original and real referents because we copy the real through media and reproduce the simulacra: the real that we referred to is the simulation itself. In other words, all that we perceive is the simulation already imagined and reproduced. The incorporation of interactive media technologies with performance not only corroborates Auslander’s assertion that there are no ostensibly intrinsic characteristics of live and mediatised performance, but it also extends to the ontological debate on the human performer. Theatre and performance scholar David Saltz uses the term media’ to define interactive media’s capacity to respond to performers in real ‘live time, contrasting it with media’ (Saltz, 2001, p.127). Sounds and images, ‘frozen which are pre-created and stored in a computer, are instantaneously manipulated by adapting to human performers or audiences’ behaviours. That is to say, interactive media have spontaneity or variability’, as a live performance does (Saltz, 2001, ‘the p.109). Saltz then points out that if a machine itself is capable of not just generating a sense of liveness but also enacting its own autonomous behaviours in response to other entities, as a bot with artificial intelligence does, it can be perceived as a kind of performer (Saltz, 2001, p.127). Interactive media’s potential status as a non-human entity performing is indicated also by Margaret Morse, who states that ‘live’ ‘a machine that thus with the user even at this minimal level can produce a “interacts” feeling of and a sense of the machine’s agency and because it exchanges “liveness” ― symbols even of a subjective encounter with a persona’ (Morse, 1998, p.15). ― Susan Broadhurst’s (2001) exemplifies the reframed Blue Bloodshot Flowers ontological status of the machine. In this performance work, Jeremiah, which is a computer-generated animated head, is able to change his facial expression as a reaction to human movement, by means of artificial intelligence technologies. In expressing his emotion, such as anger, happiness or sadness, he is programmed to
original and real referents because we copy the real through media and reproduce the simulacra: the real that we referred to is the simulation itself. In other words, all that we perceive is the simulation already imagined and reproduced. The incorporation of interactive media technologies with performance not only corroborates Auslander’s assertion that there are no ostensibly intrinsic characteristics of live and mediatised performance, but it also extends to the ontological debate on the human performer. Theatre and performance scholar David Saltz uses the term ‘live media’ to define interactive media’s capacity to respond to performers in real time, contrasting it with ‘frozen media’ (Saltz, 2001, p.127). Sounds and images, which are pre-created and stored in a computer, are instantaneously manipulated by adapting to human performers or audiences’ behaviours. That is to say, interactive media have ‘the spontaneity or variability’, as a live performance does (Saltz, 2001, p.109). Saltz then points out that if a machine itself is capable of not just generating a sense of liveness but also enacting its own autonomous behaviours in response to other entities, as a bot with artificial intelligence does, it can be perceived as a kind of performer (Saltz, 2001, p.127). Interactive media’s potential status as a non-human entity performing ‘live’ is indicated also by Margaret Morse, who states that ‘a machine that thus “interacts” with the user even at this minimal level can produce a feeling of “liveness” and a sense of the machine’s agency and ― because it exchanges symbols ― even of a subjective encounter with a persona’ (Morse, 1998, p.15). Susan Broadhurst’s Blue Bloodshot Flowers (2001) exemplifies the reframed ontological status of the machine. In this performance work, Jeremiah, which is a computer-generated animated head, is able to change his facial expression as a reaction to human movement, by means of artificial intelligence technologies. In expressing his emotion, such as anger, happiness or sadness, he is programmed to