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What Exactly Is Performance?

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Performative Experience Design

Part of the book series: Springer Series on Cultural Computing ((SSCC))

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Abstract

This chapter begins with a brief overview of the major ways in which performance theories and practices have been used in the HCI literature. It then describes two performances drawn from the Live Art canon: Kitchen Show (1991) by Bobby Baker and Bubbling Tom (2000) by Mike Pearson. These intimate, low-tech performances might seem odd choices for a book for HCI researchers and designers, but they serve to indicate exactly the kinds of experiences that are so difficult to articulate within HCI paradigms. They anchor the subsequent discussions of the key theoretical perspectives, topics, and methodologies in performance studies as they relate to PED: postdramatic and presentational theatre, performance art and Live Art, aesthetics and liminality, autobiographical performance, storytelling, devising, participatory performance, reflexivity, unpredictability, applied theatre, and making strange. Having established important insights into how performance can shape and illuminate interactions among human beings, the chapter presents ‘intermediality’ as an appropriate and generative way of understanding digital technologies within performance. The chapter concludes with a discussion of how these performance concepts integrate with concerns in HCI and design, all under the umbrella of PED.

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Notes

  1. 1.

    An extended version of this section has been published in Spence et al. 2013.

  2. 2.

    Held 26 June 2013 at the University of Sussex, Brighton, UK.

  3. 3.

    Baker is referring to re-stagings of Kitchen Show that she has done throughout the world.

  4. 4.

    Bubbling Tom has also inspired at least two re-performances that operated through imagination at least as much as through memory , one by Heddon (2002) and one by Kris Darby (2010)—neither of whom grew up in Hibaldstow, or in the 1950s.

  5. 5.

    Some will argue that these terms are not synonymous (see e.g. Johnson 2012, p. 7), or that they are closer than some in the UK would care to admit (Roms and Edwards 2012). However, the phenomena to which they refer are close enough for the purposes of this work that they may be used interchangeably except where noted. I use the term preferred by the writer I am referencing; in my own text, I use ‘Live Art’ to refer to British artists, including Pearson and Baker, both of whom have worked in association with the Live Art Development Agency in the UK – and ‘performance art’ as a more inclusive term that incorporates practices from other countries.

  6. 6.

    Ethics are of course not foreign to HCI. As Ann Light points out, design ‘must recognise how the activity of interpreting technologies for use is charged with political possibilities’ (2011, p. 431), especially when those technologies are directly mediating the construction of identity .

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  1. Digital World Research Centre, University of Surrey, Guildford, UK

    Jocelyn Spence

  2. Mixed Reality Lab, University of Nottingham, Nottingham, UK

    Jocelyn Spence

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Spence, J. (2016). What Exactly Is Performance?. In: Performative Experience Design. Springer Series on Cultural Computing. Springer, Cham. https://doi.org/10.1007/978-3-319-28395-1_3

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