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Materializing New Media: Embodiment in Information Aesthetics (Interfaces: Studies in Visual Culture) by: Anna Munster In Materializing New Media, Anna Munster offers an alternative aesthetic genealogy for digital culture. Eschewing the prevailing Cartesian aesthetic that aligns the digital with the disembodied, the

This anthology is the first to be dedicated to assessing critically the role of the human sensorium in performance. Senses in Performance presents a multifaceted approach to the methodological, theoretical, practical and historical challenges facing the scholar and the artist. This volume

The theorists of art and film commonly depict the modern audience as aesthetically and politically passive. In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance. In this follow-up

[amazonify]1403961700[/amazonify] For more than forty years, Tadashi Suzuki has been a unique and vital force in both Japanese and Western theater, creating and directing many internationally acclaimed productions including his famous production of The Trojan Women, which subsequently toured around the world.

Tom Sellar, Editor of Theater Magazine discusses the journal’s inception, notable special issues, the journal’s editorial vision/direction, and what he’s looking for in submissions. Duke University Press publishes approximately 120 books annually and more than 40 journals. This places the Press’s books

[amazonify]0415773539[/amazonify]Liveness: Performance in a Mediatized Culture addresses what may be the single most important question facing all kinds of performance today. What is the status of live performance in a culture dominated by mass media? Since its first appearance, Philip Auslander’s ground-breaking

Sounding New Media examines the long-neglected role of sound and audio in the development of new media theory and practice, including new technologies and performance art events, with particular emphasis on sound, embodiment, art, and technological interactions. Frances Dyson takes an historical

Long before e-mail and the Internet permeated society, Roy Ascott, a pioneering British artist and theorist, coined the term “telematic art” to describe the use of online computer networks as an artistic medium. In Telematic Embrace Edward A. Shanken gathers, for the

We’ve added a few books on new media and technology to our curated books page. [table id=1 /]

Intermediality: the incorporation of digital technology into theatre practice, and the presence of film, television and digital media in contemporary theatre is a significant feature of twentieth-century performance. Presented here for the first time is a major collection of essays, written by

About: [amazonify]0262524643[/amazonify]The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of twentieth-century art. This tendency can be found in practices and projects ranging from El Lissitzky’s exhibition designs

[amazonify]0415173833[/amazonify]Certain Fragments is an extraordinary exploration of what lies at the heart of contemporary theatre. Written by the artistic director of Forced Entertainment, acknowledged to be ‘Britain’s most brilliant experimental theatre company'( Guardian), Certain Fragments investigates the processes of devising performance, the

The Grotowski Sourcebook Edited by Richard Schechner and Lisa Wolford Wylam The influence of Jerzy Grotowski’s work on twentieth century theatre is undeniable. A key player in making his work known wasThe Drama Review, and now, for the first time, 30 years’

[amazonify]0816647313[/amazonify]At a time when most serious drama being written and produced for the American stage aspires only to mainstream acceptance and high-toned mediocrity, an innovative new generation of playwrights based in New York City has emerged, crafting works that challenge and undermine

Three media-plays by MacArthur Award-winning playwright-director-designer John Jesurun. DEEP SLEEP, WHITE WATER and BLACK MARIA chart the “loss of the real” in a landscape of adrenaline-charged freefall poetry, mediated images and vestiges of Pop culture. With an introduction by dramatist-poet Fiona Templeton,