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A Conceptual Kaleidoscope: Arts Education, Audience and Technology Amy Roberts UOIT 2015 A brief video interlude The word “aesthetics” is derived from the Greek word aisthanesthai, “to perceive, to feel”. Sakellaridou (2014) sees theatre as live and human, in need of its people or it faces certain death; and web-theatre as a “dystopian alterative,” a “phantasmatic, posthuman, virtual cyberstage.” LIVENESS In Baker’s (2013) research comparing the audience experiences at both a live theatrical event and simultaneous live-stream of the same theatrical event, audiences in both counted their experience as live. The key was that it was happening in real time. INTERCONNECTIVITY As Shakespeare wrote in As You Like It, “All the world’s a stage, and all the men and women merely players,” highlighting with poetical finesse the theatre’s examination of human connectivity. Location Considerations Anderson, Cameron and Sutton (2012) articulated, that digital technologies are part of the fabric of our culture and communities, part of how we connect and communicate, and warrant critical attention. What better way to critically examine our current history than through theatre, created with and performed through the technology it is examining.