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dc.contributor.authorCooper, Timothy
dc.coverage.spatial26en_US
dc.date.accessioned2019-04-22T10:49:09Z
dc.date.available2019-04-22T10:49:09Z
dc.date.issued2018-09-30
dc.identifier.citationCooper, T. (2018) Practitioner report: Composing interaction: performativity in Mechanical. Scottish Journal of Performance, 5(2), pp. 35–60en_US
dc.identifier.issn2054-1961en_US
dc.identifier.urihttp://doi.org/10.14439/sjop.2018.0502.03en_US
dc.identifier.urihttp://hdl.handle.net/10023/17568
dc.description.abstractThis paper explores the creation of Mechanical (2016), an interactive sound installation that explores the sound and physicality of old, worn and broken bicycle parts. In the paper I examine the question: what is the nature of the interaction in Mechanical? I will argue that the interaction elicits performative actions by the audience. I will contextualise this action through Sarah Rubidge’s ‘Performing installations’ (2009). These performative actions are enabled by the specific nature of the interactive system which I will contextualise through Simon Emmerson’s notion of meaningful response (2012; 2013). I will conclude that the specific nature of the interaction is characterised by the network formed by the system between audience members and the ‘bikes’, and the types of behaviour engaged in by the audience.en_US
dc.language.isoenen_US
dc.publisherThe Royal Conservatoire of Scotlanden_US
dc.relation.ispartofScottish Journal of Performanceen_US
dc.rightsAttribution 4.0 International*
dc.rights.urihttp://creativecommons.org/licenses/by/4.0/*
dc.subjectElectroacoustic musicen_US
dc.subjectSound-arten_US
dc.subjectInteractiveen_US
dc.subjectInstallationen_US
dc.subjectPerformativityen_US
dc.subject.lccPN1576en_US
dc.subject.lcshPerforming arts--Researchen_US
dc.titlePractitioner report: Composing interaction: performativity in Mechanicalen_US
dc.typeJournal articleen_US
dc.description.versionPublisher PDFen_US
dc.publicationstatusPublisheden_US
dc.statusPeer revieweden_US


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