Reaction to Causey's book in relation to above post

"The more interesting work in contemporary performance is concerned with the problems of digital culture, and are in fact not disturbed by the illusions and aesthetics of the virtual, but rather dealing with the material and bio-politics of embeddedness." (p4)

cv>>> I think this applies to me. My overarching focus is not the aesthetics of the music technology but
a book (or report) embedded as a musical score
the music embedded in the musicians horizons of play
the musicians embodying the situation, getting to grips with it
The audience embodying the wholeness of the performance: the wholeness of an idea of the book!
Q: is there room in all of this for a visual element?

"The anamorphic projection of television in freeze-frame, slow motion, fast forward and reverse, through a kind of being in technology with morphing identities that exist within the fragility of digital space, present the technologically triggered uncanniness of technoculture subjectivity. The experience of the uncanny within the space of technology seems easily constructed." (p18)

cv>>> yes it does, so what do we do with it and why? Perhaps there is something here in the 'uncanny' that helps me to understand the performativity and spectator response to my musicians. Does our audience understand the musician-embodiment as 'out-there'; the musicians are already aware of ourselves as 'out there' projecting a voice into the space... in a sens we are already controlling the uncanny.

"Questions: First, how has the ontology of the performance (liveness), which exists before and after mediatization, been altered within the space of technology? Second, how do we understand the processes of performance which converges with mediated technologies of representation? [...] One way to start to answer both questions is by conceiving of theatre as a medium that overlaps and subsumes or is subsumed by other media including television, film, radio, print and computer-aided hyper-media. Such a process will change, considerably, our definition of the boundaries of the theatre and the ontology of performance." (p29)

cv>>> This is my PhD question, only as applied to music and sound within theatre performance.