Formulates a history and theory of biosemiotic and proto-biosemiotic thinking in order to open up new possibilities of contemporary social, philosophical, aesthetic and technological engagement. 

An important addition to the current body of scholarly material on contemporary performance and theatre; it provides both a detailed focus on a number of important performance works as well as developing a framework for the interpretation of contemporary performance.

Part of the Library of Performing Rights (P3041).

Constructs a genealogy of accelerationism, calling attention to early anticipations of accelerationism, and presenting new essays that document the emergence of new accelerationisms steeled against the onslaughts of capitalist realism, and retooled for the twenty-žrst century.

The emergence of contemporary art, engaging widely with other disciplines, as a platform for exploring animal nature.

Combining philosophy and aesthetics, this is a unique exploration of creative practice as a form of thinking. 

Where does our current obsession for interactivity stem from? After the consumer society and the communication era, does art still contribute to the emergence of a rational society? Bourriaud attempts to renew our approach toward contemporary art by getting as close as possible to the artists works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting.

Documents the artist's two-year (2015-2017) experimental site-specific art project. The project involved Chen's visits to 168 locations set out as squares on a Google map of Greater London, and used the city as a stage and open space for the execution of Chen’s experiments. 

“Invited at the same time by the Hebbel Theatre in Berlin, the Tanz-Quartier in Vienna and the Centre National de la Danse in Paris to perform The Last Performance (D0624) I decided, instead of presenting the piece, to make a lecture about its issues. I had the feeling that this difficult piece had not been really understood. Maybe the piece was bad. But I believe that the issues of this piece were relevant, which is why I would like to change my medium and to use the tool of the lecture to try to articulate better the stakes of The Last Performance. I will re-contextualise the piece in its theoretical level through the texts of Roland Barthes and Peggy Phelan and in my artistic situation at that time.”Jérôme Bel www.jeromebel.fr This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)

This item is part of the Study Room Guide on One to One Performance by Rachel Zerihan (P1320)