Surveying the history of art, technology and information systems the books reveals the dark clouds that gather over discussions of the digital sublime.
Incudes:
– 2 part audio recording of RE:Create Psychiatry at the Wellcome Collection (1hr24mins and 1hr39mins)
– Saw it Down/OUT (8:31)
– audio loop file
– photo documentation
Maps connections across performances that question the borders of the human whose neurodiverse experiences have been shaped by the diagnostic label of autism, and animal-human performance relationships that dispute and blur anthropocentric edges.
Analyzes the cultural work of spectacular suffering in late-medieval France and the twenty-first century, reading recent dramatizations of torture and performances of self-mutilating conceptual art against late-medieval saint plays.
Part of the Library of Performing Rights (P3041)
Draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.
Documentation from the DIY 13 project.
The Fevered Sleep project brings together adult, male professional contemporary dancers, and girls who dance for fun. This publication includes pieces by people who live and work in each city the project is recreated in. It is a collection of creative writing on the themes of the project, such as love, empathy and trust.
Exploring feminist artistic reponses to the specificity of women’s suffering in war, through the work of Sandra Johnston, nichola feldman-kiss and Rehab Nazzal.
Publication documenting de la Rosa's participation in the 'A world of your own workshop', led by Geraldine Pilgrim.
All performance depends upon our abilities to create, perceive, remember, imagine and empathize. This book provides an introduction to the evolutionary and cognitive foundations of theatrical performing and spectating and argues that this scientific perspective challenges some of the major assumptions about what takes place in the theatre.
This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made.