Aura (after Walter Benjamin)—the sense of specialness felt in regard to an original or precious object, as opposed to something that has been copied (read more); Example: Tom Johnson, Failing (0:00 and 5:42)
Mise en scène—the way in which all design elements actively contribute to the aesthetic impact of the performance (read more); Example: Nine Inch Nails, “Hurt” Album version and Live version (skim beginning and then 3:52)
Semiotics—the way in which things contain/express meaning, e.g., associations from nature (clouds mean rain), conventional associations (red means stop), resemblance (drooping lines mean sadness or weakness), or a representative portion of something larger (Washington means the US government) (read more with examples)
Live sampling—a performance practice starting without any pre-made/pre-recorded materials, only tools that capture material live in during the performance and transform them into new material that makes up the performance. Example: Shankcraft (TAMU)
Feedback—creating visual, sonic, or other material by connecting a system’s output to its own input, allowing complex, unpredictable material to emerge. Example: Rodrigo Guinski’s live cinema (TAMU)
Another performance to consider: Loud Objects. This performance practice isn’t widely adopted enough to have a label worth learning, but it’s somewhat a combination of circuit bending, live coding, and generative art, and it could also be made to incorporate appropriation, feedback, and glitch if the artists desired.