Abstract
In his article “Against Ontology: Making Distinctions between Live and the Mediatized”, Philip Auslander, when discussing about contemporary performance, pins out that, despite the borders between the “live” and the “mediatized” events are narrowing and more and more blurred, there is still a strong resistance when media takes the leading role in a performance. Auslander points fingers to some performance academics and theorists accusing them of turning the discussion about the “live” and the “mediatized” into a melodrama, even considering that a live event has ontological integrity against media petrification and domination. By placing the discourse on a live event as a resistance act these scholars are declaring war on the technological mediation of performance. However, according to Auslander, this point of view is useless. Therefore, the author suggests shaking the grounds of the theories that oppose the two kinds of the events bringing forward the Ontology of Media. This paper undertakes the discussion started by Auslander, questioning the uses of media in a performance, focusing on how a digital video recording of a performance can have an aesthetic reading in itself, without compromising the idea of the artistic integrity of the work or taking the place of the original work. ONTOLOGY OF THE MEDIA / DIGITAL PERFORMANCE / PERFORMANCE REPRODUCTION / PEIRCE’S SIGNS / INTERPRETATION
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