0. guide 1. introduction 2. method as field of discussion
3. practice 4. theory 5. conclusion and further discussions

3. practice A Collaborative, Experimental Performance Production

3.1 what is multimedia performance? Artistic context, “performance” and contemporary perspectives on multimedia performance. 3.1.1 Technology as performance-technique 3.1.2 Technology as integral component of the artistic process 3.1.3 Refined theory of Multimedia Performance From the production side, attention have been given to the collaborative aims and challenges of media-rich productions. The aim of media-rich productions may be perceived as “devising” (e.g. Kjølner & Ssatkowski 2003). Devising is a set of principles for contemporary performance production focusing on collaboration, generation of material, composition and above all a recognition of devising as a highly exploratory and experimental practice. From the analytical-side there are attempts to challenge the traditional distinction between the live and the mediatised within performance studies (e.g. Auslander 1997), acknowledging the features of multimedia performance that challenge this dichotomy. An example may be how the interplay of live performer and recorded reproduction on stage can be approachd as mediated duplication, the self as other or as split subjectivity (Causey 1999). Or broader, how the actuality and virtuality, materiality and immateriality and physicality and virtuality of the mediated stage fuse together in multimedia performances, creating secondary possibilities of performed time, space and memory (Breizek 2003). Another dematerialised attempt to pass the dichotomy of live and mediatised can be found in Sparacino, Wren, Davenport & Pentland´s notion of “augmented performance” (as something else than virtual reality). By notions of “augmented performance”, they emphasise how digital media may stretch the grammar of the traditional arts by “transforming the stage in an organic interplay of form, colour, text, images, movements, expressive gestures, in which the human is one among the “actors” on the scene” (Sparacino et al.1999:1,5). Through digital technology and expressions engaging this technology like multimedia performances, theory is being reconstituted. New theoretical frameworks and analytical tools, derived from an intimate understanding of the limitations and potential of digital media, are crucial to get at the evolving field of digital media and the interplay of digital media and live performance. The next passage will cover the collaborative experimental production-practice of Extended set within a framework of cultural-historical activity theory. This framework calls attention to the significant and sometimes contradictory factors that may have an impact on activity, here the activity of multimedia performance collaboration and the learning-expanding potential of this. Mediating artefacts attracts attention in particular; in this case digital media and live moving bodies. [36. collaborative performance production - a novel context to frameworks of activity theory].

3.2 collaborative practice and knowledge development. Cultural-historical activity theory

3.3 the pieces

3.4 recap chapter 3

Practice-based Method. Exploring Digital Media through the Dynamics of Practice, Theory, and Collaborative, Multimedia Performance
Hovedoppgave i mediavitenskap for cand.filol graden, Universitetet i Oslo, Institutt for medier og kommunikasjon, Mai 2006, Idunn Sem