‘Mediation in motion: performing permanent presence’

References

• Auletta, Ken. 1999. “What I Did at Summer Camp.” New Yorker 26 (7): 46–51.
   Google Scholar
• Auslander, Philip. 2012. “Digital Liveness: A Historico-philosophical Perspective.” Performing Arts Journal 34 (3): 3–11.
   Google Scholar
• Auslander, Philip. 2000. “Liveness, Mediatization, and Intermedial Performance.” Degrés 101: e1–12.
   Google Scholar
• Badiou, Alain. 2008. “Rhapsody for the Theatre: A Short Philosophical Treatise.” Translated by Bruno Bosteels. Theatre Survey 49 (2): 187–238.10.1017/S0040557408000124
   Web of Science ®Google Scholar
• Barbier, Frédéric, and Catherine Lavenir. 1996. Histoires des medias. Paris: Armand Colin.
   Google Scholar
• Causey, Matthew. 1999. “The Screen Test of the Double: The Uncanny Performer in the Space of Technology.” Theatre Journal 51 (4): 383–394.10.1353/tj.1999.0083
   Web of Science ®Google Scholar
• Derrida, Jacques. 1976. On Grammatology. Translated by G. C. Spivak. Baltimore, MD: Johns Hopkins University Press.
   Google Scholar
• Dixon, Steve. 2007. Digital Performance: A History of New Media in Theatre, Dance, Performance Art and Installation. London: Routledge.
   Google Scholar
• Dixon, Steve. 2005. “Theatre, Technology, and Time.” International Journal of Performance Arts and Digital Media 1 (1): 11–29.10.1386/padm.2005.1.issue-1
   Google Scholar
• Gener, Randy. 2008. “Electronic Campfires: The Builders Association Signals through the Flames with Messages for a Hyper-Mediated World.” American Theatre 25 (10): 28–31, 84–87.
   Google Scholar
• Gere, Charlie. 2002. Digital Culture. London: Reaktion.
   Google Scholar
• Giannachi, Gabriella. 2004. Virtual Theatres: An Introduction. London: Routledge.
   Google Scholar
• Giannachi, Gabriella, and Nick Kaye. 2011. Performing Presence: between the Live and the Simulated. Manchester, NH: Manchester University Press.
   Google Scholar
• Handke, Peter. 1966. Publikumsbeschimpfung und andere Sprechstücke [Insulting the Audience and Other Spoken Pieces]. Frankfurt am Main: Suhrkamp.
   Google Scholar
• Hann, Rachel. 2012. “Blurred Architecture: Duration and Performance in the Work of Diller Scofidio + Renfro.” Performance Research 17 (5): 9–18.10.1080/13528165.2012.728434
   Web of Science ®Google Scholar
• Hauthal, Janine. 2009. Metadrama und Theatralität: Gattungs- und Medienreflexion in zeitgenössischen englischen Theatertexten [Metadrama and Theatricality: Genre and Media Reflexions in Contemporary English Theatre Texts]. Trier: WVT.
   Google Scholar
• Hayles, N. Katherine. 2012. How We Think. Chicago, IL: Chicago University Press.10.7208/chicago/9780226321370.001.0001
   Google Scholar
• Johnson, Steven. 1997. Interface Culture: How New Technology Transforms the Way We Create and Communicate. San Francisco: HarperEdge.
   Google Scholar
• Kaye, Nick. 2009. Multi-media: Video – Installation – Performance. London: Routledge.
   Google Scholar
• Klich, Rosemary. 2010. “The Builders Association, Super Vision.” In Mapping Intermediality in Performance, edited by Sarah Bay-Cheng, Chiel Kattenbelt, Andy Lavender, and Robin Nelson, 149–155. Amsterdam: Amsterdam University Press.
   Google Scholar
• Leach, Robert. 2008. Theatre Studies: The Basics. London: Routledge.
   Google Scholar
• Lehmann, Hans-Thies. 2001. Postdramatisches Theater. Frankfurt am Main: Verlag der Autoren.
   Google Scholar
• Marranca, Bonnie. 2008. “Mediaturgy: A Conversation with Marianne Weems.” In Performance Histories, edited by Bonnie Marranca, 189–206. New York: PAJ Publications.
   Google Scholar
• McLuhan, Marshall. 1964. Understanding Media: The Extensions of Man. New York: Ark.
   Google Scholar
• Minsky, Marvin. 1980. “A Framework for Representing Knowledge.” In Frame Conceptions and Text Understanding, edited by Dieter Metzing, 1–25. Berlin: Walter de Gruyter.
   Google Scholar
• Pavis, Patrice. 2013. Contemporary Mise en Scène: Staging Theatre Today. Translated by Joel Anderson. London: Routledge.
   Google Scholar
• Rancière, Jacques. 2008. Le spectateur émancipé [The Emancipated Spectator]. Paris: La Fabrique.
   Google Scholar
• Recanati, François. 2008. Philosophie du langage (et de l’esprit) [Philosophy of Language (and of Mind)]. Paris: Gallimard.
   Google Scholar
• Ryan, Marie-Laure. 2006. Avatars of Story. Minneapolis, MN: University of Minnesota Press.
   Google Scholar
• Salter, Chris. 2010. Entangled. Cambridge: MIT Press.10.7551/mitpress/9780262195881.001.0001
   Google Scholar
• Schechner, Richard. 2012. “Building the Builders Association: A Conversation with Marianne Weems, James Gibbs, and Moe Angelos.” TDR/The Drama Review 56 (3): 36–57.10.1162/DRAM_a_00187
   Google Scholar
• Schechner, Richard. 1988. Performance Theory. New York: Taylor and Francis.
   Google Scholar
• Svich, Caridad. 2003. “Weaving the ‘Live’ and Mediated: Marianne Weems in Conversation with Caridad Svich.” In Trans-global Readings: Crossing Theatrical Boundaries, edited by Caridad Svich, 50–56. Manchester, NH: Manchester University Press.
   Google Scholar
• Virilio, Paul. 1991. The Lost Dimension. Translated by Daniel Moshenberg. New York: Semiotext(e).
   Google Scholar
• Wehle, Philippa. 2002. “Live Performance and Technology: The Example of Jet Lag.” Performing Arts Journal 70: 133–139.
   Google Scholar
• Weinstein, Beth. 2008. “Flamand and His Architectural Entourage.” Journal of Architectural Education 61 (4): 25–33.10.1111/j.1531-314X.2008.00184.x
   Web of Science ®Google Scholar