Performing Arts as a Limit to the Digital: Theatrical Space, Embodied Co‑Presence, and the Politics of Ephemeral Action
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| Natura: | Recurso digital |
| Lingua: | inglese |
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Zenodo
2026
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| _version_ | 1866901543323697152 |
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| author | Schismenos, Alexandros |
| author_facet | Schismenos, Alexandros |
| contents | <p>This article develops the hypothesis that the performing arts—unlike visual, musical, or pictorial arts—constitute an essential limit to digitalization. Their irreducible requirement of embodied co‑presence (Phelan 1993; Fischer‑Lichte 2008), their ephemeral temporality (Phelan 1993; Schneider 2011), and their intersubjective structure of meaning‑making position them as a privileged site of resistance to algorithmic rationality. Drawing on classical Greek theater, philosophical anthropology, and contemporary analyses of digital temporality (Stiegler 1998; Crary 2013; Chun 2016), the article argues that theatrical action reactivates the political, existential, and communal dimensions of human coexistence. In an era of pervasive digital communication and surveillance (Zuboff 2019; Crawford 2021), the performing arts re‑emerge as forms of subversive rupture that recreate free public time and reassert the primacy of lived experience.</p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_19025355 |
| institution | Zenodo |
| language | eng |
| publishDate | 2026 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | Performing Arts as a Limit to the Digital: Theatrical Space, Embodied Co‑Presence, and the Politics of Ephemeral Action Schismenos, Alexandros Performing arts Artificial intelligence Artificial Intelligence/ethics <p>This article develops the hypothesis that the performing arts—unlike visual, musical, or pictorial arts—constitute an essential limit to digitalization. Their irreducible requirement of embodied co‑presence (Phelan 1993; Fischer‑Lichte 2008), their ephemeral temporality (Phelan 1993; Schneider 2011), and their intersubjective structure of meaning‑making position them as a privileged site of resistance to algorithmic rationality. Drawing on classical Greek theater, philosophical anthropology, and contemporary analyses of digital temporality (Stiegler 1998; Crary 2013; Chun 2016), the article argues that theatrical action reactivates the political, existential, and communal dimensions of human coexistence. In an era of pervasive digital communication and surveillance (Zuboff 2019; Crawford 2021), the performing arts re‑emerge as forms of subversive rupture that recreate free public time and reassert the primacy of lived experience.</p> |
| title | Performing Arts as a Limit to the Digital: Theatrical Space, Embodied Co‑Presence, and the Politics of Ephemeral Action |
| topic | Performing arts Artificial intelligence Artificial Intelligence/ethics |
| url | https://doi.org/10.5281/zenodo.19025355 |