Performing the Margins of the New
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Enabled by hand-held devices, the digital image has now attained a level of mobility reminiscent of the impact of the transistor radio on popular music in the 1960s. Screens now dominate multiple levels of public and personal space. Light shows, hefty screens and Vjing as real-time performance define popular music events. This pervasive mobility has also regenerated activity in public, multi-screen performances of formalist, graphic imagery by film artists and delivered a renewed interest in a subjugated history that itself formed in 1960s youth culture. The computer’s domestication of avant-garde technique has elicited a response by this avant-garde’s contemporary successors through their continued use of film in performance, foregrounding the ‘perceptual as political’.
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