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Bibliography Bibliography Albrecht, Thomas D. and Helen J. Neville. 2001. ‘Neurosciences’. In The MIT Encyclopedia of The Cognitive Sciences, eds Robert Wilson and Frank Keil, li–lxxii. Cambridge, MA: MIT Press. Allmendinger, Ulli. 2001. ‘One small hop for Alba, one large hop for mankind’. Eduardo Kac’s website (Originally published in New York Arts Magazine 6, no. 6, June 2001) http://www.ekac.org/ulli.html, accessed 20 August 2005. Althusser, Louis. 1971. ‘Ideology and Ideological State Apparatuses’. In Lenin and Philosophy and Other Essays, trans. Ben Brewster, 136–70. New York: Monthly Review Press. Andrews, Lori B. 1999. ‘Genetic Predictions and Social Responses’. In Ars Electronica 99: Life Sciences, eds Gerfried Stocker and Christine Schopf, pp. 86–92. New York: Springer Wein. Auslander, Philip. 2006. ‘An Afterword: Is There Life after Liveness?’ In Performance and Technology: Practices of Virtual Embodiment and Interactivity, eds Susan Broadhurst and Josephine Machon, 292–9. London: Palgrave Macmillan. Ballora, Mark. 2004. ‘Get with the Interation’. Electronic Musician (Feb 1) http://emusician.com/mag/square_one/emusic_interaction/index.html, accessed 6 March 6. Batson, Quinn. 2004. ‘Seamless Surfaces’. Offoffoff Dance. http://www.offoffoff.com/ dance/2004/surfacing.php, accessed 20 May 2005. Baudrillard, Jean.1983. Simulations. Trans. Paul Foss and Paul Patton. New York: Semiotext(e). ———. 1988. ‘Fatal Strategies’. In Jean Baudrillard: Selected Writings, ed. Mark Poster, 185–206. California: Stanford University Press. ———. 1990. Cool Memories. Trans. Chris Turner. London: Verso. ———. 1994. Simulacra and Simulation. Trans. Sheila Glaser. Ann Arbor, MI: University of Michigan Press. ———. 2004. ‘The Matrix Decoded: Le Nouvel Observateru Interview with Jean Baudrillard’. Trans. Gary Genosko and Adam Bryx (Baudrillard was inter- viewed by Aude Lance for Le Nouvel Observateur – 19–25 June 2003). International Journal of Baudrillard Studies 1, no. 2 (July). http://www.ubishops.ca/ baudrillardstudies/vol. 1–2/genosko.htm accessed 21 October 2005. Bazin, André. (1967) ‘The Myth of Total Cinema’. In What is Cinema? Vol 1, trans. Hugh Gray, 17–22. Berkeley, CA: University of California Press. Bogue, Ronald. 1989. Deleuze and Guattari. London/New York: Routledge. ———. 2003. Deleuze on Music, Painting and the Arts. London: Routledge. Bowden, Richard and Susan B roadhurst. 2001. Interaction, Reaction and Performance. Brunel University http://www.brunel.ac.uk/jeremiah accessed 23 March 2003. Bowden, Richard, Pakorn Kaewtrakulpong and Martin Lewin. 2002. ‘Jeremiah: The Face of Computer Vision’. Smart Graphics, 2nd International Symposium on Smart Graphics. Hawthorn, NY: ACM International Conference Proceedings Series: 124–8. 196 Bibliography 197 Broadhurst, Susan. 1999a. Liminal Acts: A Critical Overview of Contemporary Performance and Theory. London: Cassell/New York: Continuum. ———. 1999b. ‘The (Im)mediate Body: A Transvaluation of Corporeality’. Body & Society 5, no. 1 (March): 17–29. ———, dir. 2001. Blue Bloodshot Flowers. Performer Elodie Berland. Music by David Bessell. Technology provided by Richard Bowden, University of Surrey. Brunel University (June); The 291Gallery, London (August). ———. 2002. ‘Blue Bloodshot Flowers: Interaction, Reaction and Performance’. Digital Creativity 13, no. 3: 157–63. ———, dir. 2003. Dead East, Dead West. Choreography: Jeffrey Longstaff. Performers: Katsura Isobe and Tom Wilton. Percussionist and composer: Dave Smith. Technology provided by Martin Dupras, Jez Hattosh-Nemeth and Paul Verity Smith, University of the West of England. 3-D realization: Brian McClave (Film-maker). Institute of Contemporary Arts, London (August). ———. 2004a. ‘Interaction, Reaction and Performance: The Jeremiah Project,’ The Drama Review 48, no. 4 (Winter): 47–57. ———. 2004b. ‘Liminal Spaces’. In Mapping the Threshold: Essays in Liminal Analysis (Studies in Liminality and Literature 4), ed. Nancy Bredendick, 57–73. Madrid: Gateway Press. ISBN 84-931843-2-2. Broadhurst, Susan and Josephine Machon, eds. (2006). Performance and Technology: Practices of Virtual Embodiment and Interactivity. London: Palgrave Macmillan. Brown, Dan. 2003. The Da Vinci Code. London: Corgi Books. Bulatov, Dmitry. 2004. ‘Introduction’. Website for Biomediale Contemporary Society and Genomic Culture, edited and curatored by Dmitry Bulatov, trans. Tatiana Mishunina, The National Centre for Contemporary art (Kaliningrad branch, Russia). Kaliningrad: The National Publishing House ‘Yantarny Skaz’. ISBN 5-7406-0853-7. http://ncca-kaliningrad.ru/biomediale/accessed 6 September 2005. Campbell, Joseph. 1968. The Hero with a Thousand Faces 2nd edition. Princeton, NJ: Princeton University Press. Carroll, David. 1987. Paraesthetics: Foucault, Lyotard, Derrida. New York: Methuen. ———. 1950. The Adventures of Alice in Wonderland. London: James Brodie. Carson, Tom. 2002. ‘Jedi Uber Alles’. In A Galaxy Not So Far Away: Writers and Artists on Twenty-Five Years of Star Wars, ed. Glenn Kenny, pp. 160–71. New York: Henry Holt. Catts, Oron and Ionat Zurr. 2002. ‘Growing Semi-Living Sculptures: The Tissue Culture & Arts Project’. Leonardo 35, no. 4: 365–70. ———. 2003. The Art of the Semi-Living and Partial Life: Extra Ear – ¼ Scale (Catalogue Essay: Art in the Biotech Era, Adelaide International Arts Festival 2003). The Tissue Culture & Art Project website hosted by SymbioticA, University of Western Australia. http://www.tca.uwa.edu.au/publication/ TheArtoftheSemi-LivingandPartialLife.pdf, accessed 1 September 2005. ———. 2004. ‘Extra Ear – ¼ scale: The Tissue Culture & Art in Collaboration with Stelarc’. The Tissue Culture & Art Project website hosted by SymbioticA, University of Western Australia, http://www.tca.uwa.edu.au/extra/extra_ear. html, accessed 21 November 2004. Chalmers, David J. 1998. ‘Facing Up to the Problem of Consciousness’. In Explaining Consciousness The Hard Problem, ed. Jonathan Shear, 9–30. Cambridge, MA: MIT Press. 198 Bibliography Clarke, Julie. 2002. ‘The Human/Not Human in the Work of Orlan and Stelarc’. In The Cyborg Experiments: The Extensions of the Body in the Media Age, eds Joanna Zylinska and Gary Hall, 33–55. London/New York: Continuum. Clover, Joshua. 2004 The Matrix. London: British Film Institute. Clynes, Manfred E. and Nathan S. Kline. 1995. ‘Cyborgs and space’. In The Cyborg Handbook, ed. Chris Hables Gray, 29–33. London: Routledge. Colebrook, Claire. 2002a. Gilles Deleuze. London: Routledge. ———. 2002b. Understanding Deleuze. London: Allen & Unwin. Coniglio, Mark. 2004. ‘The Importance of Being Interactive’. In New Visions in Performance: The Impact of Digital Technologies, eds Gavin Carver and Colin Beardon, 5–12. Lisse, the Netherlands: Swets & Zeitlinger. Coniglio, Mark and Dawn Stoppiello. 2005. Troika Ranch Website. www. troikaranch.org/, accessed 1 May 2005. Copeland, Roger. 2002. ‘Merce Cunningham and the Aesthetic of Collage’. The Drama Review 46, no.1 (Spring): 11–28. ———. 2004. Merce Cunningham: The Modernizing of Modern Dance. London/New York: Routledge. Crick, Francis. 1994. The Astonishing Hypothesis. London: Simon & Schuster Ltd. Crick, Francis and Christof Koch. 1990. ‘Towards a Neurobiological Theory of Consciousness’. Seminars in the Neurosciences 2: 263–75. ———. 1995a. ‘Are We Aware of Neural Activity in Primary Visual Cortex?’ Nature 375: 121–3. ———. 1995b. ‘Why Neuroscience May be Able to Explain Consciousness’. Sci Am 273: 84–5. ———. 1998. ‘Consciousness and Neuroscience’. Cerebral Cortex 8: 97–107. ———. 2001. ‘Neurobiology of. Consciousness’. In The MIT Encyclopedia Of The Cognitive Sciences, eds Robert A. Wilson and Frank C. Keil, 193–5. Cambridge, MA/London: MIT Press. Crick Francis and James Watson. 1953. ‘A Structure for Deoxyribose Nucleic Acid’. Nature 171: 737. Critical Art Ensemble. 1994. The Electronic Disturbance. New York: Autonomedia. ———. 1997. ‘Conversation between CAE and Mark Dery – Part 1’. Critical Art Ensemble interviewed by Mark Dery. Net Theory. http://old.thing.net/ wwwboard1/messages/415.html, accessed 18 August 2005. ———.1997–8. Flesh Machine. Public Netbase Museumsquartier, Vienna; Beurss- chouwburg (Art and Science Collusion), Brussels; Kiasma Museum of Contemporary Art, Helsinki; Labor Gallery, Graz; and Kapellica Gallery, Ljubljana. ———. 1998. Flesh Machine: Cyborgs, Designer Babies and New Eugenic Consciousness. New York. Autonomedia. ———. 1999. The Society for Reproductive Anachronisms. Expo Destructo, London. ———. 2000a. ‘Recombinant Theatre and Digital Resistance’. The Drama Review 44, no. 4 (Winter): 151–65. ———. 2000b. ‘Critical Art Ensemble: Tactical Media Practitioners’. Interview by Jon McKenzie and Rebecca Schneider. The Drama Review 44, no. 4 (Winter): 136–50. ———. 2001–5. GenTerra. A live performance in collaboration with Bob Ferrell from the Department of Genetics, University of Pittsburgh; Linda Kauffman from the Department of Molecular Biology, the Mellon Institute; and Beatriz da Costa, an interdisciplinary artist, robotic art researcher and co-founder of Bibliography 199 Preemptive Media. Presented at Magasin, National Centre for Contemporary Art, Grenoble, France (2001); other venues include St. Norbert Centre for the Arts, Winnipeg, Canada, the Henry Art Gallery, Seattle (April 2002); the Oldham Gallery, Manchester, UK (October 2002); and Working with Wetware: a forum on art using living biological systems, organized by The Arts Catalyst (the science art agency) as part of CLEAN ROOMS: Art meets biotechnology, the Natural History Museum, London (2003). ———. 2002a. ‘Critical
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