http://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&feed=atom&action=historyLiveness - Revision history2024-03-28T15:22:18ZRevision history for this page on the wikiMediaWiki 1.25.2http://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=12627&oldid=prevFinnb: Undo revision 12604 by Egugecuge (Talk)2010-11-24T14:22:09Z<p>Undo revision 12604 by <a href="/deadmedia/index.php/Special:Contributions/Egugecuge" title="Special:Contributions/Egugecuge">Egugecuge</a> (<a href="/deadmedia/index.php?title=User_talk:Egugecuge&action=edit&redlink=1" class="new" title="User talk:Egugecuge (page does not exist)">Talk</a>)</p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=12627&oldid=12604">Show changes</a>Finnbhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=12604&oldid=prevEgugecuge at 08:48, 24 November 20102010-11-24T08:48:05Z<p></p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=12604&oldid=9749">Show changes</a>Egugecugehttp://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=9749&oldid=prevAletheajoy: /* Broadcasting: A Case Study in the Death of Liveness */2010-04-26T17:48:34Z<p><span dir="auto"><span class="autocomment">Broadcasting: A Case Study in the Death of Liveness</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Broadcasting: A Case Study in the Death of Liveness==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Broadcasting: A Case Study in the Death of Liveness==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The introduction of broadcasting was not the beginning of the demise of liveness, but it has been the nail in the coffin, so to speak. Broadcasting is, by nature, a medium based on spatial distance between those who are encoding and the (larger) group involved in decoding. In some respects this was the first step away from liveness in that it disconnected viewers from the concert hall or theater but allowed them to see and/or hear entertainment across great distances as the events were happening. [[Image:Youneednotbethere.JPG|thumb|alt=Old TV Ad|An ad for a television set stressing the perk of seeing things live without being there in person.]] There was a lot of rhetoric promoting this spatial distanciation as an admirable aspect of broadcasting. It allowed greater proliferation of "great art" and could introduce such work to people who might not otherwise ever know about it. Although lack of spatial liveness is intrinsic to the mediums of radio and television, broadcast's relationship with temporal liveness has altered greatly throughout history.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The introduction of <ins class="diffchange diffchange-inline">[[</ins>broadcasting<ins class="diffchange diffchange-inline">]] </ins>was not the beginning of the demise of liveness, but it has been the nail in the coffin, so to speak. Broadcasting is, by nature, a medium based on spatial distance between those who are encoding and the (larger) group involved in decoding. In some respects this was the first step away from liveness in that it disconnected viewers from the concert hall or theater but allowed them to see and/or hear entertainment across great distances as the events were happening. [[Image:Youneednotbethere.JPG|thumb|alt=Old TV Ad|An ad for a television set stressing the perk of seeing things live without being there in person.]] There was a lot of rhetoric promoting this spatial distanciation as an admirable aspect of broadcasting. It allowed greater proliferation of "great art" and could introduce such work to people who might not otherwise ever know about it. Although lack of spatial liveness is intrinsic to the mediums of radio and television, broadcast's relationship with temporal liveness has altered greatly throughout history.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>From the dawn of radio through the early days of television, liveness was considered a marker of quality. It was considered to be the thing that set radio and television apart from film or recorded music and thus was highly praised. The stress placed on liveness is evident in early advertisements and discussions of television, and many lamented the shift to more recorded programming. As the Ford Foundation said in 1966, "the greatest assets of television are liveness and immediacy. Much of the vitality has been drained out of television with the increasing use of tape" (Lederberg). Part of this appraisal of liveness is tied to notions of authenticity. Live programming is more real. It is coming directly from the sources, whether they be sporting events or theatrical productions or musical performances. It was real, uncensored, unmediated content.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>From the dawn of radio through the early days of television, liveness was considered a marker of quality. It was considered to be the thing that set radio and television apart from film or recorded music and thus was highly praised. The stress placed on liveness is evident in early advertisements and discussions of television, and many lamented the shift to more recorded programming. As the Ford Foundation said in 1966, "the greatest assets of television are liveness and immediacy. Much of the vitality has been drained out of television with the increasing use of tape" (Lederberg). Part of this appraisal of liveness is tied to notions of authenticity. Live programming is more real. It is coming directly from the sources, whether they be sporting events or theatrical productions or musical performances. It was real, uncensored, unmediated content.</div></td></tr>
</table>Aletheajoyhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=9748&oldid=prevAletheajoy at 17:47, 26 April 20102010-04-26T17:47:36Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>As mentioned, however, time and space are two different aspects of liveness. The development and evolution of broadcast technologies serve as an example of the way these two attributes have become disconnected and how both have fallen away.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>As mentioned, however, time and space are two different aspects of liveness. The development and evolution of broadcast technologies serve as an example of the way these two attributes have become disconnected and how both have fallen away.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>==<del class="diffchange diffchange-inline">Television</del>: A Case Study in the Death of Liveness==</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>==<ins class="diffchange diffchange-inline">Broadcasting</ins>: A Case Study in the Death of Liveness==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The introduction of broadcasting was not the beginning of the demise of liveness, but it has been the nail in the coffin, so to speak. Broadcasting is, by nature, a medium based on spatial distance between those who are encoding and the (larger) group involved in decoding. In some respects this was the first step away from liveness in that it disconnected viewers from the concert hall or theater but allowed them to see and/or hear entertainment across great distances as the events were happening. [[Image:Youneednotbethere.JPG|thumb|alt=Old TV Ad|An ad for a television set stressing the perk of seeing things live without being there in person.]] There was a lot of rhetoric promoting this spatial distanciation as an admirable aspect of broadcasting. It allowed greater proliferation of "great art" and could introduce such work to people who might not otherwise ever know about it. Although lack of spatial liveness is intrinsic to the mediums of radio and television, broadcast's relationship with temporal liveness has altered greatly throughout history.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The introduction of broadcasting was not the beginning of the demise of liveness, but it has been the nail in the coffin, so to speak. Broadcasting is, by nature, a medium based on spatial distance between those who are encoding and the (larger) group involved in decoding. In some respects this was the first step away from liveness in that it disconnected viewers from the concert hall or theater but allowed them to see and/or hear entertainment across great distances as the events were happening. [[Image:Youneednotbethere.JPG|thumb|alt=Old TV Ad|An ad for a television set stressing the perk of seeing things live without being there in person.]] There was a lot of rhetoric promoting this spatial distanciation as an admirable aspect of broadcasting. It allowed greater proliferation of "great art" and could introduce such work to people who might not otherwise ever know about it. Although lack of spatial liveness is intrinsic to the mediums of radio and television, broadcast's relationship with temporal liveness has altered greatly throughout history.  </div></td></tr>
</table>Aletheajoyhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=9747&oldid=prevAletheajoy at 17:46, 26 April 20102010-04-26T17:46:13Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>There are two aspects of liveness: temporal and spatial, i.e. experiencing <del class="diffchange diffchange-inline">while </del>it happens vs. being where <del class="diffchange diffchange-inline">it </del>happens. Liveness can thus apply to the concept of being seated in the same theater as a production of a play, or watching a sporting event taking place on the other side of the country. The definition above, offered by the ''Oxford English Dictionary'', focuses more on the temporal, however the two are in many ways intertwined. The idea of being in the same place at the same time as the production of a communication message is growing increasingly antiquated. While it could be argued that day-to-day interactions are also losing their liveness (consider self check-out lines and the ease of ordering things on the internet), it is constructed, performance-oriented activities that are most affected.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>There are two aspects of liveness: temporal and spatial, i.e. experiencing <ins class="diffchange diffchange-inline">something as </ins>it happens vs. being <ins class="diffchange diffchange-inline">in a location </ins>where <ins class="diffchange diffchange-inline">something </ins>happens. Liveness can thus apply to the concept of being seated in the same theater as a production of a play, or watching a sporting event taking place on the other side of the country. The definition above, offered by the ''Oxford English Dictionary'', focuses more on the temporal, however the two are in many ways intertwined. The idea of being in the same place at the same time as the production of a communication message is growing increasingly antiquated. While it could be argued that day-to-day interactions are also losing their liveness (consider self check-out lines and the ease of ordering things on the internet), it is constructed, performance-oriented activities that are most affected.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Attributes & Characteristics==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Attributes & Characteristics==</div></td></tr>
</table>Aletheajoyhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=9713&oldid=prevAletheajoy: /* Attributes & Characteristics */2010-04-26T17:18:52Z<p><span dir="auto"><span class="autocomment">Attributes & Characteristics</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><div style="text-align:center;">''"At the level of cultural economy, theatre (and live performance generally) and the mass media are rivals, not partners. Neither are they equal rivals: it is absolutely clear that our current cultural formation is saturated with, and dominated by, mass media representations in general, and television in particular (though television is admittedly locked in combat for cultural and economic dominance with the Internet and telecommunications)." - '''Phillip Auslander'''''</div></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><div style="text-align:center;">''"At the level of cultural economy, theatre (and live performance generally) and the mass media are rivals, not partners. Neither are they equal rivals: it is absolutely clear that our current cultural formation is saturated with, and dominated by, mass media representations in general, and television in particular (though television is admittedly locked in combat for cultural and economic dominance with the Internet and telecommunications)." - '''Phillip Auslander''' <ins class="diffchange diffchange-inline">(1)</ins>''</div></div></td></tr>
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</table>Aletheajoyhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=9711&oldid=prevAletheajoy: /* Attributes & Characteristics */2010-04-26T17:18:05Z<p><span dir="auto"><span class="autocomment">Attributes & Characteristics</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Attributes & Characteristics==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Attributes & Characteristics==</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"><div style="text-align:center;">''"At the level of cultural economy, theatre (and live performance generally) and the mass media are rivals, not partners. Neither are they equal rivals: it is absolutely clear that our current cultural formation is saturated with, and dominated by, mass media representations in general, and television in particular (though television is admittedly locked in combat for cultural and economic dominance with the Internet and telecommunications)." - '''Phillip Auslander'''''</div></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>{| style="width: 30%; float: right" border="1" cellpadding="2"</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>{| style="width: 30%; float: right" border="1" cellpadding="2"</div></td></tr>
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<td colspan="2" class="diff-lineno">Line 19:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>| A recorded television episode</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>| A recorded television episode</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>|}</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>|}</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"><div style="text-align:center;">''"At the level of cultural economy, theatre (and live performance generally) and the mass media are rivals, not partners. Neither are they equal rivals: it is absolutely clear that our current cultural formation is saturated with, and dominated by, mass media representations in general, and television in particular (though television is admittedly locked in combat for cultural and economic dominance with the Internet and telecommunications)." - '''Phillip Auslander'''''</div></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Liveness dates back to the beginning of human interaction. It includes everything from conversations between two people to 50,000 spectators watching gladiatorial battles at the Colosseum. Despite its prevalence throughout history, however, it is difficult to discuss liveness without looking at what it is not.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Liveness dates back to the beginning of human interaction. It includes everything from conversations between two people to 50,000 spectators watching gladiatorial battles at the Colosseum. Despite its prevalence throughout history, however, it is difficult to discuss liveness without looking at what it is not.</div></td></tr>
</table>Aletheajoyhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=9709&oldid=prevAletheajoy: /* Attributes & Characteristics */2010-04-26T17:17:40Z<p><span dir="auto"><span class="autocomment">Attributes & Characteristics</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:17, 26 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L23" >Line 23:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Liveness is the absence of writing. It is encoding and decoding happening simultaneously. Another attribute of liveness is difference. One could see the same play with the same cast three nights in a row and see a different show each time. Unlike recorded or written work which contains the same words or images each time one looks at it, liveness offers a unique presentation each time. Compared to other modes of mediation, liveness is less controllable. A performance one night may be longer than the next; a performer can make a mistake or intentionally cause problems; and technological failure or other forces outside the performers can interfere with the intent of the representation. There is an uncertainty to liveness that disappears when one begins recording events and making them more easily manipulable. This variation on pops and hisses gives liveness a certain ethereal, magical quality. When viewing something, the spectator becomes a part of the experience in a way consumers of recorded, more static content cannot. Of course, liveness also brings with it a risk. If things are different enough in a live performance from what is intended it can change the message or cause other problems.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Liveness is the absence of writing. It is encoding and decoding happening simultaneously. Another attribute of liveness is difference. One could see the same play with the same cast three nights in a row and see a different show each time. Unlike recorded or written work which contains the same words or images each time one looks at it, liveness offers a unique presentation each time. Compared to other modes of mediation, liveness is less controllable. A performance one night may be longer than the next; a performer can make a mistake or intentionally cause problems; and technological failure or other forces outside the performers can interfere with the intent of the representation. There is an uncertainty to liveness that disappears when one begins recording events and making them more easily manipulable. This variation on pops and hisses gives liveness a certain ethereal, magical quality. When viewing something, the spectator becomes a part of the experience in a way consumers of recorded, more static content cannot. Of course, liveness also brings with it a risk. If things are different enough in a live performance from what is intended it can change the message or cause other problems.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:BoweryTheater.jpg|thumb|left|alt=Bowery Theater|These theater-goers are in the same time and space as the performance they are watching.]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Compared to other forms of mediation, liveness is, essentially, unmediated. Whereas cinema is "the manipulation of optic nerves and their time," and acoustic recording uses "sound tricks, montage, and cuts" (Kittler 115), liveness is free of such interference. It is the senses working on their own to experience that which can only be constructed and articulated by a message sender in the presence of a receiving individual. This does not mean that everything live is not lacking in artificiality, rather that the extent to which it can be constructed is restricted by the capabilities of technology and sleight-of-hand style trickery that can be applied instantaneously.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Compared to other forms of mediation, liveness is, essentially, unmediated. Whereas cinema is "the manipulation of optic nerves and their time," and acoustic recording uses "sound tricks, montage, and cuts" (Kittler 115), liveness is free of such interference. It is the senses working on their own to experience that which can only be constructed and articulated by a message sender in the presence of a receiving individual. This does not mean that everything live is not lacking in artificiality, rather that the extent to which it can be constructed is restricted by the capabilities of technology and sleight-of-hand style trickery that can be applied instantaneously.  </div></td></tr>
</table>Aletheajoyhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=9708&oldid=prevAletheajoy: /* Death and Retroactive Definitions */2010-04-26T17:17:01Z<p><span dir="auto"><span class="autocomment">Death and Retroactive Definitions</span></span></p>
<table class='diff diff-contentalign-left'>
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</tr><tr><td colspan="2" class="diff-lineno" id="L27" >Line 27:</td>
<td colspan="2" class="diff-lineno">Line 27:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Liveness is experiencing a long and slow death that began with the written word and has continued into broadcast technologies and internet communications. In fact, the very acknowledgement of liveness as a mode of mediation is suggestive of its dying nature. Until an alternative to liveness developed there was no concept of live. It just was. It was the only way to communicate. With the introduction of other modes of mediation, live is now often used as a retronym of sorts, made necessary to distinguish it from the alternatives that have developed. The problem here is not so much arguing the deadness of liveness, it is rather to justify liveness as a mode of mediation as in many respects it is the lack of mediation that is being displaced by new and creative ways to mediate all forms of communication.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Liveness is experiencing a long and slow death that began with the written word and has continued into broadcast technologies and internet communications. In fact, the very acknowledgement of liveness as a mode of mediation is suggestive of its dying nature. Until an alternative to liveness developed there was no concept of live. It just was. It was the only way to communicate. With the introduction of other modes of mediation, live is now often used as a retronym of sorts, made necessary to distinguish it from the alternatives that have developed. The problem here is not so much arguing the deadness of liveness, it is rather to justify liveness as a mode of mediation as in many respects it is the lack of mediation that is being displaced by new and creative ways to mediate all forms of communication.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">As mentioned, however, time and space are two different aspects of liveness. The development and evolution of broadcast technologies serve as an example of the way these two attributes have become disconnected and how both have fallen away.</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">==Death and Retroactive Definitions==</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">[[Image:BoweryTheater.jpg|thumb|left|alt=Bowery Theater|These theater-goers are in the same time and space as the performance they are watching.]]</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Liveness is experiencing a long and slow death that began with the written word and has continued into broadcast technologies and internet communications. In fact, the very acknowledgement of liveness as a mode of mediation is suggestive of its dying nature. Until there was an alternative to liveness there was no concept of live. It was just a speech or a concert. Live is now often used as a retronym made necessary to distinguish it from the alternatives that have developed throughout time. The problem here is not so much arguing the deadness of liveness, it is rather to justify liveness as a mode of mediation as in many respects it is the lack of mediation that is being displaced by new and creative ways to mediate all forms of communication.</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Whereas cinema is "the manipulation of optic nerves and their time," and acoustic recording uses "sound tricks, montage, and cuts" (Kittler 115), liveness is free of such interference. It is the senses working on their own to experience that which can only be constructed and articulated by an individual in the presence of a receiving individual. This does not mean that everything live is not lacking in artificiality, rather that the extent to which it can be constructed is restricted by the capabilities of technology and sleight-of-hand style trickery that can be applied instantaneously.</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>As mentioned, however, time and space are two different aspects of liveness. The development and evolution of broadcast technologies serve as an example of the way these two attributes have become disconnected and how both have fallen away.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>As mentioned, however, time and space are two different aspects of liveness. The development and evolution of broadcast technologies serve as an example of the way these two attributes have become disconnected and how both have fallen away.</div></td></tr>
</table>Aletheajoyhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Liveness&diff=9704&oldid=prevAletheajoy: /* Attributes & Characteristics */2010-04-26T17:16:38Z<p><span dir="auto"><span class="autocomment">Attributes & Characteristics</span></span></p>
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</tr><tr><td colspan="2" class="diff-lineno" id="L20" >Line 20:</td>
<td colspan="2" class="diff-lineno">Line 20:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div><div style="text-align:center;">''"At the level of cultural economy, theatre (and live performance generally) and the mass media are rivals, not partners. Neither are they equal rivals: it is absolutely clear that our current cultural formation is saturated with, and dominated by, mass media representations in general, and television in particular (though television is admittedly locked in combat for cultural and economic dominance with the Internet and telecommunications)." - '''Phillip Auslander'''''</div></div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div><div style="text-align:center;">''"At the level of cultural economy, theatre (and live performance generally) and the mass media are rivals, not partners. Neither are they equal rivals: it is absolutely clear that our current cultural formation is saturated with, and dominated by, mass media representations in general, and television in particular (though television is admittedly locked in combat for cultural and economic dominance with the Internet and telecommunications)." - '''Phillip Auslander'''''</div></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Liveness dates back to the beginning of human interaction. It includes everything from conversations between two people to 50,000 spectators watching gladiatorial battles at the Colosseum. Despite its prevalence throughout history, however, it is difficult to discuss liveness without looking at what it is not.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Liveness dates back to the beginning of human interaction. It includes everything from conversations between two people to 50,000 spectators watching gladiatorial battles at the Colosseum. Despite its prevalence throughout history, however, it is difficult to discuss liveness without looking at what it is not.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Liveness is the absence of writing. It is <del class="diffchange diffchange-inline">the </del>encoding and decoding happening simultaneously. Another attribute of liveness is difference. One could see the same play with the same cast three nights in a row and see a different show each time. Unlike recorded or written work which contains the same words or images each time one looks at it, liveness offers a unique presentation each time. This variation on pops and hisses gives liveness a certain ethereal, magical quality. When viewing something, the spectator becomes a part of the experience in a way <del class="diffchange diffchange-inline">unlike viewers </del>of recorded, more static content. Of course, liveness also brings with it a risk. If things are different enough in a live performance from what is intended it can change the message or cause other problems.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Liveness is the absence of writing. It is encoding and decoding happening simultaneously. Another attribute of liveness is difference. One could see the same play with the same cast three nights in a row and see a different show each time. Unlike recorded or written work which contains the same words or images each time one looks at it, liveness offers a unique presentation each time<ins class="diffchange diffchange-inline">. Compared to other modes of mediation, liveness is less controllable. A performance one night may be longer than the next; a performer can make a mistake or intentionally cause problems; and technological failure or other forces outside the performers can interfere with the intent of the representation. There is an uncertainty to liveness that disappears when one begins recording events and making them more easily manipulable</ins>. This variation on pops and hisses gives liveness a certain ethereal, magical quality. When viewing something, the spectator becomes a part of the experience in a way <ins class="diffchange diffchange-inline">consumers </ins>of recorded, more static content <ins class="diffchange diffchange-inline">cannot</ins>. Of course, liveness also brings with it a risk. If things are different enough in a live performance from what is intended it can change the message or cause other problems.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Compared to other <del class="diffchange diffchange-inline">modes </del>of mediation, liveness is <del class="diffchange diffchange-inline">less controllable</del>. <del class="diffchange diffchange-inline">A performance one night may </del>be <del class="diffchange diffchange-inline">longer than </del>the <del class="diffchange diffchange-inline">next; </del>a <del class="diffchange diffchange-inline">performer </del>can <del class="diffchange diffchange-inline">make a mistake or intentionally cause problems; and technological failure or other forces outside </del>the <del class="diffchange diffchange-inline">performers </del>can <del class="diffchange diffchange-inline">interfere </del>with the <del class="diffchange diffchange-inline">intent </del>of the <del class="diffchange diffchange-inline">representation</del>. <del class="diffchange diffchange-inline">There </del>is <del class="diffchange diffchange-inline">an uncertainty </del>to liveness that <del class="diffchange diffchange-inline">disappears when one begins recording events </del>and <del class="diffchange diffchange-inline">making them more easily manipulable</del>.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Compared to other <ins class="diffchange diffchange-inline">forms </ins>of mediation, liveness is<ins class="diffchange diffchange-inline">, essentially, unmediated</ins>. <ins class="diffchange diffchange-inline">Whereas cinema is "the manipulation of optic nerves and their time," and acoustic recording uses "sound tricks, montage, and cuts" (Kittler 115), liveness is free of such interference. It is the senses working on their own to experience that which can only </ins>be <ins class="diffchange diffchange-inline">constructed and articulated by a message sender in </ins>the <ins class="diffchange diffchange-inline">presence of </ins>a <ins class="diffchange diffchange-inline">receiving individual. This does not mean that everything live is not lacking in artificiality, rather that the extent to which it </ins>can <ins class="diffchange diffchange-inline">be constructed is restricted by </ins>the <ins class="diffchange diffchange-inline">capabilities of technology and sleight-of-hand style trickery that </ins>can <ins class="diffchange diffchange-inline">be applied instantaneously. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">Liveness is experiencing a long and slow death that began </ins>with the <ins class="diffchange diffchange-inline">written word and has continued into broadcast technologies and internet communications. In fact, the very acknowledgement </ins>of <ins class="diffchange diffchange-inline">liveness as a mode of mediation is suggestive of its dying nature. Until an alternative to liveness developed there was no concept of live. It just was. It was </ins>the <ins class="diffchange diffchange-inline">only way to communicate</ins>. <ins class="diffchange diffchange-inline">With the introduction of other modes of mediation, live </ins>is <ins class="diffchange diffchange-inline">now often used as a retronym of sorts, made necessary </ins>to <ins class="diffchange diffchange-inline">distinguish it from the alternatives that have developed. The problem here is not so much arguing the deadness of </ins>liveness<ins class="diffchange diffchange-inline">, it is rather to justify liveness as a mode of mediation as in many respects it is the lack of mediation </ins>that <ins class="diffchange diffchange-inline">is being displaced by new and creative ways to mediate all forms of communication.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">As mentioned, however, time and space are two different aspects of liveness. The development and evolution of broadcast technologies serve as an example of the way these two attributes have become disconnected </ins>and <ins class="diffchange diffchange-inline">how both have fallen away</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Death and Retroactive Definitions==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Death and Retroactive Definitions==</div></td></tr>
</table>Aletheajoy