INTERACTIVE DIGITAL TECHNOLOGIES ON SCENE – CONSEQUENCES AND PERSPECTIVES ON AESTHETICS OF PERFORMATIVE SPACES

International audienceSince the very beginning of electronical assisted performances, like OPEN SCORE (1966) by Robert Rauschenberg, we may identify a very close relationship between digital technology and the aesthetics of the resulting artistic work. More than a simple improvement of technical aspects, e.g. image sharpness, sound quality, interaction with those images and sounds, digital technology impacts strongly on the conceptual interferences between technological and aesthetical structures such as the possible conception of the work itself and the scene design. New possible relations and correlations between the sound, the image, the perfomer and the spectator open new possibilities to consider time and space in artistic expression, and lead to a new aesthetic grammar, which we propose to define by the notion digital interactive aesthetics. Even if interactive digital technology is widely used in music, theatre, opera and visual arts, we observe approaches and experiments of new interactive aesthetics including the spectator mostly on the crossborder of installative art and performative works, often proposing a hybrid of both. We try to demonstrate that this new, and still fragile, aesthetics is possible to understand in the continuity of perfomative and participative art. Since the beginning of the 20th century, participation and interactivity in arts and performance arts have been a big concern for artists. We can outline a strong conceptual continuity with artists’ critics of new media, and specially the critics of artworks in the context of their relation(s) to the spectator. Using historical and actual examples of performances and installations using interactive digital technology, we investigate different forms of relations between performativity, time, space and the spectator in the context of contemporary digital interactive aesthetics