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SAMUEL BECKETT’S PLAY IN DIGITAL CULTURE: TECHNOLOGIES OF INFLUENCE where the content can be viewed using a smart phone, tablet or augmented reality (AR) headset.” The crucial first experiment now has its own archive of influences: flowing from Beckett’s stream, but also widening it. BIBLIOGRAPHY BECKETT, Samuel: The Letters of Samuel Beckett, 1957-1965, Vol. 3, George Craig — Martha Dow Fehsenfeld — Dan Gunn — Lois More Overbeck (eds.), Cambridge, Cambridge University, 2014. BENJAMIN, Walter: The Work of Art in the Age of Mechanical Reproduction, in H. Arendt (ed.) and H. Zohn (trans.): /lluminations, New York, Schocken, 2007 [1955], 217-251. CADENA, Richard: Automated Lighting: The Art and Science of Moving Light in Theatre, Live Performance, and Entertainment, 2” edition, Burlington, MA, Focal, 2013. KNOWLSON, James — PILLING, John: Frescoes ofthe Skull: The Later Prose and Drama ofSamuel Beckett, London, John Calder, 1979 O’DwYer, Neill: Death and Ecstasy: Reflections on a Technological Sublime, Proceedings of the European Society of Aesthetics 8 (2016), 354-376. O’Dwyer, Néill — JoHNsoN, Nicholas: Exploring Volumetric Video and Narrative through Samuel Beckett’s Play, International Journal of Performance Arts and Digital Media, Vol. 15, No.1 (2019), 53-69. 17 This version launched in September 2019 in a partnership with Volograms, a Dublin-based spin-out from the V-SENSE research group that works in volumetric video.
