DRA2065 | University of Exeter

DRA2065 | University of Exeter

09/24/21 DRA2065 | University of Exeter DRA2065 View Online Live Art ‘Alicia and Ali&Cia - Food Artists.’ N.p., n.d. Print. Ashery, Oreet, and Live Art Development Agency. Dancing with Men: Interactive Performances, Interventions and Other Artworks. London: Live Art Development Agency, 2009. Print. Aston, Elaine. ‘“Feminist Performance as Archive: Bobby Baker”s “Daily Life” and Box Story’’. Performance research: a journal of performance arts 7.4 (1996): 78–85. Print. ---. ‘Transforming Women’s Lives: Bobby Baker’s Performances of “Daily Life”.’ New theatre quarterly 16.1 (2000): 17–25. Print. Aston, Elaine, and Savona, George. Theatre as Sign-System: A Semiotics of Text and Performance. London: Routledge, 1991. Print. Auslander, Philip. Performance: Critical Concepts in Literary and Cultural Studies. London: Routledge, 2003. Print. Auslander, Philip. ‘The Performativity of Performance Documentation.’ Performing arts journal 28.3 (2006): 1–10. Print. 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Catt, Oron. ‘The Art of Semi-Living [in] Live: Art and Performance.’ Live: Art and Performance. London: Routledge, 2004. 152–159. Print. Causey, Matthew. ‘Stealing from God: The Crisis of Creation in Socìetas Raffaello Sanzio’s Genesi and Eduardo Kac's Genesis.’ Theatre Research International 26.02 (2001): 199–208. Web. ‘Chris Burden : Shoot, 1971 - YouTube.’ N.p., n.d. Print. ‘Critical Art Ensemble.’ N.p., n.d. Print. ---. ‘Recombinant Theatre and Digital Resistance.’ The Drama Review 44.4 151–166. Web. <http://lib.exeter.ac.uk/search~S6?/sthe drama review/sdrama review/1,1,1,B/c8561076786&FF=sdrama review&1,1,,1,0/indexsort=->. Davis, Joe et al. Encyclopedia of Life Sciences. John Wiley and Sons, 2006. Print. ---. ‘Microvenus.’ Art Journal 55.1 70–74. Web. <http://lib.exeter.ac.uk/search~S6?/sArt Journal/sart journal/1,3,5,B/c8561075737&FF=sart journal&2,,3,1,0/indexsort=->. Deleuze, Gilles, Guattari, Fe ́ lix, and Massumi, Brian. A Thousand Plateaus: Capitalism and Schizophrenia. London: Continuum, 2004. Print. ‘Drama Subject Librarian.’ N.p., n.d. Print. Fisher, Jennifer. ‘Interperformance: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramović’ [in] Art Journal.’ Art journal 56.4 (1997): 28–33. Print. ‘Frank OB - Home Sweet Home.’ N.p., n.d. Print. Gessert, George. ‘A History of Art Involving DNA [in] Lifescience.’ Lifescience. Wien: Springer, 1999. 233–234. Print. ---. ‘Art and Biology Bibliography.’ Leonardo 30.3 (1997): 187–188. Print. ---. ‘Notes on Genetic Art.’ Leonardo 26.3 (1993): 205–211. Print. Giannachi, Gabriella. ‘Cell [in] The Politics of New Media Theatre: Life.’ The Politics of New Media Theatre: Life. Routledge advances in theatre and performance studies. Abingdon: Routledge, 2006. 110–133. Print. Goldberg, RoseLee. Performance: Live Art 1909 to the Present. London: Thames and Hudson, 1979. Print. Hauser, Jens, and FACT (Great Britain). ‘“Why Immolation?” [in] Sk-Interfaces: Exploding Borders - Creating Membranes in Art, Technology and Society’. Sk-Interfaces: Exploding Borders - Creating Membranes in Art, Technology and Society. Liverpool: FACT, 2008. Print. 2/5 09/24/21 DRA2065 | University of Exeter Heathfield, Adrian, and Glendinning, Hugo. ‘Alive [in] Live: Art and Performance.’ Live: Art and Performance. London: Routledge, 2004. Print. ---. Live: Art and Performance. London: Routledge, 2004. Print. Hershmann Leeson, Lynn. ‘Strange Culture.’ 2007 : n. pag. Print. Howell, Anthony. The Analysis of Performance Art: A Guide to Its Theory and Practice. Contemporary theatre studies. Amsterdam: Harwood Academic Publishers, 1998. Print. ---. The Analysis of Performance Art: A Guide to Its Theory and Practice. Contemporary theatre studies. Amsterdam: Harwood Academic Publishers, 1998. Print. Jones, Amelia. ‘Introduction [in] Body Art/performing the Subject.’ Body Art/performing the Subject. Minneapolis: University of Minnesota Press, 1998. 1–19. Print. Jones, Amelia. ‘“Presence” in Absentia: Experiencing Performance as Documentation’. Art Journal 56.4 11–18. Web. <http://lib.exeter.ac.uk/circhistlimit/search~S6?/sart journal/sart journal/1,3,5,B/c8561075737&FF=sart journal&2,,3,1,0/indexsort=->. ‘Judy Chicago.’ N.p., n.d. Print. ‘KAC.’ N.p., n.d. Print. Kac, Eduardo. Signs of Life: Bio Art and beyond. MIT Press, 2006. Print. Kaye, Nick. Art into Theatre: Performance, Interviews and Documents. Contemporary theatre studies. Amsterdam: Harwood Academic Publishers, 1996. Print. Kay, Lily E. Who Wrote the Book of Life?: A History of the Genetic Code. Writing science. Stanford: Stanford University Press, 2000. Print. Kelleher, Joe. ‘“Politics” [in] Theatre & Politics’. Theatre & Politics. Basingstoke: Palgrave Macmillan, 2009. Print. ‘Kira O’Reilly.’ N.p., n.d. Print. Kirschenblatt-Gimblett, Barbara. ‘Playing to the Senses ; Food as a Performance Medium.’ Performance research: a journal of performance arts 4.1 (1996): 1–30. Print. Kostic ́ , Aleksandra, and Dobrila, Peter Tomaz ̌ . Eduardo Kac: Telepresence, Biotelematics, Transgenic Art. Ed. no. 6. Maribor, Slovenia: KIBLA, 2000. Print. Kristeva, Julia. Powers of Horror: An Essay on Abjection. European perspectives. Guildford: Columbia University Press, 1982. Print. 3/5 09/24/21 DRA2065 | University of Exeter Kulik, Oleg. Art Animal. Manchester: Ikon Gallery, 2000. Print. ‘Library and Research Skills Training.’ N.p., n.d. Print. ‘Marina Abramović and Ulay “Imponderabilia” [1977] - YouTube’. N.p., n.d. Print. McKenzie, Joe, Rebecca Schneider, and Critical Art Ensemble. ‘Critical Art Ensemble Tactical Media Practitioners: An Interview.’ The Drama Review: TDR 44.4 136–150. Print. Mulvey, Laura. ‘Visual Pleasure and Narrative Cinema.’ Screen 16.3 (1969): 6–18. Print. Phelan, Peggy. Unmarked: The Politics of Performance. London: Routledge, 1993. Print. Richards, Thomas. At Work with Grotowski on Physical Actions. London: Routledge, 1995. Print. Ridout, Nick. Stage Fright, Animals and Other Theatrical Problems. N.p., 2006. Print. Schneider, Rebecca. ‘Nomadmedia: On Critical Art Ensemble.’ The Drama Review - TDR 44.4 120–131. Print. Schneider, rebecca, and Joe McKenzie. ‘Keep Your Eyes on the Front and Watch Your Back.’ The Drama Review 48.4 5–10. Print. Senior, Adele. ‘Towards a (Semi-)Discourse of the Semi-Living; The Undecidability of a Life Exposed to Death [in] Technoetic Arts.’ Technoetic Arts 5.2 (2007): 97–112. Print. States, Bert. ‘The Dog on the Stage: Theater as Phenomenon.’ New Literary History 14.2 373–388. Print. ‘STEREOFIDELIC : Oleg Kulik - Mad Dog or Last Taboo...’ N.p., n.d. Print. Thacker, Eugene. The Global Genome: Biotechnology, Politics, and Culture. Leonardo. Cambridge, Mass: MIT, 2006. Print. ‘The Tissue Culture and Art Project.’ N.p., n.d. Print. Thompson, Nato, Noordeman, Arjen, and Massachusetts Museum of Contemporary Art. Interventionists: Users’ Manual for the Creative Disruption of Everyday Life. North Adams, Mass: MASS MoCA, 2004. Print. Vanouse, Paul. ‘Discovering Nature, Apparently: Analogy, DNA Imaging, and the Latent Figure Protocol [in] Tactical Biopolitics: Art, Activism, and Technoscience.’ Tactical Biopolitics: Art, Activism, and Technoscience. Leonardo. Cambridge, Mass: MIT Press, 2008. 177–192. Print. ‘Visceral | Science Gallery.’ N.p., n.d. Print. ‘Visual Culture and BioScience: Virtual Symposium: The Discussion Continues.’ N.p., n.d. Print. Williams, David. ‘The Right Horse, the Animal Eye – Bartabas and Théâtre Zingaro.’ Great 4/5 09/24/21 DRA2065 | University of Exeter Reckonings in Little Rooms: On the Phenomenology of Theater. Vol. 5. Berkeley: University of California Press, 2000. 29–40. Print. Zurr, I, and O Catts. ‘Are the Semi-Living Semi-Good or Semi-Evil? [in] Technoetic Arts.’ Technoetic Arts 1.1 (2003): 47–60. Print. 5/5.

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