This article proposes to address the tension between digital co-presence and embodied spectatorship inaugurated by the pivot to online and hybrid forms of (post-)pandemic performance through the lens of the postdigital. The term is developed as a way of accounting for the complex mediatized co-presence between performer and audience in a representative example of this genre, Dead Centre's To Be a Machine (Version 1.0). As its theoretical framework, the article brings together the concept of ‘postdigital performance’ (Causey) with co-presence as a central element of liveness and spectatorship. It puts forth the hypothesis that To Be a Machine (Version 1.0) constructs a postdigital sense of co-presence that is characterized by a blurring of the lines between embodied and virtual spectatorship, temporal co-presence and real-time interaction with the remote audience, and an increased sense of emotional alignment with the remote audience in lieu of physical proximity.

中文翻译：

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“垂死……连接”：死亡中心的后数字共存成为一台机器（1.0 版）（2020 年）

本文提议通过后数字化的视角来解决数字化共存与具体观众之间的紧张关系，这种紧张关系是由转向在线和混合形式的（后）大流行表演所引发的。该术语的发展是为了解释表演者和观众之间复杂的媒体化共存，在这种类型的典型例子中，死亡中心的成为一台机器（1.0 版）. 作为其理论框架，本文将“后数字表演”(Causey) 的概念与作为活跃和观看的核心要素的共存结合在一起。它提出的假设是成为一台机器（1.0 版）构建了一种后数字化的共在感，其特征是具体观众和虚拟观众之间的界限变得模糊，时间上的共在感和与远程观众的实时互动，以及与远程观众的情感一致感的增强物理上的接近。