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Performance Research
A Journal of the Performing Arts
Volume 25, 2020 - Issue 3: On Microperfomativity
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(MICRO)GESTURES

Audiencing Slowness

Tiny ontologies and the post-human turn

Joanne ‘Bob’ Whalley
&
Lee Miller
Pages 131-136 | Published online: 09 Nov 2020

REFERENCES

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  • Diamond, Elin, ed. (1996) Performance and Cultural Politics, London and New York, NY: Routledge.
  • Fiske, John (1987) Television Culture: Popular pleasures & politics, London and New York, NY: Routledge.
  • Ginters, Laura (2010) ‘On audiencing: The work of the spectator in live performance’, About Performance 10: 7–14.
  • Haug, Helgard, Kaegi, Stefan and Wetzel, Daniel (2017) win >< win, installation by Rimini Protokoll, commissioned for exhibition ‘After the End of the World’ at Centre de Cultura Contemporània de Barcelona (CCCB), 25 October 2017–1 May 2018, and in ‘Eco-Visionaries: Art and architecture after the Anthropocene’ exhibition at Museu de Arte, Arquitetura e Tecnologia (MAAT), Lisbon, 11 April–8 October 2018.
  • Law, John (2004) After Method: Mess in social science research, London and New York, NY: Routledge.
  • Orrell, Paula (2009) Marina Abramović and the Future of Performance Art, London: Prestel.
  • Recoil performance group (2018) MASS–Bloom Explorations, [online], available: https://bit.ly/3kZK53n, accessed 3 July 2020.
  • Smith, Jeffrey K. and Smith, Lisa F. (2001) ‘Spending time on art’, Empirical Studies of the Arts 19(2): 229–36. doi: 10.2190/5MQM-59JH-X21R-JN5J
  • Tarpgaard, Tina (2018) MASS–Bloom Explorations, installation performed by human performer Hilde Ingeborg Sandvold and mealworms, first performed 19–20 May 2018 at CLICK Festival, Denmark and in Kiasma gallery, Helsinki, 3–8 September 2019.
  • Urbaniak, Rafal (2014) ‘Leśniewski’s mereology’, in Leśniewski’s Systems of Logic and Foundations of Mathematics, Switzerland: Springer International Publishing, pp. 111–36.
  • Wittgenstein, Ludwig (1968 [1953]) Philosophical Investigations, trans. Gertrude Elizabeth Margaret Anscombe, Oxford: Basil Blackwell.

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