Publication Cover
Performance Research
A Journal of the Performing Arts
Volume 25, 2020 - Issue 3: On Microperfomativity
382
Views
1
CrossRef citations to date
0
Altmetric
BIOLOGICAL AGENCY

Microperformativity and Biomediality

References

  • Ascott, Roy (2001) ‘Arts education @ the edge of the net: The future will be moist!’, Arts Education Policy Review 102(3): 9–10. doi: 10.1080/10632910109599995
  • Auslander, Philip, ed. (2003) Performance: Critical concepts in literary and cultural studies, London: Routledge.
  • Austin, John Langshaw (1962) How to Do Things with Words: The William James lectures delivered in Harvard University in 1955, Oxford: Clarendon Press.
  • Bakke, Monika (2014) ‘Practicing aesthetics among nonhuman somas in the age of biotech’, in Wojciech Małecki (ed.) Practicing Pragmatist Aesthetics. Critical perspectives on the arts, Amsterdam and New York, NY: Brill, pp. 153–68.
  • Bal, Mieke (2002) Travelling Concepts in the Humanities: A rough guide, Toronto: University of Toronto Press.
  • Barad, Karen (2003) ‘Posthuman performativity: Toward an understanding of how matter comes to matter’, Signs: Journal of women in culture and society 28(3): 801–31. doi: 10.1086/345321
  • Barad, Karen (2012) ‘Nature’s queer performativity’, Kvinder, køn & forskning [Women, Gender & Research] 1–2: 25–53.
  • Ben-Ary, Guy, Catts, Oron and Zurr, Ionat (2003) ‘Que/qui sont les êtres semi-vivants créés par TC&A?’ (What/Who are the Semi-Livings created by the Tissue Culture & Art Project?), in Jens Hauser (ed.) L’Art Biotech (Biotech Art), Nantes and Trézélan and Paris: Filigranes, pp. 20–32.
  • Bennett, Jane (2004) ‘The force of things: Steps toward an ecology of matter’, Political Theory 32(3): 347–72. doi: 10.1177/0090591703260853
  • Brine, Daniel, Keidan, Lois and Heathfield, Adrian, eds (2003) Live Cultures, London: Tate Publishing and Live Art Development Agency.
  • Burnham, Jack (1968) Beyond Modern Sculpture. The effects of science and technology on the sculpture of this century, New York, NY: George Braziller.
  • Burrows, Montrose Thomas (1912) ‘Rhythmical activity of isolated heart muscle cells in vitro’, Science 36: 90–2. doi: 10.1126/science.36.916.90
  • Butler, Judith (1990) Gender Trouble. Feminism and the subversion of identity, New York, NY: Routledge.
  • Catts, Oron (2004) ‘The art of the semi-living’, in Adrian Heathfield (ed.) Live: Art and performance, London: Tate Publishing, pp. 152–9.
  • Gumbrecht, Hans Ulrich (2003) Production of Presence: What meaning cannot convey, Stanford, IL: Stanford University Press.
  • Hauser, Jens, ed. (2003) L’art biotech (Biotech Art), Nantes and Trézélan and Paris: Filigranes.
  • Hauser, Jens (2005) ‘Bio art – Taxonomy of an etymological monster’, in Gerfried Stocker and Christiane Schöpf (eds) Hybrid: Living in paradox, Ostfildern–Ruit: Hatje Cantz, pp. 181–93.
  • Hauser, Jens (2006) ‘Biotechnology as mediality: Strategies of organic media art’, Performance Research 11: 129–35. doi: 10.1080/13528160701363663
  • Hauser, Jens (2013) ‘Remediating still life, pencils of nature and fingerprints’, in Sean Cubitt and Paul Thomas (eds) Relive. Media art histories, Cambridge, MA: MIT Press, pp. 275–307.
  • Hauser, Jens (2014a) Biotechnologie als Medialität – Strategien organischer Medienkunst (Biotechnology as mediality. Organic Media Art Strategies), Bochum: Universitätsbibliothek der Ruhr Universität Bochum.
  • Hauser, Jens (2014b) ‘Molekulartheater, Mikroperformativität und Plantamorphisierungen’ (Molecular theatre, microperformativity and plantamorphisations), in Susanne Stemmler (ed.) Wahrnehmung, Erfahrung, Experiment, Wissen. Objektivität und Subjektivität in den Künsten und den Wissenschaften (Perception, Experience, Experiment, Knowledge. Objectivity and subjectivity in the arts and in the sciences), Zürich: Diaphanes, pp. 173–89.
  • Hauser, Jens (2016a) ‘It’s time for a wetware update’, in David Familian and Jens Hauser (eds) Wetware: Art – agency – animation, Irvine, CA: Regents of the University of California, pp. 11–21.
  • Hauser, Jens (2016b) ‘Biomediality and art’, in Jill Scott and Irene Hediger (eds) Artists-in-Labs: Recomposing art and science, Berlin: Springer, pp. 201–19.
  • Hauser, Jens (2020) ‘Rehabilitating bacteria: A contemporary art/science interface’, in Hava Aldouby (ed.) Shifting Interfaces: Presence and relationality in new media arts of the early 21st century, Leuven: Leuven University Press, pp. 193–211.
  • Heathfield, Adrian (2004) Live: Art and performance, London: Tate Publishing.
  • Heider, Fritz (1926) ‘Ding und Medium’ (Thing and medium), Symposion. Philosophische Zeitschrift für Forschung und Aussprache 1: 109–57.
  • Hoffmeyer, Jesper (1992) ‘Some semiotic aspects of the psycho–physical relation: The endo–exosemiotic boundary’, in Thomas Albert Sebeok and Jean Umiker-Sebeok (eds) Biosemiotics: The semiotic web 1991, Berlin: Mouton de Gruyter, pp. 101–23.
  • Kac, Eduardo (2007a) ‘Art that looks you in the eye: Hybrids, clones, mutants, synthetics, and transgenics’, in Eduardo Kac (ed.) Signs of Life. Bio art and beyond, Cambridge, MA: MIT Press, pp. 1–28.
  • Kac, Eduardo (2007b) Specimen of Secrecy about Marvelous Discoveries, in Eduardo Kac (exhibition catalogue), Valencia: Instituto Valenciano de Arte Moderno, pp. 92–6.
  • Krämer, Sybille (2004) ‘Was haben “Performativität” und “Medialität” miteinander zu tun? Plädoyer für eine in der “Aisthetisierung” gründende Konzeption des Performativen’ (What do ‘performativity’ and ‘mediality have to do with each other? Plea for a conception of the performative based on ‘aesthetization’), in Sybille Krämer (ed.) Performativität und Medialität (Performativity and Mediality), Munich: Fink, pp. 13–32.
  • Kull, Kalevi (2000) ‘An introduction to phytosemiotics: Semiotic botany and vegetative sign systems’, Sign Systems Studies 28: 326–50.
  • Latour, Bruno (1993) We Have Never Been Modern, Cambridge, MA: Harvard University Press.
  • Latour, Bruno (2005) Reassembling the Social – An introduction to actor-network-theory, Oxford: Oxford University Press.
  • Latour, Bruno and Woolgar, Steve (1979) Laboratory Life. The construction of scientific facts, Beverly Hills, CA and London: Sage Publications.
  • Lippard, Lucy (1973) Six Years. The dematerialization of the art object from 1966 to 1972, New York, NY: Praeger.
  • Pickering, Andrew (1995) The Mangle of Practice: Time, agency, and science, Chicago, IL: University of Chicago Press.
  • Porath, Erik (2008) ‘Begriffsgeschichte des Mediums oder Mediengeschichte von Begriffen? Methodologische Überlegungen’ (Conceptual history of the medium or media history of concepts? Methodological considerations), in Ernst Müller and Falko Schmieder (eds) Begriffsgeschichte der Naturwissenschaften. Zur historischen und kulturellen Dimension naturwissenschaftlicher Konzepte (Conceptual history of the natural sciences. On the historical and cultural dimension of scientific concepts), Berlin: Walter de Gruyter, pp. 253–72.
  • Runge, Friedlieb Ferdinand (1855) Der Bildungstrieb der Stoffe. Veranschaulicht in selbständig gewachsenen Bildern (The formative urge of substances. Illustrated in images grown by themselves), Oranienburg: Selbstverlag.
  • Salter, Chris (2010) Entangled. Technology and the transformation of performance, Cambridge, MA: MIT Press.
  • Salter, Chris (2015) Alien Agency. Experimental encounters with art in the making, Cambridge, MA: MIT Press.
  • Schechner, Richard (1979) ‘The end of humanism’, Performing Arts Journal 4(1/2), The American Imagination: A decade of contemplation: 9–22.
  • Sebeok, Thomas Albert (1976) Contributions to the Doctrine of Signs, Bloomington, IN: Indiana University Press.
  • Senior, Adele (2008) ‘In the face of the victim: Confronting the other in the Tissue Culture and Art Project’, in Jens Hauser (ed.) sk-interfaces: Exploding borders – creating membranes in art, technology and society, Liverpool: Liverpool University Press, pp. 76–82.
  • Spiess, Klaus and Strecker, Lucie (2014) ‘Spitparty. DNA imaging and aesthetic mimicry’, Performance Research 19(4): 38–44. doi: 10.1080/13528165.2014.947136
  • Spitzer, Leo (1942) ‘Milieu and ambiance: An essay in historical semantics’, Philosophy and Phenomenological Research 3(2): 169–218. doi: 10.2307/2102775
  • Thacker, Eugene (2004) Biomedia, Minneapolis, MN: University of Minnesota Press.
  • Vanouse, Paul (2007) ‘The relative velocity inscription device’, in Eduardo Kac (ed.) Signs of Life. Bio art and beyond, Cambridge, MA: MIT Press, pp. 277–83.
  • Velten, Hans Rudolf (2012) ‘Performativity and performance’, in Birgit Neumann and Ansgar Nünning (eds) Travelling Concepts for the Study of Culture, Berlin: De Gruyter, pp. 249–66.
  • Weibel, Peter (1993) ‘Life – The unfinished project’, in Karl Gerbel and Peter Weibel (eds) Ars Electronica 93: Genetic art – artificial life, Vienna: PVS, pp. 9–10.
  • Zurr, Ionat (2016) ‘Futile labor’, GeoHumanities 2(1): 188–202. doi: 10.1080/2373566X.2016.1168210

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.