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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.
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