Digital Shift

"We can't keep the 21st century outside the theater much longer." (Scott Walters).

The digital revolution is a fait accompli. Like a soluble medicine, it has dispersed into today's reality and changed it beyond recognition. It affects our creative practices and production, as well as our communication and our audiences' habits.   

How can we approach the generation of the digital age? Does technology stifle creativity or, on the contrary, open doors for imagination? 

We hope this debate will empower the performing arts community - with ideas, skills and courage - to take advantage of the potential gains and pay attention to the possible risks the digital age gives rise to.

Agnes Bakk
Interview with Mirko Stojkovic dramaturg, video game developer and university teacher about monomyths, nano-spectacles and avatars.
fbittencourt
"I think that twenty-first century theatre should look more like the conditions it is made under: the warm glow of computer screens as comfort; the cyclical melodrama of the stock market as a Greek tragedy; the War on Terror as a war on metaphors; the globalization of the world as the isolation of the human."
Elenq
The article analyses both explicit and implicit policy approaches to regulating digital culture, as both remain relevant in ensuring that cultural content reaches its intended users. This provides the background for the investigation of the results obtained through the comparative policy analysis executed in the project ‘Access to Culture.
Mark Zuckerberg, founder of Facebook, speaks on the stage at the Mobile World Congress in Barcelona, Spain, February 2016
Elena DI FEDERICO
What I want from technology is not a new world. What I want from technology are tools for exploring and enjoying the world that is. We look to technology not only to manipulate nature but to possess it, to package it as a product that can be consumed by pressing a light switch or a gas pedal or a shutter button. We yearn to reprogram existence, and with the computer we have the best means yet. We would like to see this project as heroic, as a rebellion against the tyranny of an alien power. But it’s not that at all. It’s a project born of anxiety. Behind it lies a dread that the messy, atomic...
Agnes Bakk
machina eX is one of the most immersive theatre company in Germany. They constantly recreate surrounding of video games where the audience can experience how is to be a real protagonist of such games. Interview with machina eX’s member, Lasse Marburg on zip-scene.com
Agnes Bakk
The Brighton based Blast Theory is one of the world leading interactive performance companies that combines elements of performance, installation and virtual reality. The company is at the forefront of using technology, doing research and actually “testing” human behaviour although they also have a clean-cut policy of handling big data of their audience. A conversation with Nick Tandavanitj on zip-scene.com
Agnes Bakk
Evert Hoogendoorn is a strategist and game designer at IJsfontein Interactive Media. He also has a background in theatre and acting, has been part of the game industry for over fifteen years and started the Design for Virtual Theatre & Games program that later became part of the School of Theatre under the name of Interactive Performance Design program. He speaks with us about the reticence of some directors to use digital devices in the theater.
jweijdom
This keynote address was delivered by Joris Weijdom, senior lecturer and researcher at HKU Utrecht University of the Arts / HKU Professorship Performative Processes at the IETM meeting in Amsterdam on April 16, 2016. The transcription has been edited for length.
fbittencourt
Surfing through virtual spaces has become a common habit for most of us. Technology is just an amplifier of abilities, especially for Generation Y; born between 1981 and 2000. Technology helps us do more – and faster. Generation Y grew up immersing itself in role playing computer games or learning to tango via YouTube.
fbittencourt
¿Qué significa la transformación digital para los museos, las instituciones y las organizaciones culturales? ¿Qué oportunidades presenta y cuáles son los principales desafíos a los que se enfrentan las organizaciones para adaptarse a las necesidades de sus públicos en el siglo XXI? ¿Cómo pueden desarrollar estrategias digitales efectivas y emplear las nuevas tecnologías para conectar con sus públicos y mostrar nuevos tipos de trabajo artístico?

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