Karen Savage – författare

In the context of the postdigital age, where technology is increasingly part of our social and political world, Avatars, Activism and Postdigital Performance traces how identity can be created, developed, hijacked, manipulated, sabotaged and explored through performance in postdigital cultures. Considering how technology is reshaping performance, this timely collection reveals how we engage in performance practices through expanded notions of intermediality, knotted networks and layering.This book examines the artist as activist and producer of avatars, and how digital doubles, artificial intelligence and semi-automated politics are problematizing and expanding our discussions of identity. Using a range of examples in theatre, film and internet-based performance practices, chapters examine the uncertain boundaries of networked ‘informational selves’ in mediatized cultures, the impacts of machine algorithms, apps and the consequences of digital legacies. Case studies include James Cameron’s Avatar, Blast Theory’s Karen, Ontroerend Goed’s A Game of You, Randy Rainbow’s online videos, Sisters Grimm’s Calpurnia Descending, Dead Centre’s Lippy and Chekhov’s First Play and Jo Scott’s practice-as-research in ‘place-mixing’.This is an incisive study for scholars, students and practitioners interested in the wider conversations around identity-formation in postdigital cultures.

In the context of the postdigital age, where technology is increasingly part of our social and political world, Avatars, Activism and Postdigital Performance traces how identity can be created, developed, hijacked, manipulated, sabotaged and explored through performance in postdigital cultures. Considering how technology is reshaping performance, this timely collection reveals how we engage in performance practices through expanded notions of intermediality, knotted networks and layering.This book examines the artist as activist and producer of avatars, and how digital doubles, artificial intelligence and semi-automated politics are problematizing and expanding our discussions of identity. Using a range of examples in theatre, film and internet-based performance practices, chapters examine the uncertain boundaries of networked ''informational selves'' in mediatized cultures, the impacts of machine algorithms, apps and the consequences of digital legacies. Case studies include James Cameron''s Avatar, Blast Theory''s Karen, Ontroerend Goed''s A Game of You, Randy Rainbow''s online videos, Sisters Grimm''s Calpurnia Descending, Dead Centre''s Lippy and Chekhov''s First Play and Jo Scott''s practice-as-research in ''place-mixing''.This is an incisive study for scholars, students and practitioners interested in the wider conversations around identity-formation in postdigital cultures.

In the context of the postdigital age, where technology is increasingly part of our social and political world, Avatars, Activism and Postdigital Performance traces how identity can be created, developed, hijacked, manipulated, sabotaged and explored through performance in postdigital cultures. Considering how technology is reshaping performance, this timely collection reveals how we engage in performance practices through expanded notions of intermediality, knotted networks and layering.This book examines the artist as activist and producer of avatars, and how digital doubles, artificial intelligence and semi-automated politics are problematizing and expanding our discussions of identity. Using a range of examples in theatre, film and internet-based performance practices, chapters examine the uncertain boundaries of networked ''informational selves'' in mediatized cultures, the impacts of machine algorithms, apps and the consequences of digital legacies. Case studies include James Cameron''s Avatar, Blast Theory''s Karen, Ontroerend Goed''s A Game of You, Randy Rainbow''s online videos, Sisters Grimm''s Calpurnia Descending, Dead Centre''s Lippy and Chekhov''s First Play and Jo Scott''s practice-as-research in ''place-mixing''.This is an incisive study for scholars, students and practitioners interested in the wider conversations around identity-formation in postdigital cultures.

In the context of the postdigital age, where technology is increasingly part of our social and political world, Avatars, Activism and Postdigital Performance traces how identity can be created, developed, hijacked, manipulated, sabotaged and explored through performance in postdigital cultures. Considering how technology is reshaping performance, this timely collection reveals how we engage in performance practices through expanded notions of intermediality, knotted networks and layering.This book examines the artist as activist and producer of avatars, and how digital doubles, artificial intelligence and semi-automated politics are problematizing and expanding our discussions of identity. Using a range of examples in theatre, film and internet-based performance practices, chapters examine the uncertain boundaries of networked ‘informational selves’ in mediatized cultures, the impacts of machine algorithms, apps and the consequences of digital legacies. Case studies include James Cameron’s Avatar, Blast Theory’s Karen, Ontroerend Goed’s A Game of You, Randy Rainbow’s online videos, Sisters Grimm’s Calpurnia Descending, Dead Centre’s Lippy and Chekhov’s First Play and Jo Scott’s practice-as-research in ‘place-mixing’.This is an incisive study for scholars, students and practitioners interested in the wider conversations around identity-formation in postdigital cultures.

Covid-19 has been described as a ‘digital pandemic’. But who might the characterisation of the pandemic as ‘digital’ leave behind? This timely book reconsiders the pandemic as ‘postdigital’, examining tensions between a growing postdigital attitude of disenchantment with digital technologies and the increasing reliance on adapted modes of online practice mid-lockdown in both performance-making and healthcare.What emerged amidst the pandemic restrictions was a theatre that was unable to show its face, instead adapting into a variety of ‘covid-safe’ remote forms of engagement, from ‘Zoom plays’ to self-generating experiences sent by post. This book explores the ways that both performances and healthcare practices found proxies for direct touch and face-to-face encounters, deconstructing the way that care and resilience were spectacularized by political actors online.Liam Jarvis and Karen Savage explore aspects of care in relation to technology, spectacle and facilitation, and how new modes of delivery and the repurposing of theatre spaces that were displaced amidst the mass migration online have been enabling as well as controversial. The variety of case studies assessed includes internet memes, online films, performances of everyday resilience through social media and participatory theatre productions, including Thaddeus Phillips’ Zoom Motel, Coney’s Telephone and Nightcap’s Handle with Care.

Covid-19 has been described as a ‘digital pandemic’. But who might the characterisation of the pandemic as ‘digital’ leave behind? This timely book reconsiders the pandemic as ‘postdigital’, examining tensions between a growing postdigital attitude of disenchantment with digital technologies and the increasing reliance on adapted modes of online practice mid-lockdown in both performance-making and healthcare.What emerged amidst the pandemic restrictions was a theatre that was unable to show its face, instead adapting into a variety of ‘covid-safe’ remote forms of engagement, from ‘Zoom plays’ to self-generating experiences sent by post. This book explores the ways that both performances and healthcare practices found proxies for direct touch and face-to-face encounters, deconstructing the way that care and resilience were spectacularized by political actors online.Liam Jarvis and Karen Savage explore aspects of care in relation to technology, spectacle and facilitation, and how new modes of delivery and the repurposing of theatre spaces that were displaced amidst the mass migration online have been enabling as well as controversial. The variety of case studies assessed includes internet memes, online films, performances of everyday resilience through social media and participatory theatre productions, including Thaddeus Phillips’ Zoom Motel, Coney’s Telephone and Nightcap’s Handle with Care.

Covid-19 has been described as a ''digital pandemic''. But who might the characterisation of the pandemic as ''digital'' leave behind? This timely book reconsiders the pandemic as ''postdigital'', examining tensions between a growing postdigital attitude of disenchantment with digital technologies and the increasing reliance on adapted modes of online practice mid-lockdown in both performance-making and healthcare.What emerged amidst the pandemic restrictions was a theatre that was unable to show its face, instead adapting into a variety of ''covid-safe'' remote forms of engagement, from ''Zoom plays'' to self-generating experiences sent by post. This book explores the ways that both performances and healthcare practices found proxies for direct touch and face-to-face encounters, deconstructing the way that care and resilience were spectacularized by political actors online.Liam Jarvis and Karen Savage explore aspects of care in relation to technology, spectacle and facilitation, and how new modes of delivery and the repurposing of theatre spaces that were displaced amidst the mass migration online have been enabling as well as controversial. The variety of case studies assessed includes internet memes, online films, performances of everyday resilience through social media and participatory theatre productions, including Thaddeus Phillips'' Zoom Motel, Coney''s Telephone and Nightcap''s Handle with Care.

Covid-19 has been described as a ''digital pandemic''. But who might the characterisation of the pandemic as ''digital'' leave behind? This timely book reconsiders the pandemic as ''postdigital'', examining tensions between a growing postdigital attitude of disenchantment with digital technologies and the increasing reliance on adapted modes of online practice mid-lockdown in both performance-making and healthcare.What emerged amidst the pandemic restrictions was a theatre that was unable to show its face, instead adapting into a variety of ''covid-safe'' remote forms of engagement, from ''Zoom plays'' to self-generating experiences sent by post. This book explores the ways that both performances and healthcare practices found proxies for direct touch and face-to-face encounters, deconstructing the way that care and resilience were spectacularized by political actors online.Liam Jarvis and Karen Savage explore aspects of care in relation to technology, spectacle and facilitation, and how new modes of delivery and the repurposing of theatre spaces that were displaced amidst the mass migration online have been enabling as well as controversial. The variety of case studies assessed includes internet memes, online films, performances of everyday resilience through social media and participatory theatre productions, including Thaddeus Phillips'' Zoom Motel, Coney''s Telephone and Nightcap''s Handle with Care.

Reflecting on the violent impact of digital border systems and surveillance practices that dehumanises migrating bodies, this book draws parallels to similar harmful acts of identity marking in relation to performance and migration.Performance practice creates an opportunity for bodies reduced to data at digital border zones to reject the numerical label forced upon them, making a more human and multifaceted counternarrative. Leading with the original concept of ‘choreographing evidence’, the book applies Practice as Research methods to performance works created with artist and refugee Tom Tegento: Uninvited (2021) and Contagion (2021). This work disrupts surveillance technologies and their violence towards bodies at borders as well as using them in alternative ways within performance practice. It considers how choreography which utilises both overt optical tracking technologies and GPS methods embedded in smart devices can enable othered bodies to redraw borders, reclaim narratives and resituate the self.Alongside this PaR work, the book analyses contemporary performance which uses the body and/or technology to explore narratives of migration. It offers examples of UK and European works which critique the way migrating bodies are represented within performance, including Flight Pattern (2019), A Place to Sit (2021), The Walk (Little Amal) (2021) and Now is the Time to Say Nothing (2019). The insights gained offer a richer understanding of the power dynamics at digital borders, how they function, how they can be resisted and how they are felt and lived.

An investigation of how artists use data in creating performance and how data is visualised in researching performance.[ST1] Artists and scholars now use data in creative ways to make and investigate theatre and performance while critiquing the power relations inherent in data collection, analysis, and visualisation. This book brings together artists who use data to create performance with researchers who visualise data about performance. Each chapter is organised around a key idea about data as performance, dramaturgy, documentation, flow, and genealogy. They use a range of case studies from around the globe, including the Builders’ Association’s I Agree to the Terms (2022),The Haka Party Incident (2022) by Katie Wolfe in Aotearoa, Rimini Protokoll’s 100% City series (since 2008), Catalogue by Rawcus in Melbourne (2013), and Algorithmen by Turbo Pascal in Germany (2014), among many others.Demonstrating how live performance embodies data for social critique and improved data literacy, this book illuminates how artists generate data through dramaturgical processes. It also explains how sharing information about performance within a database enables broader investigations of touring patterns, long-term programming, and lines of influence between artists. Examples of data considered within this book include: play scripts, publicity material, videos and images of performance, live performing arts databases, geographical locations of performance venues, and networks of production cast and crew. By interweaving digital methods with creative research, this appeals to those looking for creative ways to engage with data and performance, and provides an accessible and engaging guide to working with performance data in digital cultures for artists, students, curators, and researchers.

Savage shares with you the triumphs and trials of new parenthood from initial sleep deprivation (It wasnt even living in actual days really more like an incoherent string of two-hour chunks) to losing the weight (My stomach not only bears a frightening resemblance to a deflated tire, but also has the texture of an orange peel). Savage takes you through a journey of Airplane Baby Haters, Mommys Night Out, Developmental Races, making friends with the Tim Hortons guy, and the joys of shared parenting. Youll feel like your having a drink with a good friend dishing about modern motherhood. Karen shows you how to sift through all the experts out there, cope with your in-laws and dealing your own insecurities, Savage reminds new moms that just doing your best is what already makes you a great mom, and that sometimes all you have to do is just show up for them, no experts required! Karen shares the journey with you, with humour, honesty, and empathy. From the magical to the maddening, Karen Savage guides you through the ups and downs of new parenthood, where instructions are not included.

This is a book about collaboration in the arts, which explores how working together seems to achieve more than the sum of the parts. It introduces ideas from economics to conceptualize notions of externalities, complementarity, and emergence, and playfully explores collaborative structures such as the swarm, the crowd, the flock, and the network. It uses up-to-date thinking about Wikinomics, Postcapitalism, and Biopolitics, underpinned by ideas from Foucault, Bourriaud, and Hardt and Negri. In a series of thought-provoking case studies, the authors consider creative practices in theatre, music and film. They explore work by artists such as Gob Squad, Eric Whitacre, Dries Verhoeven, Pete Wyer, and Tino Seghal, and encounter both live and online collaborative possibilities in fascinating discussions of Craigslist and crowdfunding at the Edinburgh Festival. What is revealed is that the introduction of Web 2.0 has enabled a new paradigm of artistic practice to emerge, in which participatory encounters, collaboration, and online dialogue become key creative drivers. Written itself as a collaborative project between Karen Savage and Dominic Symonds, this is a strikingly original take on the economics of working together.

In their previous book, Economies of Collaboration in Performance, Savage and Symonds explored the economy as a metaphor for understanding collaborative practices in the arts. This book, Ecologies of Community in Performance, continues to explore arts practices, focusing on communities and turning to the language of ecology to understand the complexities and working dynamics of arts communities. The book provides a thoughtful analysis of how communities work as ecologies, offering case studies of community processes by way of illustrating the main discussion. In doing so it reveals how the triangulation of ecology, community, and performance allows for a deeper understanding of dynamic relations in the arts, enabling scholars, practitioners and policy-makers to better conceptualise ecological thinking in relation to 21st century arts practices.

In their previous book, Economies of Collaboration in Performance, Savage and Symonds explored the economy as a metaphor for understanding collaborative practices in the arts. This book, Ecologies of Community in Performance, continues to explore arts practices, focusing on communities and turning to the language of ecology to understand the complexities and working dynamics of arts communities. The book provides a thoughtful analysis of how communities work as ecologies, offering case studies of community processes by way of illustrating the main discussion. In doing so it reveals how the triangulation of ecology, community, and performance allows for a deeper understanding of dynamic relations in the arts, enabling scholars, practitioners and policy-makers to better conceptualise ecological thinking in relation to 21st century arts practices.

This is a book about collaboration in the arts, which explores how working together seems to achieve more than the sum of the parts. It introduces ideas from economics to conceptualize notions of externalities, complementarity, and emergence, and playfully explores collaborative structures such as the swarm, the crowd, the flock, and the network. It uses up-to-date thinking about Wikinomics, Postcapitalism, and Biopolitics, underpinned by ideas from Foucault, Bourriaud, and Hardt and Negri. In a series of thought-provoking case studies, the authors consider creative practices in theatre, music and film. They explore work by artists such as Gob Squad, Eric Whitacre, Dries Verhoeven, Pete Wyer, and Tino Seghal, and encounter both live and online collaborative possibilities in fascinating discussions of Craigslist and crowdfunding at the Edinburgh Festival. What is revealed is that the introduction of Web 2.0 has enabled a new paradigm of artistic practice to emerge, in which participatory encounters, collaboration, and online dialogue become key creative drivers. Written itself as a collaborative project between Karen Savage and Dominic Symonds, this is a strikingly original take on the economics of working together.