ABSTRACT
Since the early 1990s, the UK-based group Blast Theory has become renowned internationally as one of the most adventurous artist groups using interactive media, creating ground-breaking new forms of performance and interactive art that mix audiences across the Internet, live performance and digital broadcasting. While exploring interactivity by reflecting on the social and political aspects of technology, Blast Theory escapes genre classification as their projects move between, and sometimes merge, aspects of gaming, performance, theatre and mobile applications. As part of their practice, Blast Theory produces documentation during all cycles of their work, from the development and creation to its presentation and preservation. Frequently, these different forms and phases overlap, complicating the role and value of documentation. Central to their documentation practices is a desire to construct and communicate their artistic vision, as well as to ensure the possibility that each piece could be reconstructed in the future.
