1,720,983 research outputs found
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Despoiled Shore/Medea Material/Landscape with Argonauts
No full text—Digital Appendix / Documentation of the PhD Study: IM-Medea: Posthumanism and Remediation in Music Theatre.—This is the text of Despoiled Shore/Medea Material/Landscape with Argonauts written by the German author Heiner Müller. It was translated in English from the original by M. Eugenia Demeglio and Thanos Polymeneas Liontiris. The text was used as material for most of the experiments in this practice-based PhD study
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Experiment 3 video documentation
No full text—Digital Appendix / Documentation of the PhD Study: IM-Medea: Posthumanism and Remediation in Music Theatre.—This is video documentation from the third experiment of this PhD study and an interview Thanos Polymeneas Liontiris gave as part of his artist residency at Blast Theory</div
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Experiment 3 audience survey
No full text—Digital Appendix / Documentation of the PhD Study: IM-Medea: Posthumanism and Remediation in Music Theatre.—These are the paper-based surveys completed by the audience participants of the 3rd experiment of this study that took place during the Blast Theory Art Residency</div
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Experiment 6 Video Documentation
No full text—Digital Appendix / Documentation of the PhD Study: IM-Medea: Posthumanism and Remediation in Music Theatre.—This is video documentation from the sixth experiment of this PhD stud
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IM-Medea: posthumansim and remediation in music theatre
No full textThis thesis is the part of a practice-based research on experimental music theatre. It investigates the theoretical notions of posthumanism, cybernetics and remediation, when practically applied on new music theatre. The research aims to address questions such as: “Which theoretical principles of cybernetics and posthumanism could contribute to the compositional practice of new music theatre?” and “Which tools of interactive art and immersive creative practices could be employed for the making of new music theatre?”. The research took place in the period between October 2014 and September 2018 and resulted in this thesis, which is divided into two parts. The first part is an introduction to the theoretical context of this research. It lays out the intentions and rationale of the project; it presents the research questions with the methodology used to address these questions. Furthermore, it analyses the theatre play upon which the practical work was based: Heiner Müller’s Despoiled Shore Medea Material Landscape with Argonauts. The second part is essentially the presentation of the practical works (i.e. experiments and performances). These works aim to embody the intentions, theory and methodology of the first part. The second part closes with conclusions and recommendations for further research in this field. This practice-based research is focused on creating new immersive music theatre experiences, involving novel interactive and cybernetic methods between music, technical system, performers and audiences. Its substantial original contribution to knowledge is in the development of a series of methods for devising cybernetic and ecosystemic music theatre performances based on behavioural interactions between performers, audience and technology. Through the new aesthetic and dramaturgical possibilities that emerge from these works, the research contributes a theoretical understanding of the phenomenological and experiential aspects of these interactions. It is a generative type of performance orchestrated by computational and interactive processes, in which the author ceases to be the composer exclusively. The research investigates the new dynamic relationships established between performers, audience and technology in this new performance context. In addition, the theoretical contextualisation situates this type of practice in the wider aesthetic and philosophical milieu
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Audience and performers' surveys experiments 7 and 8
No full text—Digital Appendix / Documentation of the PhD Study: IM-Medea: Posthumanism and Remediation in Music Theatre.—These are and the paper-based surveys completed by both the audience and performers that took part in experiments 7 and 8</div
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Audience surveys experiment 9
No full text—Digital Appendix / Documentation of the PhD Study: IM-Medea: Posthumanism and Remediation in Music Theatre.—These are the completed audience surveys from the 9th experiment of this PhD study</div
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Experiment 8 Video Documentation
No full text—Digital Appendix / Documentation of the PhD Study: IM-Medea: Posthumanism and Remediation in Music Theatre.—This is video documentation from the eighth experiment of this PhD study</div
IM-Medea: posthumansim and remediation in music theatre
No full textThis thesis is the part of a practice-based research on experimental music theatre. It investigates the theoretical notions of posthumanism, cybernetics and remediation, when practically applied on new music theatre. The research aims to address questions such as: “Which theoretical principles of cybernetics and posthumanism could contribute to the compositional practice of new music theatre?” and “Which tools of interactive art and immersive creative practices could be employed for the making of new music theatre?”. The research took place in the period between October 2014 and September 2018 and resulted in this thesis, which is divided into two parts. The first part is an introduction to the theoretical context of this research. It lays out the intentions and rationale of the project; it presents the research questions with the methodology used to address these questions. Furthermore, it analyses the theatre play upon which the practical work was based: Heiner Müller’s Despoiled Shore Medea Material Landscape with Argonauts. The second part is essentially the presentation of the practical works (i.e. experiments and performances). These works aim to embody the intentions, theory and methodology of the first part. The second part closes with conclusions and recommendations for further research in this field. This practice-based research is focused on creating new immersive music theatre experiences, involving novel interactive and cybernetic methods between music, technical system, performers and audiences. Its substantial original contribution to knowledge is in the development of a series of methods for devising cybernetic and ecosystemic music theatre performances based on behavioural interactions between performers, audience and technology. Through the new aesthetic and dramaturgical possibilities that emerge from these works, the research contributes a theoretical understanding of the phenomenological and experiential aspects of these interactions. It is a generative type of performance orchestrated by computational and interactive processes, in which the author ceases to be the composer exclusively. The research investigates the new dynamic relationships established between performers, audience and technology in this new performance context. In addition, the theoretical contextualisation situates this type of practice in the wider aesthetic and philosophical milieu
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Signal and behavioural flows diagram 5th experiment
No full text—Digital Appendix / Documentation of the PhD Study: IM-Medea: Posthumanism and Remediation in Music Theatre.—This is an illustration of the signal and behavioural flows of the 5th experimen
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