By S. Broadhurst, J. Machon
This venture investigates the results of know-how on id in embodied functionality, beginning up a discussion board of dialogue exploring the interrelationship of and among identities in functionality practices and contemplating how id is shaped, de-formed, blurred and celebrated inside of varied techniques to technological functionality perform.
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Extra info for Identity, Performance and Technology: Practices of Empowerment, Embodiment and Technicity
R. Kaplan. Hanover, CT: Wesleyan University Press, 74. Tarshis, J. 1970. ‘Sound Sculpture As, Museum of Conceptual Art, San Francisco’, Artforum 9 (September): 91. Zaporah, R. 1997. ‘Dance a Body with a Mind of its Own’, in L. Freidman and S. Moon, eds, Being Bodies: Buddhist Women on the Paradox of Embodiment. Boston, MA, and London: Shambala, 128. 2 Shifting Listening Identities – Towards a Fluidity of Form in Digital Music Franziska Schroeder Introduction The discourse surrounding listening has received vast theoretical attention for decades, but there has been a particular trend towards a re-examination of listening over the last ten years, highlighting a shift that moves listening to a broader understanding of musical experience.
For an eventual performance of Piano Etudes, a score can either be created from these user-contributed versions, or the live performer can make her own version of the piece. Freeman’s work aims to create a link between users and a live performer by enabling the sharing of various versions of a work. Although it can be argued that the form of the work is determined in parts by the composer, as a collection of fragments has been pre-composed, the final form of Freeman’s work becomes shaped by the specific moment and the particular interaction of the users.
Improvising artists work through the potential and constraint of the mixing of body, mind, technology and space through movement. Experience, or time, is this movement through such things as space, sound, light, vocalization, movement, etcetera. Dancer Lisa Nelson (2010) is using techniques of improvisational practice with the technologies of her body, her attention and thoughts in a play of time and space and the emergent relationships that form in her perceptions between them. She describes the liminality or dissolution of perceptions of boundaries as well.