Interrupting the Machine

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.