ABSTRACT
Interfaces of Performance has been designed to extend current discourse in theatre, performance and 'liveness' practices. According to Auslander in his contribution to Interfaces', Benjamin's concept of reactivation provides a starting point for thinking about the relationship between meditated performances and their audiences'. Indeed, digital, networked and virtual technologies' performance challenges the very distinction between 'liveness' and media. As Auslander points out, a human audience is co-present with performers in the same shared breathing space, without restraint from physical barriers or perceived interface. The Ecology of Performativity and Technics', that 'new forms of hybrid human and machine subjectivities shift our analysis of performance from an anthropocentric one' to those of 'non-human enunciations'. Interfaces of Performance refutes such a negative judgement and ill-conceived comment by revealing the depth and breadth of those practices and the work of several artistic, curatorial, academic, media and research communities.
