authors and Affiliations

  1. Brunel University, London, England

    Susan Broadhurst

Authors
  1. Susan Broadhurst
    View author publications

    You can also search for this author in PubMed Google Scholar

Corresponding author

Correspondence to Susan Broadhurst .

Editor information

Editors and Affiliations

  1. Brunel University, Uxbridge, United Kingdom

    Susan Broadhurst

  2. University College London, London, United Kingdom

    Sara Price

Copyright information

© 2017 The Author(s)

About this chapter

Cite this chapter

Broadhurst, S. (2017). Digital Performance and Creativity. In: Broadhurst, S., Price, S. (eds) Digital Bodies. Palgrave Studies in Performance and Technology. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-349-95241-0_2

Download citation

Publish with us

Policies and ethics

Search

Navigation