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BODY BRAIN PERFORMANCE The influence of science and technology on contemporary performance -anij of performance on tedhnology-affects theorist and practitioner alike. Postmodem critics such as Jean-Frangois Lyotard, Jean Baudrillard, and Paul Virilio have led the way in examining this uneasy intersection with such topics as the "Theatre of the Non-body," the simulations of modem media, the "overexposed city," and the cybernetic replacement of subjective and objective realities. 'Overexpoure: Les Immat6riaux" by Johannes Birringer essays a visit to-a recent exhibit at Paris' Georges Pompidou Centre, organized bytLyotard to dramatize questions raised by the postmodern culture of simulacra, the blurred nether-world between representation And reality. Technology creates a more direct reiationship between the artist and his/her creation in "Biomusic," where signals from the brain (biofeedback) generates sound. David Paul interviews David Rosenboom, Biomusic's chief innovator and practitioner,examining such issues as the difference between therapy and aesthetics, and the uses and abuses of artificial intelligence. "Dedthtre" by Hollis Huston isa meditation on theatre's Luddite rejection of the popular, and even religious, superiority of technologcally-based entertainments. How can a "live" artist respond to the senescence of his medium? What are we losing in the omniscience of the etectronic and pre-recorded? And finally, from PAJ Publications' recently published The Anthropology of Performance, an excerpt from Victor Turner's groundbreaking research on "Body, Brain and Culture," linking biological, cultural and anthropological insights into the mechanics of play. Turner brings together a rigorous objectivity with a humanist concern for the importance of play as "metalanguage." 5 ...


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