Saul Kemack draws on the theories of Bernard Stiegler and Kati Röttger to examine live performance as a site for practicing “dis-automation dramaturgy.” Through a detailed phenomenological and intermedial study of Forced Entertainment’s Signal to Noise, the author explores how theatrical framing can expose the logics of digitally saturated life under hyper-industrial capitalism. Rather than claiming we can wholly resist such logics, his research reveals how art creates temporary interruptions – moments of reflection and reoriented sensibility – in the algorithmic flow. Saul Kemack is a writer, researcher, and dramaturg based in South Africa.
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Bibliographic data
Publication year
2025
Publication date
12.12.2025
ISBN-Print
978-3-68900-523-8
ISBN-Online
978-3-68900-524-5
Publisher
Tectum, Baden-Baden
Series
AGent. New Theses in Performance Research
Volume
13
Language
English
Pages
82
Product type
Book Titles
Table of contents
ChapterPages
Foreword No access
Acknowledgements No access
Maybe No access
Preface No access
The Age of AI No access
Dis-Automation No access
Departing from Projects that Strictly Employ AI and Algorithms No access
Should We Really Be Afraid? No access
New Tech, Same Old Anxiety No access
Access and Excess in the Digital Maze: Can Art Help Us Navigate? No access
From Late Capitalism to the Hyper-Industrial No access
Imaginaries of AI: From Fiction to Pharmakon No access
Central Question: Dis-Automation in Theatre Practice No access
Introduction to Theoretical Framework No access
Artificial Intelligence and Automated Digital Technologies No access
Contextualising the Hyper-industrial and Digital Anxieties No access
Sociotechnical Imaginaries (SIs) No access
Technics, Tekhnē, and the Pharmakon No access
Phenomenology No access
Intermediality: The Method is in the Media No access
A Reminder No access
Context No access
Description No access
Title Framing No access
The Middle of the Vortex (Intermedial Destabilisation) No access
