Poetics of performative space

Research output: Contribution to journalArticle

Abstract

The TGarden is a genre of responsive environment in which actor-spectators shape dense media sensitive to their movements. These dense fields of light, sound, and material also evolve according to their own composed dynamics, so the agency is distributed throughout the multiple media. These TGardens explore open-ended questions like the following: what makes some time-based, responsive environments compelling, and others flat? How can people improvise gestures without words, that are individually or collectively meaningful? When and how is a movement intentional, or collectively intentional? This paper introduces what has been at stake behind the experimental work: subjectivation, moving from technologies of representation to technologies of performance, and the potential for ethico-aesthetic novelty.

Original languageEnglish (US)
Pages (from-to)607-624
Number of pages18
JournalAI and Society
Volume21
Issue number4
DOIs
StatePublished - Jun 2007
Externally publishedYes

Fingerprint

Acoustic waves
Poetics
Subjectivation
Spectator
Aesthetics
Novelty
Sound
Gesture

ASJC Scopus subject areas

  • Artificial Intelligence

Cite this

Poetics of performative space. / Sha, Xin.

In: AI and Society, Vol. 21, No. 4, 06.2007, p. 607-624.

Research output: Contribution to journalArticle

Sha, Xin. / Poetics of performative space. In: AI and Society. 2007 ; Vol. 21, No. 4. pp. 607-624.
@article{95272dbcf9f244a2aa60d4aaf3c79b7d,
title = "Poetics of performative space",
abstract = "The TGarden is a genre of responsive environment in which actor-spectators shape dense media sensitive to their movements. These dense fields of light, sound, and material also evolve according to their own composed dynamics, so the agency is distributed throughout the multiple media. These TGardens explore open-ended questions like the following: what makes some time-based, responsive environments compelling, and others flat? How can people improvise gestures without words, that are individually or collectively meaningful? When and how is a movement intentional, or collectively intentional? This paper introduces what has been at stake behind the experimental work: subjectivation, moving from technologies of representation to technologies of performance, and the potential for ethico-aesthetic novelty.",
author = "Xin Sha",
year = "2007",
month = "6",
doi = "10.1007/s00146-007-0097-2",
language = "English (US)",
volume = "21",
pages = "607--624",
journal = "AI and Society",
issn = "0951-5666",
publisher = "Springer London",
number = "4",

}

TY - JOUR

T1 - Poetics of performative space

AU - Sha, Xin

PY - 2007/6

Y1 - 2007/6

N2 - The TGarden is a genre of responsive environment in which actor-spectators shape dense media sensitive to their movements. These dense fields of light, sound, and material also evolve according to their own composed dynamics, so the agency is distributed throughout the multiple media. These TGardens explore open-ended questions like the following: what makes some time-based, responsive environments compelling, and others flat? How can people improvise gestures without words, that are individually or collectively meaningful? When and how is a movement intentional, or collectively intentional? This paper introduces what has been at stake behind the experimental work: subjectivation, moving from technologies of representation to technologies of performance, and the potential for ethico-aesthetic novelty.

AB - The TGarden is a genre of responsive environment in which actor-spectators shape dense media sensitive to their movements. These dense fields of light, sound, and material also evolve according to their own composed dynamics, so the agency is distributed throughout the multiple media. These TGardens explore open-ended questions like the following: what makes some time-based, responsive environments compelling, and others flat? How can people improvise gestures without words, that are individually or collectively meaningful? When and how is a movement intentional, or collectively intentional? This paper introduces what has been at stake behind the experimental work: subjectivation, moving from technologies of representation to technologies of performance, and the potential for ethico-aesthetic novelty.

UR - http://www.scopus.com/inward/record.url?scp=34347334695&partnerID=8YFLogxK

UR - http://www.scopus.com/inward/citedby.url?scp=34347334695&partnerID=8YFLogxK

U2 - 10.1007/s00146-007-0097-2

DO - 10.1007/s00146-007-0097-2

M3 - Article

VL - 21

SP - 607

EP - 624

JO - AI and Society

JF - AI and Society

SN - 0951-5666

IS - 4

ER -