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Digital Live Art 〔Sheridan, J.G. (2006). "Digital Live Art: Mediating Wittingness in Playful Arenas". PhD Thesis. University of Lancaster: Lancaster.〕 is the intersection of Live Art (art form), Computing and Human Computer Interaction (HCI). It is used to describe live performance which is computer mediated - an orchestrated, temporal witnessed event occurring for any length of time and in any place using technological means. Digital Live Art borrows the methods, tools and theories from HCI to help inform and analyze the design and evaluation of Digital Live Art experiences. == Theory == Central to the understanding of Digital Live Art is the concept of performance framing (social sciences). First identified by Gregory Bateson,〔Bateson, G. (1955). A Theory of Play and Fantasy. Psychiatric research reports, 2, 39-51.〕 the performance frame is described as a cognitive context where all the rules of behavior, symbols, and their interpretations are bound within a particular activity within its own structure. The concept has since been used extensively in ethnography by Erving Goffman in his discussions of face to face encounters in the everyday, in discourse structures;〔Tannen, D. Framing in Conversational Structures. Cambridge University Press, Cambridge, 1993.〕 in theatrical and ritual events;〔Schechner, R. The Future of Ritual, Writings on Culture and Performance. Routledge, New York, 1993.〕〔Turner, V. From Ritual to Theatre: The Human Seriousness of Play. PAJ Publications, New York, 1982.〕 sporting events and festivals;〔MacAloon, J. editor. Rite, Drama, Festival, Spectacle. Institute for the Study of Human Issues, 1984.〕 and trance phenomena 〔d’Aquili, E., Laughlin, C. D., and McMannus, J. editors. The Spectrum of Ritual jacks . Columbia University Press, 1979.〕 (see:〔Rush, M. Security art. Journal of Performance and Art - PAJ, 26(1):113–115, January 2004.〕). Goffman’s work uses the concept of performance frame to broadly mean a constructed context within the limits of which individual human agency and social interaction takes place. For example, a theatrical frame,〔E. Goffman. Frame Analysis: An Essay on the Organization of Experience. Harper and Row, 1974.〕 pp. 124–155) involves the construction of a higher-level frame on top of a ‘primary framework’, i.e., the reality in which the fantasy takes place. In this example, actors assume a character, audiences suspend disbelief and events have their meaning transformed (e.g., compare the use of a mobile phone in public with its use in a theatre). Additionally, framings are temporal, meaning that they have specific beginning and endings. While many theorists argue that all social interaction may be seen from a dramaturgical perspective, meaning all everyday social interaction becomes performance in some sense,〔 Digital Live Art theorists often deliberately align their work with Richard Schechner,〔R. Schechner. Performance Theory. Routledge, 1988〕 narrowing their analysis to cover more stabilized ‘established’ forms of performance so that performance framing is defined as an activity done within the intended frame ‘by an individual or group’ who have some established knowledge about the frame, and are ‘in the presence of and for another individual or group’.〔Benford, S., Crabtree, A., Reeves, S., Flintham, M., Drozd, A., Sheridan, J.G., Dix, A. The frame of the game: Blurring the boundary between fiction and reality in mobile experiences. In Proceedings of SIGCHI Conference on Human Factors in Computing Systems (CHI), April 2006〕 Performance framings then, are intentional, temporal and for an audience. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Digital Live Art」の詳細全文を読む スポンサード リンク
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