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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

Emersive Microperformativity

On physiological mediation in Yann Marussich’s ‘immobile’ performances

REFERENCES

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  • Hauser, Jens (2014) ‘Molekulartheater, Mikroperformativität und Plantamorphisierungen’ (‘Molecular Theatre, Microperformativity and Plant Amorphizations’), 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 the sciences), Zürich: Diaphanes, pp. 173–89.
  • Hauser, Jens (2015) ‘Microtransplantations et microperformativité dans l’art vivant’ (Microtransplantation and microperformativity in living art), in François Delaporte and Bernard Devauchelle (eds) Les questions de la transplantation ( Transplant Issues), Paris: Éditions Hermann, pp. 151–9.
  • Howell, Antony (1999) The Analysis of Performance Art: A guide to its theory and practice, London: Routledge.
  • Marussich, Yann (2003) Journal d’un autoportrait fourmi (Diary of an ant self portrait), 21 and 22 May. Paris: CCS.
  • Marrussich, Yann (2008) ‘Immobile, Bleu … Remix!’ (Still, Blue … Remix!) in Jens Hauser (ed.) sk-interfaces. Exploding Borders – Creating Membranes in Art, Technology and Society, Liverpool: Liverpool University Press, pp. 128–33.
  • Marussich, Yann (2010a) Journal du Bain Brisé (Broken Bath Journal), personal notebook, 24 April.
  • Marussich, Yann (2010b) Carnet de notes (Notebook), personal notebook.
  • Marussich Yann (2018) ‘ Entretien avec Eve Beauvallet’ (Interview with Eve Beauvallet), Libération, p. 25, 18 January.
  • Schrimshaw, Will (2017) Immersive Phenomenology, Immanence and Immersion: On the acoustic condition in contemporary art, New York, NY: Bloomsbury Academic.
  • Stuart, Robyn and Curson, Brian (2007) ‘Exploring living room: The dancing body and live immersion in digital scenography’, International Journal of Performance Art and Digital Media 2(3): 259–73.

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