Spackman’s distinction between more complex, technologically innovative” performance art of the 1990s is overly simplistic, since such groups as Fluxus, the Judson church choreographers, the situationists, experimental film artists of the 1960s and 1970s – were deeply the increasing sophiscation of available technology, especially digital technology, did mean that the importance and variety of such work steadily increased during the final years of the 20th century, and multimedia like the woodcutter group or the builder’s project, to major avant-garde productions like those of Robert Wilson or Robert Lepage, to mainstream featuring multiple video projects around the proscenium and to the common use of video projection in rock concerts, a central example for Auslander of contemporary “meditation” of live art.  1996 performance festival at London institute of contemporary arts, entitled Totally Wired: Science, Technology and the Human Form, which explored ethical, political, and social ramifications of this intersection by means of performance.

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Theatre and technology. movements in happening, body art, Fluxus, conceptual art and pop art, the entire paradigm of high art has shifted, and the blurring of bound-media have widened the spectrum of “performance art” to a point where actions, events, concerts and installations could include any combination of media or informal means of presentation.