In Episode 5 of Series 1, Johannes Birringer, choreographer and Professor of Performance Technologies at Brunel University talks to Eline Kieft about his journey into combining dance and performance with technologies, why an evolution of body knowledge is more important to him than a specific identity, how our bodies are educated by environments, sensorial experiences and wearables, and how the unknown can be a fertile learning space for growth, creativity and student-learning. The episode includes some wonderful sound-bites to highlight the variety of environmental and sensorial stimuli, based on Birringer's workshop on “underground spatialities” (for Rice University’s Anthropology students).
The episode includes some wonderful sound-bites to highlight the variety of environmental and sensorial stimuli.
Barba, Eugenio and Savarese, Nicola (1991) A Dictionary of Theatre Anthropology: The Secret Art of the Performer. London: Routledge.
Böhme, Gernot (2017) The Aesthetics of Atmospheres: Ambiences, Atmospheres and Sensory Experiences of Space. Trans. Jean-Paul Thibaud. London: Routledge.
Birringer, Johannes and Danjoux, Michèle (2019) “Sound and Wearables.” In: Foundations in Sound Design for Embedded Media: an interdisciplinary approach, ed. Michael Filimovicz, London: Routledge, pp. 243-74.
Birringer, Johannes (2017) “Metakimospheres.” In Susan Broadhurst and Sara Price (eds), Digital Bodies: Creativity and Technology in the Arts and Humanities. London: Palgrave Macmillan, pp. 27–48.
Birringer, Johannes (2016) “Kimospheres, or Shamans in the Blind Country.” Performance Paradigm 12: http://performanceparadigm.net/index.php/journal/article/view/176
Birringer, Johannes (2013) “Audible Scenography.” Performance Research 18(3): 192-93.
Birringer, Johannes (2011) “Dancing in the Museum.” PAJ: A Journal of Performance and Art 99: 43-52.
Birringer, Johannes (2010) “Moveable Worlds/Digital Scenographies.” International Journal of Performance Arts and Digital Media 6 (1): 89–107.
Birringer, Johanness (2009) Performance, Technology, and Science. New York: PAJ Publications.
Cooper Albright, Ann and Gerer, David (2003) Taken by Surprise: A Dance Improvisation Reader. Middletown: Wesleyan University Press.
Danjoux, Michèle (2017) Design-in-Motion: Choreosonic Wearables in Performance, PhD Thesis, London College of Fashion, University of the Arts London.
D’Evie, Fayen (2017) ‘Orienting through Blindness: Blundering, Be-Holding, and Wayfinding as Artistic and Curatorial Methods.’ Performance Paradigm 13: 42-72.
Gaensheimer, Susanne and Kramer, Mario, eds. (2016) William Forsythe: The Fact of Matter. Bielefeld: Kerber Verlag.
Hay, Deborah (2015) Using the Sky: A Dance. New York: Routledge.
Ingold, Tim (2011) Being Alive: Essays on Movement, Knowledge and Description. London: Routledge.
Mitra, Royona (2018) “Talking Politics of Contact Improvisation with Steve Paxton.” Dance Research Journal 50(3): 6-18.
Oliver, Mary (2014) Wild Geese: Selected Poems. Eastburn: Bloodaxe Books Ltd.
Paxton, Steve (2008) Material for the Spine: A Movement Study. DVD-rom. Brussels:
Song, Haein (2019) Ecstatic Space: NEO-KUT and Shamanic Technologies. Phd Thesis, Brunel University London.
Tsing, Lowenhaupt Anna (2015) The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins. Princeton: Princeton University Press.
Xu, Zhi (2019) Choreographing Chinese Dancing Bodies: Yangge and Technology. PhD Thesis, Brunel University London (forthcoming)
Zumthor, Peter. 2006. Atmospheres: Architectural Environments – Surrounding Objects. Basel: Birkhäuser Verlag.
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