Contents (English)

Contents

Chapter One: Introduction

1.0 Main Object of Study
1.1 Objectives and Structural Overview

Chapter Two: Methodology

2.0 Overview
2.1 State of the art, basic resources and selection of material
2.2 Academic background and motivation
2.3 Online publishing as a research tool: The Interartive adventure
2.4 Conferences, lectures and publications
2.5 Scholarship, internship and research group

Chapter Three: Shades of the Immaterial: Body, Technology and Visual Arts

3.0 Minimal matter/Maximal possibilities: Digital technologies, everyday life and art
3.1 Theoretical background

3.1.1 Immateriality, from the conceptual to the digital

3.1.1.1 Shades of the immaterial: Different approaches and definitions to the state of the non-object
3.1.1.2 “Art and technology: A new unity”: An etymological approach
3.1.1.3 The work of art in the age of digital reproduction
3.1.1.4 Towards an “Ideal text”: Hypertext creating a new generation of authors and readers

3.1.2 Experience as a way of perceiving the world. From philosophy to artistic creation

3.1.2.1 Viewing the body and the mind as a whole: The phenomenological approach
3.1.2.2 Beyond Phenomenology I: From Eastern Philosophies to biofeedback technologies
3.1.2.3 Beyond Phenomenology II: Expanding experience through technology

3.1.3 Experience within the immaterial virtual space

3.1.3.1 A shift of focus in the reading of art history
3.1.3.2 A new perspective in the reception of the artwork
3.1.3.3 Participation, a new role for the audience
3.1.3.4 Creation as transformation: From appropriation to remix
3.1.3.5 The politics of immaterial space: Information sharing as a cultural and political act
3.1.3.6 From code to real space: About the concept of “Cultural Hacking”

3.2 Transformations of the immaterial: From conceptual art to augmented reality

3.2.1 Immateriality in art before the emergence of digital technologies
3.2.2 Char Davies: Bridging the body/mind split
3.2.3 George Khut: A colourful reflection of the inner body
3.2.4 Christa Sommerer and Laurent Mignonneau: Exploring new means of communication.
3.2.5 Thecla Schiphorst: Wearable technologies and performance
3.2.6 Hacking the urban space: Augmented reality art

Chapter Four: An Index of Breath: Philosophy, Cultural Practice and Artistic Creation

4.0 The path of Breath: A link between philosophy, ritual and artistic creation
4.1 Theoretical background

4.1.1 Materiality and spirituality of breath: Aristotle and the ancient Greek tradition
4.1.2 From theory to practice: Breath control in the Indian tradition
4.1.3 Breath in religious and cultural practices
4.1.4 From East to West: Luce Irigaray’s ontology of breath
4.1.5 Breathlessness, suffering and death: A phenomenological approach

4.2 Breath as a prime matter of artistic creation

4.2.1 Manzoni, Torres and Penone: Some first notes on breath as artistic material
4.2.2 Lygia Clark: Odour and breath, art and therapy
4.2.3 Nikos Navridis: Infinite transformations of breath and void
4.2.4 Bill Viola: Underwater visions between first breath and last breath
4.2.5 Danae Stratou: The breath of the earth and the shaping of the natural landscape
4.2.6 Kimsooja: Diffracted lights, ethereal breaths
4.2.7 Edith Kollath: Ephemeral objects of aerial imagination
4.2.8 Sabrina Raaf: The invisible life within air and respiration

Chapter Five: Breath in Action: Voice, Ritual and Performance

5.0. Breath in Performance: From Primitive Ritual to Postmodern Action
5.1. Theoretical Background

5.1.1. The origins of theatre and performance art: Rituals, reality and representation
5.1.2. Theatricality and Performativity: The non-textual elements of Performanc
5.1.3. Breath in actor training and performance
5.1.4. Towards a new theatrical language: Antonin Artaud
5.1.5. Breath, Voice and Language

5.2. Breath in Theatre and Performance

5.2.1. Beckett’s Voice: Breath and other works
5.2.2. Beckett offstage: Visual Transformations

5.2.2.1. Barbara Knezevic: Original and reproduction
5.2.2.2. Damien Hirst: Memory and suffering
5.2.2.3. Adriano and Fernando Guimarães: New stagings
5.2.2.4. Nikos Navridis: The public as a protagonist of the performative act

5.2.3. Bruce Nauman: Repetitive Actions, Mumbled words
5.2.4. Vito Acconci: Repetitive Breaths, Dark whispers
5.2.5. VALIE EXPORT: The Voice as a Vision
5.2.6. Marina Abramović: The real and the extreme as ways of exploring the body

Chapter Six: Conclusions

6.0 General and specific conclusions
6.1 Future lines of research

References

Index

 

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