Contents (English)


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 Shades of the immaterial: Different approaches and definitions to the state of the non-object “Art and technology: A new unity”: An etymological approach The work of art in the age of digital reproduction 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 Viewing the body and the mind as a whole: The phenomenological approach Beyond Phenomenology I: From Eastern Philosophies to biofeedback technologies Beyond Phenomenology II: Expanding experience through technology

3.1.3 Experience within the immaterial virtual space A shift of focus in the reading of art history A new perspective in the reception of the artwork Participation, a new role for the audience Creation as transformation: From appropriation to remix The politics of immaterial space: Information sharing as a cultural and political act 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 Barbara Knezevic: Original and reproduction Damien Hirst: Memory and suffering Adriano and Fernando Guimarães: New stagings 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




This is the table of contents of my doctoral thesis. You can click on the underlined parts to view the images and videos that are relevant to the text of the thesis. Alternatively, you can navigate using the chapter links.