Coping with the (interactive) environment: The performative potential of interactivity
This article explores the performative implications of coping with interactive performance environments, and ways in which such environments may be considered to ‘make’ people. Performers often practice for long durations in information-intensive technologized immersive settings, which demand and develop a combination of spread attentiveness, deep awareness and fast response times. This particular combination of embodied, embedded, durational and attentionally rich experience may prime the brain’s neuroplasticity – the capacity to reorganize its structure and function by forming new neural connections. This is discussed in relation to movement practices, body and self-image, and debate about technogenesis – the idea that humans are defined by their coevolution with technologies. The article considers two interactive works, Garry Stewart’s Proximity (2012) made for Australian Dance Theatre (ADT), and Crosstalk (2014), a collaborative work by artist Simon Biggs, choreographer Sue Hawksley and composer Garth Paine.
No Reference information available - sign in for access.
No Citation information available - sign in for access.
No Supplementary Data.
No Article Media
Document Type: Research Article
Affiliations: Independent Dance Artist
Publication date: June 1, 2016
More about this publication?
- This journal focuses on the relationship between dance and somatic practices, and the influence of this body of practice on the wider performing arts. The journal will be aimed at scholars and artists, providing a space for practitioners and theorists to debate the work, to consider the impact and influence of the work on performance, the interventions that somatic practices can have on other disciplines and the implications for research and teaching.
- Editorial Board
- Information for Authors
- Subscribe to this Title
- Intellect Books page
- Ingenta Connect is not responsible for the content or availability of external websites