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This article focuses on an analysis of the live intermedial performance, The Mark of Affect. Using the theories of Philip Auslander (2008), Erika Fischer-Lichte (2008) and Roberta Mock (in Power 2008) as a starting point, three moments from the performance are analysed in relation to liveness; specifically, how it is constructed and manifests itself within this performance. In all cases, the combinations of live and mediatised acts are seen as creating hybrid forms of liveness, which exist both within and through the technology employed on stage.

Dispersed and Dislocated: The construction of liveness in live intermedial performance