Liveness: Performance in a Mediatized Culture

By Philip Auslander

A Discussion of the content in this book and related materials

Brian Tuohy 40068747

MUS7020 Sonic Arts

14th November 2011 1100 Words

Performance has been described as an ephemeral art form that disappears even as it

is appearing, the strength of which is derived from its sui generis ontology of non-

reproducibility (Klein 2000). It is claims such as this that support the idealized view

of performance as intrinsically transgressive and place it beyond the jurisdiction of

hegemonic representation.

Live performance can accordingly be regarded with a reverence that distinguishes it

from recordings, and creates a clear distinction between the two. Peggy Phelan

suggests that a performance can be seen as something that is true only in the moment

and cannot be recreated (Phelan 1993). The performance assumes the role of the real

state of the music, while any form of recording is merely a second-hand

representation, and inherently less accurate (Auslander 1999).

The result is a relationship of binary opposition, where music can exist in either a live

or mediatized form, but not both. This leads Phelan to suggest that there is a clear

ontological distinction between that which can be considered live and a mediatized

representation (Phelan 1993).

This attitude of veneration for live performance while veritably disregarding

mediatized representation is contested by Auslander in his book Liveness:

Performance in a Mediatized Culture (Auslander 1999).

Auslander implies that such assumptions on the nature of performance merely invoke

clichs and mystifications such as the existence of an energy between

performer and spectator in a performance , which are of little assistance when

attempting to situate performance in relation to a mediatized culture (Auslander

1999). It is also posited that the distinction between live and mediatized

representation is not only indistinct, but that the very existence of the notion of live

is attributable to the availability of a mediatized alternative. Here, Auslander echoes

Baudrillards theory that we refer to performance as live in order to distinguish it

from a recorded equivalent with which it could be replaced. Without this alternative

reproduction, the concept of live performance would not exist there would simply

be music.

Indeed, according to Auslander, it could be said that the existence of a recorded

alternative is precisely what ascribes performance its value the desire for a live

alternative exists due to the presence of mediatized representation rather than in spite

of it.

Traditional concepts suggest that much of the allure of live performance lies in the

sense of immediacy, community and involvement that exists when performer and

audience are temporally and spatially co-present (Schwierin 2011). This presents the

possibility of involvement, deviation from a prescribed plot and direct contact

between involved parties.

Auslander responds to this point by proposing that it is based on a false concept of

unity such as that associated with theatre, where there is actually a clear separation

between the defined roles of actor and audience (Auslander 1999).

In the prescribed text, Auslander takes issue with the widespread privileging of live

performance over mediatized versions. The mediatization of music is implied as a

result of the spread of mass media. The advent of recording technologies in the 20th

century resulted in the mass reproduction of artistic material. This essentially

presented the public with the notion of mass replication of art, and society became

acclimatized to the new choices in methods of consumption (Auslander 1999).

Upon the introduction of television, all broadcasts were initially live, and attempted to

recapture the immediacy of theatre. This relationship changed as television became

the driving force in a mediatized society. On this topic, Auslander points out that the

general reaction of live performance to the dominance of mediated forms is to

become as much like them as possible.

Similarly, Auslander refers to Marshall McLuhan, who stated that a new medium

does not leave an old medium in peace; it oppresses it until it has been reshaped and

resituated. With this threat in place, music and live performance adjusted in order to

become more like television. In this scenario, the mass reproduction becomes the

standard that is regarded as what is real, and the live equivalent exists as an attempt

to validate the initial truth proposed by such a representation. This also exists in the

arena of rock concerts, where the live performance can be seen as an attempt to

validate the previously presented music video or CD - if the mediatized image can

be recreated in a live setting, it must have been real to begin with (Auslander

1999).

This realization of dependence on the mediatized equivalent within a mediatic

system, and subsequent adaptation to suit the associated expectations is what has

been described in the text as remediation.

Remediation such as this has led to a purported devaluing of live performance in

popular music due to phenomena such as lip-syncing and the associated scandals of

artists such as Milli Vanilli. Even respected musicians such as Luciano Pavarotti have

chosen to use prerecorded materials in place of singing live due to the existence of too

many variables which could lead to a performance that falls below the expectations

the audience possess as a result of the mediatized representations with which they are

familiar (Wakin Jan. 22 2009).

One situation where live performance is still held in high regard, however, is in the

legal system, where witness testimony the performance of recalling events from

memory in front of an audience is seen as a verified passage to truth. In this respect,

the performance equates to something that can be measured, assessed and accurately

documented contradicting Phelans previously mentioned suggestions of fleeting,

irreproducible qualities. Auslander proposes that this view that witness testimony can

somehow give rise to the truth is based on uncontested assumptions and perhaps

mistakenly attributes an ideological respect for this kind of live performance.

Far from being disconnected from live performance, methods of mediatization and

representation have been implemented into live performance in a form where they

offer themselves as a contrapuntal improvisation tool (Morris 2008). This can be seen

in the work of Jeffrey Morris, who uses recorded material that only exists within the

performance and becomes a part of the immediate performance, creating variations on

performed material. This suggests that forms of mediatization can not only exist in

tandem with live performance but can also become a useful tool as part of the

performance itself.

To conclude, one need only refer again to the text. Auslander argued that, contrary to

the assumptions of conventional wisdom, there is no clear basis upon which one

can define a distinct ontological separation between live performance and mediatized

representation. In fact, it is suggested that the two be considered in a historical,

contingent relationship, rather than a relationship of binary opposition.

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