Aesthetics, Digital Studies and Bernard Stiegler frames the intertwined relationship between artistic endeavours and scientific fields and their sociopolitical implications. Each chapter is either an explication of, or a critique of, some aspect of Bernard Stiegler's technological philosophy; as it is his technological-political-aesthetical-ethical theorisations which form the philosophical foundation of the volume. Emerging scholars bring critical new reflections to the subject area, while more established academics, researchers and practitioners outline the mutating nature of aesthetics within historical and theoretical frameworks. Not only is interdisciplinarity a prevailing topic at work within this collection, but so too is there a delineation of the mutating, hybrid role inhabited by the arts practitioner - at once engineer, scientist and artist - in the changing landscape of digital cultural production.

This book uses digital media theory to explore contemporary understandings of expanded scenography as spatial practice. It surveys and analyses a selection of ground-breaking, experimental digital media performances that comprise a genealogy spanning the last 30 years, in order to show how the arrival of digital technologies have profoundly transformed performance practice. Performances are selected based on their ability to elicit the unique specificities of digital media in new and original ways, thereby exposing both the richness and shortcomings of digital culture. O'Dwyer argues that contemporary scenography is largely propelled by and dependent on digital technologies and represents a rich, fertile domain, where unbridled creativity can explore new techniques and challenge the limits of knowledge. The 30-year genealogy includes works by Troika Ranch, Stelarc, Klaus Obermaier, Chunky Moves, Onion Lab and Blast Theory. In addition to applying a broad scope of performance analysis and aesthetic theory, the work includes artists' interviews and opinions. The volume opens important aesthetic, philosophical and socio-political themes in order to highlight the impact of digital technologies on scenographic practice and the blossoming of experimental interdisciplinarity. Ultimately, the book is an exploration of how evolutionary leaps in technology contribute to how humans think, act, make work, engage one another, and therefore construct meaning and identity.

This book uses digital media theory to explore contemporary understandings of expanded scenography as spatial practice. It surveys and analyses a selection of ground-breaking, experimental digital media performances that comprise a genealogy spanning the last 30 years, in order to show how the arrival of digital technologies has profoundly transformed performance practice. Performances are selected based on their ability to elicit the unique specificities of digital media in new and original ways, thereby exposing both the richness and shortcomings of digital culture. O'Dwyer argues that contemporary scenography is largely propelled by and dependent on digital technologies and represents a rich, fertile domain, where unbridled creativity can explore new techniques and challenge the limits of knowledge. The 30-year genealogy includes works by Troika Ranch, Stelarc, Klaus Obermaier, Chunky Move, Onion Lab and Blast Theory. In addition to applying a broad scope of performance analysis and aesthetic theory, the work includes artists' interviews and opinions. The volume opens important aesthetic, philosophical and socio-political themes in order to highlight the impact of digital technologies on scenographic practice and the blossoming of experimental interdisciplinarity. Ultimately, the book is an exploration of how evolutionary leaps in technology contribute to how humans think, act, make work, engage one another, and therefore construct meaning and identity.

Aesthetics, Digital Studies and Bernard Stiegler frames the intertwined relationship between artistic endeavours and scientific fields and their sociopolitical implications. Each chapter is either an explication of, or a critique of, some aspect of Bernard Stiegler's technological philosophy; as it is his technological-political-aesthetical-ethical theorisations which form the philosophical foundation of the volume. Emerging scholars bring critical new reflections to the subject area, while more established academics, researchers and practitioners outline the mutating nature of aesthetics within historical and theoretical frameworks. Not only is interdisciplinarity a prevailing topic at work within this collection, but so too is there a delineation of the mutating, hybrid role inhabited by the arts practitioner - at once engineer, scientist and artist - in the changing landscape of digital cultural production.