Other Nuggets of interest

Peter Sellers: "In Tandem with the related sense of smell, hearing is that sense that is most deeply associated with memory. Sound evokes place, not space. That is to say, sound is where we locate ourselves, not physically, but mentally and spiritually. Sound exists inside our heads. It is our greatest experience of intimacy, it transports us, it invades us" (Sound, A reader in theatre practice. pp47)

John Berger: "The way we see things is affected by what we know or what we believe" can we not equally replace 'see' with 'hear'? (idem pp 197)

La Belle "[W]e see, or hear, how my voice is also immediately beyond myself, around the room, and , importantly, inside the head of others. In this way, sound is always already a public event, in that it moves from a single source and immediately arrives at multiple destination. It eminates and in doing so fills space and others ears. To speak then is to live in more than one head, beyond an individual mind. Listening is thus a form of participation in the sharing of a sound event, however banal." (Background Noise, Brandon LaBelle, ppxi)

Malcolm Le Grice: mass media 'has progressively created a cultural schism between the representation and the cultural object. Instantaneous transmission of images and sounds across space have created a cultural habit reading the electronic representation as if it were present. Our discourse with the real has become a discourse with the represented image, a presence of the image not in conflict with its lack of physical proximity." (in Dixon Digital Performance pp127)

Dixon: "Liveness, in phenomenological terms, has more to do with time and "now-ness" than with corporiality or virtuality of subjects being observed" (id. pp 127)
"Put simply, for the spectator, liveness is just "being there", whatever performance form (live, recorded, telematic ...) is being watched. (id. pp129)
"Robert Edmond Jones ... suggested that theatre audiences are more "awake" because they view the performance with an acute awareness not only of the performers but also of each other, whereas cinema audiences view films in a more isolated, solitary, and somnambulant mode. (id. pp129)
"Watching film, video, and digital media is a more voyeuristic experience than watching live performance, since in the literal sense of the word, the onlooker is looking from a position without fear of being seen by the watched. (id. pp130)
>>> CV- or in fear of being caught out by the other audients looking on, experiencing empathy for a theatriocal situation, and visiting places in ones own mind (experiencing them) that the individual would never enter into in real life.

Dixon: "Another core problem is that reduced to its essence, presence is about interest and command of attention, not space or liveness. [...] In this sense, presence in relation to audience engagement and attention is dependent on the compulsion of the audiovisual activity, not on liveness or corporeal three-dimensionality." (id. pp 132)
"In his study of minimalist art, Michael Fried defines presence as "the special complicity that the work extorts from the beholder. Something is said to have presence when it demands that the beholder takes it into account, that he take it seriously - and when the fulfillment of that demand consists simply in being aware of it and, so to speak, in acting accordingly." [...] It is content not container than [sic] asserts presence. (id. pp134)

>>> CV- the musicians/ performers presence on stage will be measured and judged throughout ASJ ... they need to be aware of that, even of their meta-character is themselves, they must always be 'present' in the "philosophy of pleasure".