the body of doctrine that teaches people how to speak and write and thus act effectively in public life
rhetoric has become the [opposite] of the "true" and "real"...the opposite of sincerity, truth and good intentions
"We cannot at the same time experience the artistic content of a Beethoven sonata and alos worry about the neurophysiological processes in our brains...But we can shift from one to another"
Why does this fundamental oscillation lurk, an outcast, without a name?
Wednesday, 5 December 2007
What's new about digital expressive space and what's not?
Economics...studies the allocation of scarce resources....we live in an "information economy". But information is not in short supply in the new information economy. We#re drowning in it. What we lack is human attention to make sense of it all. It will be easier to find our place in the new regime if we think of it as an economy of attention. Attention is the economy in short supply. (x1)
Economics...studies the allocation of scarce resources....we live in an "information economy". But information is not in short supply in the new information economy. We#re drowning in it. What we lack is human attention to make sense of it all. It will be easier to find our place in the new regime if we think of it as an economy of attention. Attention is the economy in short supply. (x1)
fighter cockpit
The fighter cockpit exemplifies the theatrical space of the digital world, and if the critics have not seen this, the video game designers certainly have.
Wednesday, 28 November 2007
Project
Practical Project
Each student will take part in a group performance/workshop project and presentation pertaining to Virtuality and Performance.
A successful practical performance project should demonstrate the following qualities and characteristics:
• Clear evidence of detailed research into and an informed understanding of the theories and approaches pertaining to the chosen area.
• Sustained and serious engagement with the relevant issues or themes relating to the chosen area
• Fair and equitable participation by all group members in its process and final performance.
• Clear, informed and sensitive use of performance skills any other relevant theatrical/presentational devices/aids.
• A sound sense of engagement with and communication to its audience.
The themes and issues for the projects will arise from both staff and student groups sharing and discussing ideas and concerns. Selection of material and the direction of the piece should be collaborative, subject to the final approval of the module co-ordinator.
Each student will take part in a group performance/workshop project and presentation pertaining to Virtuality and Performance.
A successful practical performance project should demonstrate the following qualities and characteristics:
• Clear evidence of detailed research into and an informed understanding of the theories and approaches pertaining to the chosen area.
• Sustained and serious engagement with the relevant issues or themes relating to the chosen area
• Fair and equitable participation by all group members in its process and final performance.
• Clear, informed and sensitive use of performance skills any other relevant theatrical/presentational devices/aids.
• A sound sense of engagement with and communication to its audience.
The themes and issues for the projects will arise from both staff and student groups sharing and discussing ideas and concerns. Selection of material and the direction of the piece should be collaborative, subject to the final approval of the module co-ordinator.
(b)Log
Working Evaluative Log
Each student will accompany their group work in the practical project with a Working Evaluative Log to be submitted in blog format by Jan 11, 2008.
The Working Evaluative Log should include the following:
• A description of the role the individual took in development of the project (ideas, rehearsal activities, research, organisation, etc.)
• Detailed, self-critical, evidenced evaluation of and reflection upon the creative process.
• Evidence of detailed research into and reflection on the area of Virtuality and Performance focused on and the established methods appropriated for this project.
The Log might be structured in the following way:
• Dated, weekly, diary account notes, thoughts, responses and reflections upon what you’ve read and/or viewed in the seminars as well as what you’ve done/achieved etc in your practical workshops.
• Neatly photocopied articles, etc. that you’ve researched/consulted and read with clear details of their date and origin.
• A final detailed conclusive account of your learning journey – insights, excitements, difficulties, tasks, frustrations, achievements etc.
Each student will accompany their group work in the practical project with a Working Evaluative Log to be submitted in blog format by Jan 11, 2008.
The Working Evaluative Log should include the following:
• A description of the role the individual took in development of the project (ideas, rehearsal activities, research, organisation, etc.)
• Detailed, self-critical, evidenced evaluation of and reflection upon the creative process.
• Evidence of detailed research into and reflection on the area of Virtuality and Performance focused on and the established methods appropriated for this project.
The Log might be structured in the following way:
• Dated, weekly, diary account notes, thoughts, responses and reflections upon what you’ve read and/or viewed in the seminars as well as what you’ve done/achieved etc in your practical workshops.
• Neatly photocopied articles, etc. that you’ve researched/consulted and read with clear details of their date and origin.
• A final detailed conclusive account of your learning journey – insights, excitements, difficulties, tasks, frustrations, achievements etc.
Essay topics
Essay Topics:
• Can theatre compete with other forms of media in the digital age? Should it try? Discuss with reference to the work of contemporary theatre practitioners engaged with ‘intermedial’ work.
• What is the role of virtual performance in performative societies? Discuss with reference to the work of contemporary practitioners engaged in ‘virtual theatre’.
• Can theatre compete with other forms of media in the digital age? Should it try? Discuss with reference to the work of contemporary theatre practitioners engaged with ‘intermedial’ work.
• What is the role of virtual performance in performative societies? Discuss with reference to the work of contemporary practitioners engaged in ‘virtual theatre’.
Wednesday, 21 November 2007
peter boenisch
I suggest that theatre turns into a new medium whenever new media technologies become dominant and in addition that theatre adapts and disperses the new cognitive strategies as it did in ancient greece
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