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In Liveness Philip Auslander addresses what may be the single most important question facing all kinds of performance today: What is the status of live performance in a culture dominated by mass media? By looking at specific instances of live performance such as theatre, rock music, sport and courtroom testimony, Liveness offers penetrating insights into media culture. This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.
This study investigates the idea and practice of liveness in modern music.. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contexts--tensions between music as an acoustic human utterance, and musical sound as something produced or altered by machines.
This volume brings together dynamic perspectives on the concept of liveness in the performing arts, engaging with the live through the particular analytical focus of audiences and experience. The status and significance of the live in performance has become contested: perceived as variously as a marker of ontological difference, a promotional slogan, or a mystical evocation of cultural value. Moving beyond debates about the relationship between the live and the mediated, this collection considers what we can know and say about liveness in terms of processes of experiencing and processes of making. Drawing together contributions from theatre, music, dance, and performance art, it takes an interdisciplinary approach in asking not what liveness is, but how it matters and to whom. The book invites readers to consider how liveness is produced through processes of audiencing - as spectators bring qualities of (a)liveness into being through the nature of their attention - and how it becomes materialized in acts of performance, acts of making, acts of archiving, and acts of remembering. Theoretical chapters and practice-based reflections explore liveness, eventness and nowness as key concepts in a range of topics such as affect, documentation, embodiment, fandom, and temporality, showing how the relationship between audience and event is rarely singular and more often malleable and multiple. With its focus on experiencing liveness, this collection will be of interest to disciplines including performance, audience and cultural studies, visual arts, cinema, and sound technologies.
Theatre is traditionally considered a live medium but its ‘liveness’ can no longer simply be taken for granted in view of the increasing mediatisation of the stage. Drawing on theories of intermediality, Liveness on Stage explores how performances that incorporate film or video self-reflexively stage and challenge their own liveness by contrasting or approximating live and mediatised action. To illustrate this, the monograph investigates key aspects such as ‘ephemerality’, ‘co-presence’, ‘unpredictability’, ‘interaction’ and ‘realistic representation’ and highlights their significance for re-evaluating received notions of liveness. The analysis is based on productions by Gob Squad, Forkbeard Fantasy, Station House Opera, Proto-type Theater, Tim Etchells and Mary Oliver. In their playful approaches these practitioners predominantly present such media combination as a means of cross-fertilisation rather than as an antagonism between liveness and mediatisation. Combining an original theoretical approach with an in-depth analysis of the selected productions, this study will appeal to scholars and practitioners of theatre and performance as well as to those researching intermedial phenomena.
This book gathers and analyzes the latest attacks, solutions, and trends in mobile networks. Its broad scope covers attacks and solutions related to mobile networks, mobile phone security, and wireless security. It examines the previous and emerging attacks and solutions in the mobile networking worlds, as well as other pertinent security issues. The many attack samples present the severity of this problem, while the delivered methodologies and countermeasures show how to build a truly secure mobile computing environment.
This book addresses the design of such tools for correct-by-construction synthesis of supervisors for systems and specifications represented in the discrete-event framework. The approach employed uses Petri nets as discrete-event models and structural methods for the synthesis of supervisors, and may lead to significant computational benefits. Highlighting recent progress in the design of supervisors by structural methods, the book represents a novel contribution to the field. One of the main features of the presentation is the demonstration that structural methods can address a variety of supervisor specifications under diverse supervision settings.
This book constitutes the proceedings of the 16th International Conference on Application and Theory of Petri Nets, held in Torino, Italy in June 1995 The 26 revised refereed papers presented were selected from 73 submissions from 22 countries; in addition there are abstracts or full papers of the three invited talks. All theoretical and applicational aspects are addressed by the contributors coming from industry and academia. This volume representatively documents the progress achieved in this application-oriented area of research and development since the predecessor conference held one year earlier.
Get the lowdown on CockroachDB, the elastic SQL database built to handle the demands of today's data-driven world. With this practical guide, software developers, architects, and DevOps teams will discover the advantages of building on a distributed SQL database. You'll learn how to create applications that scale elastically and provide seamless delivery for end users while remaining exceptionally resilient and indestructible. Written from scratch for the cloud and architected to scale elastically to handle the demands of cloud native and open source, CockroachDB makes it easier to build and scale modern applications. If you're familiar with distributed systems, you'll quickly discover the benefits of strong data correctness and consistency guarantees as well as optimizations for delivering ultralow latencies to globally distributed end users. With this thorough guide, you'll learn how to: Plan and build applications for distributed infrastructure, including data modeling and schema design Migrate data into CockroachDB Read and write data and run ACID transactions across distributed infrastructure Optimize queries for performance across geographically distributed replicas Plan a CockroachDB deployment for resiliency across single-region and multiregion clusters Secure, monitor, and optimize your CockroachDB deployment
Noise, an underground music made through an amalgam of feedback, distortion, and electronic effects, first emerged as a genre in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe, and North America. With its cultivated obscurity, ear-shattering sound, and over-the-top performances, Noise has captured the imagination of a small but passionate transnational audience. For its scattered listeners, Noise always seems to be new and to come from somewhere else: in North America, it was called "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium? In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners. He explores the technologies of Noise and the productive distortions of its networks. Capturing the textures of feedback—its sonic and cultural layers and vibrations—Novak describes musical circulation through sound and listening, recording and performance, international exchange, and the social interpretations of media.
“A rich and welcome addition to the surge of scholarly interest in the Berlin School.” —Studies in European Cinema Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance. She argues that a preoccupation with presence, liveness, and affect—all of which are viewed as critical components of live performance—can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of “slow cinema,” Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema.