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Thesis Info
- LABS ID
- 00176
- Thesis Title
- Fields of Interaction: From Shadow Play Theatre to Media Performance
- Author
- Aleksandra Dulic
- E-mail
- adulic AT sfu.ca
- 2nd Author
- 3rd Author
- Degree
- DOCTOR OF PHILOSOPHY
- Year
- 2006
- Number of Pages
- 281
- University
- SIMON FRASER UNIVERSITY
- Thesis Supervisor
- Ron Wakkary
- Supervisor e-mail
- rwakkary AT sfu.ca
- Other Supervisor(s)
- Laura Marks, Martin Gotfrit
- Language(s) of Thesis
- English
- Department / Discipline
- School of Interactive Arts and Technology, Faculty of Applied Sciences
- Copyright Ownership
- Aleksandra Dulic
- Languages Familiar to Author
- English, Serbian
- URL where full thesis can be found
- Keywords
- Computatinal Poetics; Media Perfomance; Shadow Play; Ritual; Interactive Media Art; Antecedents of Contemporary Media Art
- Abstract: 200-500 words
- Fields of Interaction: From Shadow Play Theatre to Media Performance examines the emerging contemporary practice of computational media performance and its genealogy through intersections across shadow play, cinema and computational media. One of the ways in which media performance can be contextualized is by looking at contemporary performance forms that emerge from different traditions and cultures. Computational media performance invites us to look at shadow play and reinterpret it, with performative action and locality of place and community in mind. This research connects interactive media art with Balinese community-based performance practices. The interactive media art, in this study, is examined with a particular focus on issues that arise from using computational technologies in the context of performance. This research is concern with the relationship between computation and performance as a two elementary axes, using hybrid research methodology that integrates artistic process and outcomes, performance theory and cross-cultural study of shadow theatre. My intellectual concerns centre on the significance of collective performance structured around the work of computational media art. I focus on two particular contexts of interactive media art practice: (1) interactive audiovisual installations and (2) media performances. These foci, through the collaborative research of the Computational Poetics Research group, have provided a variety of artistic outcomes. The composition and presentation of electronic media, using capabilities offered by computation, extend cinema with its ability to braid encoded process with various media, narrative elements and participants’ interaction in the real time of the performance. The