ABSTRACT
The aim of this two-part retrospection is to set this book’s characterisation of intermediality in digital culture within a broader context of 20th-century developments in the arts. As remarked in the introduction: Prospective Mapping, colleagues have sought to identify the impacts of digital culture on theatre and performance at the intermedial turn in the spirit of Benjamin’s address of “The Work of Art in the Age of Mechanical Reproduction”. However, different contributions acknowledge continuities as well as discontinuities and, accordingly, this retrospection aims to sketch aspects of the pre-digital and proto-digital.
