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Title iTheatreConnect!

Alternative title theatre in a time of digital remediation

Creator erik lint

Date 09-06-2011

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Subject remediation, theatrum mundi,

Coverage Brussel, 9th June 2011

Description Presentation iTheatreConnect! or 'theatre in a time of digital remediation' was presented at the Brussel conference in working group A: Performing Arts education and training tools in June 2011. iTheatreConnect!: theatre in a time of digital remediation. In today’s time of digital remediation the notion of spectatorship is rapidly changing. The availability and exchange of digital information has begun to alter performance production and reception. Performers and spectators are no longer contiguous, bound in a fixed spatio-temporal relationship. Some performances we experience today appear to be increasingly distributed and perceived at a certain distance, through the media, or virtually in the public sphere. In The Conversation Brian Solis represents his mapping of The Art of Listening, Learning and Sharing as a hub. It is full of connections between the web and the desktop and it visualises the transformation of the private and public space into one relational digital ecosystem; a public synergetic sphere for communication and knowledge sharing full of related dependencies. And theatre, be it a performance or a public space, can also be understood as a hub for listening, learning and sharing knowledge in the public sphere. The Theatrum Mundi metaphor can be extended by looking at the way contemporary theatre acts upon the emancipated participative spectator because representing the world is a matter of interfacing; of the encounter with the world while being in it. It’s a process of making and distributing and thus enacting, perceiving and experiencing knowledge. This presentation will present different ways of knowledge sharing where both theatre and computer networks act as hubs, as interfaces. The development of interfaces and tools for eLearning is still at the beginning. Portals with tools for video annotation cannot yet be understood as efficient memory systems for knowledge sharing. Developers tend to evaluate these tools in terms of database access, metadata, data mining, semantic analysis, and search & retrieval strategies. This presentation will argue that the creative process of writing, representation and reception is excluded from the design process of many of these interfaces. Databases are the precise opposite of writing systems because writing and knowledge sharing is distinguished by the presence of an argument, a narrative, ideas, and connections with the world: the virtual or the real. Directors and spectators, writers and readers, musicians and listeners, meet by the creative process of making, enacting and perceiving experiences and knowledge. Therefore the presence of an argument and the power of creativity must reclaim their places in the design process of these tools and interfaces. Some examples of interfaces will serve to reflect and discuss this opening statement.

Group WG: Performing Arts Education and Training tools

Group Department of Theatre Studies, University of Amsterdam, UvA, The Netherlands

Provider UVA