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Bibliography

Book

Anderson, J. (1974) Dance. New York: Newsweek Books.

Au, S. (2002) Ballet and modern dance. 2nd edn. London: Thames & Hudson.

Blom, L.A. and Chaplin, L.T. (1989) The intimate act of choreography. London: Dance Books.

Brown, E. (2008) ‘Transformations and developments of a radical aesthetic’, in Cox, C. and Warner, D. (eds.) Audio culture: readings in modern music. London, New York: Continuum, pp. 189–195.

Climenhaga, R. (2009) Pina Bausch. Abingdon, New York: Routledge, Routledge Ltd, Taylor and Francis.

Copeland, R. (2004) Merce Cunningham: The modernizing of modern dance. New York and London: Routledge.

Cox, C. and Warner, D. (2008a) ‘The open work’, in Cox, C. and Warner, D. (eds.) Audio culture: readings in modern music. London, New York: Continuum, pp. 165–166.

Cox, C. and Warner, D. (2008b) ‘Experimental musics’, in Cox, C. and Warner, D. (eds.) Audio culture: readings in modern music. London, New York: Continuum, pp. 207–208.

Cunningham, M. (1968) Changes: notes on choreography. Edited by S. Frances. New York: Frankfurt am Main: Something Else Press.

De Keersmaeker, A.T. and Cvejić, B. (2012) Choreographer’s score: Fase, Rosas danst rosas, Elena’s aria, Bartók. Brussels: Mercatorfonds.

Dixon, S. (2007) Digital performance: a history of new media in theater, dance, performance art, and installation. London, Cambridge, Mass.: MIT Press.

Feldman, M. (2000) Give my regards to Eight Street: collected writings of Morton Feldman, Cambridge, Mass: Exact Change.

Forsythe, W. (2015) William Forsythe: The Matter of Fact. Bielefeld, New York: Kerber.

Foster, S.L. (2010) ‘Choreographing your move’, in Rosenthal, S. (ed.) Move. Choreographing you: art and dance since the 1960s. London, Manchester: Hayward Pub, pp. 32–37.

Laban, R. (1975) A Life for Dance. Translated by L. Ullmann. London: Macdonald & Evans.

Louis, M. and Nikolais, A. (2005) The Nikolais/Louis dance technique: A philosophy and method of modern dance. New York and London: Routledge.

Nyman, M. (2008) ‘Towards (a definition of) experimental music’, in Cox, C. and Warner, D. (eds.) Audio culture: readings in modern music. London, New York: Continuum, pp. 209–220.

Percival, J. (1971) Experimental dance. London: Studio Vista.

Reich, S. (1973) ‘Notes on music and dance’, in Reich, S. (ed.) Writings about music. Halifax: The Press of the Nova Scotia College of Art and Design, pp. 41–43.

Rosenberg, S. (2017) Trisha Brown: choreography as visual art. Middletown, Conn.: Wesleyan University Press.

Rosenthal, S. (2010) ‘Choreographing you: choroegraphies in the visual arts’, in Rosenthal, S. (ed.) Move: choreographing you choreography: art and dance since the 1960s. London, Manchester: Hayward Pub, pp. 8–21.

Salter, C. (2010) Entangled: technology and the transformation of performance. London, Cambridge, Mass.: MIT Press.

Salter, C. (2011) ‘Timbral architectures, aurality’s force: sound and music’, in Spier, S. (ed.) William Forsythe and the practice of choreography: it starts from any point. London: Routledge, pp. 54-72.

Spier, S. (2011) ‘Inside the knot that two bodies make’, in Spier, S. (ed.) William Forsythe and the practice of choreography: it starts from any point. London: Routledge, pp. 101-111.

Ullmann, L. (2011) Choreutics. Reprint of Choreutics by R. Laban, 1966. Annotated by L. Ullmann. Hampshire: Dance Books.

Weaver, J. (1706) Orchesography. Or, the Art of Dancing. Reprint 2012. Project Gutenberg. Available at: http://www.gutenberg.org/files/9454/9454-h/9454-h.htm.

Winkler, T. (1998) Composing interactive music: techniques and ideas using Max. London, Cambridge, Mass.: MIT Press. 

Young, J. (2015) ‘Imaginary workscapes: creative practice and research through electroacoustic composition’, in Doğantan, M. (ed.) Artistic practice as research in music: theory, criticism, practice. Burlington, VT, Farnham, Surrey, UK: Ashgate, pp. 149–166.

Zorn, J. (2008) ‘The game pieces’, in Cox, C. and Warner, D. (eds.) Audio culture: readings in modern music. London, New York: Continuum, pp. 196–200.

Journals

Birringer, J. (2008) ‘After choreography’, Performance Research, 13(1), pp. 118–123. doi: 10.1080/13528160802465649.

Cascone, K. (2000) ‘The aesthetics of failure: “Post-Digital” tendencies in contemporary computer music’, Computer Music Journal, 24(4), pp. 12-18. Available at: http://www.jstor.org/stable/3681551(Accessed: 18 May 2018).

Clark, J.O. and Ando T. (2014) ‘Geometry, embodied cognition and choreographic praxis’, International Journal of Performance Arts and Digital Media, 10(2), pp. 179–192, doi: 10.1080/14794713.2014.946285.

deLahunta, S. (2001) ‘Invisibility/Corporeality’, NOEMA. Available at: http://noemalab.eu/ideas/essay/invisibilitycorporeality/ (Accessed: 12 February 2018).

deLahunta, S. (2006) ‘Willing Conversations: The Process of Being Between Author(s)’, Leonardo, Vol. 39, No. 5, pp. 479-481. Available at: http://www.jstor.org/stable/20206301(Accessed 20 May 2018).

deLahunta, S., Clarke, G., and Barnard, P. (2011) ‘A conversation about choreographic thinking tools’, Journal of Dance & Somatic Practices, 3(1+2), pp. 243-259, doi: 10.1386/jdsp.3.1-2.243_1.

Emmerson, S. (1989) ‘Composing strategies and pedagogy’, Contemporary Music Review, 3(1), pp. 133–144. doi: 10.1080/07494468900640091.

Forsythe, W. and Kaiser, p. (1999) ‘Dance geometry’, Performance Research, 4(2), pp. 64–71, doi: 10.1080/13528165.1999.10871671.

Povall, R. (1998) ‘Technology is with us’, Dance Research Journal, 30(1), pp. 1–4. Available at: http://www.jstor.org/stable/1477887 (Accessed: 24 March 2018).

Siegel, W. and Jacobsen, J. (1998) ‘The challenges of interactive dance: an overview and case study’, Computer Music Journal, 22(4), pp. 29–43. Available at: http://www.jstor.org/stable/3680892 (Accessed: 24 March 2018).

Vandsø, A. (2014) 'Rheo: Japanese Sound Art Interrogating Digital Mediality', Acta Universitatis Sapientiae, Film and Media Studies, 9(1), pp. 141–154, doi:10.1515/ausfm-2015-0007.

Wechsler, R. (1998) ‘Computers and dance: back to the future’, Dance Research Journal, 30(1), pp. 4–10. Available at: http://www.jstor.org/stable/1477888 (Accessed: 24 March 2018).

Wilson-Bokowiec, J. and Bokowiec, M.A. (2006) ‘Kinaesonics: The intertwining relationship of body and sound’, Contemporary Music Review, 25(1–2), pp. 47–57. doi: 10.1080/07494460600647436.

Conference Proceedings

Camurri, A., Chiarvetto, R., Coglio, A., Di Stefano M., Liconte, C., Massari, A., Massucco, C., Murta, D., Nervi, S., Palmieri, G., Ricchetti, M., Rossi, R., Stroscio, A., and Trocca, R. (1997) ‘Toward kansei information processing in music/dance interactive multimodal environments’, Proceedings of AIMI International Workshop on Kansei – The Technology of Emotion. Genoa, Italy. doi: 10.1.1.69.3775.

Guedes, C. (2007) ‘Translating dance movement into musical rhythm in real time: new possibilities for computer-mediated collaboration in interactive dance performanc’, Proceedings of The International Computer Music Conference (ICMC). Copenhagen, Denmark. Available at: http://hdl.handle.net/2027/spo.bbp2372.2007.204 (Accessed: 24 March 2018).

Hattwick, I., Malloch, J. and Wanderley, M. (2014) ‘Forming shapes to bodies: design for manufacturing in the prosthetic instruments’, Proceedings of the International Conference on New Interfaces for Musical Expression (NIME). London, United Kingdom. Available at: http://www.nime.org/proceedings/2014/nime2014_370.pdf (Accessed: 12 February 2018).

Jaimovich, J. (2016) ‘Emovere: designing sound interactions for biosignals and dancers’, Proceedings of the International Conference on New Interfaces for Musical Expression (NIME). Brisbane, Australia. Available at: http://www.nime.org/proceedings/2016/nime2016_paper0062.pdf (Accessed: 12 February 2018).

Källblad, A., Friberg, A., Svensson, K., and Edelholm, E. S. (2008) ‘Hoppsa Universum: an interactive dance installation for children’, Proceedings of the International Conference on New Interfaces for Musical Expression (NIME). Genoa, Italy. Available at: http://www.nime.org/proceedings/2008/nime2008_128.pdf (Accessed: 12 February 2018).

Lee, J. and Yeo, W. (2012) ‘Real-time modification of music with dancer's respiration pattern’, Proceedings of the International Conference on New Interfaces for Musical Expression (NIME), Ann Arbor, Michigan. Available at: http://www.nime.org/proceedings/2012/nime2012_309.pdf (Accessed: 12 February 2018).

Meckin, D., Mainstone, D., Shed, R., and Bryan-Kinns, N. (2012) ‘The whimsichord: a wearable interactive sonic installation’, Proceedings of the Designing Interactive Systems Conference (DIS). Newcastle, UK. Available at: http://isam.eecs.qmul.ac.uk/projects/whimsichord/WHIMSICHORD_DIS_DEMO_PAPER.pdf (Accessed: 11 April 2018).

Naveda, L. and Santana, I. (2014) ‘“Topos” toolkit for Pure Data: exploring the spatial features of dance gestures for interactive musical applications’, Proceedings of The International Computer Music Conferences (ICMC). Athens, Greece. Available at: http://hdl.handle.net/2027/spo.bbp2372.2014.073 (Accessed: 11 April 2018).

Neagle, R., Ng, K., and Ruddle, R.A. (2002) ‘Notation and 3D animation of dance movement’, Proceedings of The International Computer Music Conferences (ICMC). Gothenburg, Sweden. Available at: http://hdl.handle.net/2027/spo.bbp2372.2002.095 (Accessed: 11 April 2018).

Polotti, P. (2011) ‘Humanities, art and science in the con-text of interactive sonic systems: some considerations on a cumbersome relationship’, Proceedings of Sound and Music Computing (SMC). Padova, Italy. Available at: http://smcnetwork.org/system/files/smc2011_submission_53.pdf (Accessed: 24 March 2018).

Todoroff, T. (2011) ‘Wireless digital/analog sensors for music and dance performances’, Proceedings of the International Conference on New Interfaces for Musical Expression (NIME). Oslo, Norway. Available at: http://www.nime.org/proceedings/2011/nime2011_515.pdf (Accessed: 9 April 2018).

Wanderley, M. (2001) ‘Gestural control of music’, International Workshop Human Supervision and Control in Engineering and Music. Kassel, Germany. Available at: http://www.engineeringandmusic.de/individu/Wanderley/Wanderley.pdf (Accessed: 9 April 2018).

Winkler, T. (1995a) ‘Making motion musical: gesture mapping strategies for interactive computer music’, Proceedings of The International Computer Music Conferences (ICMC). Banff Centre for the Arts, Canada. Available at: http://hdl.handle.net/2027/spo.bbp2372.1995.078 (Accessed: 9 April 2018).

Winkler, T. (1995b) ‘Composing Interactive music: a pedagogical approach to teaching interactive composiiton’, Proceedings of The International Computer Music Conferences (ICMC). Banff Centre for the Arts, Canada. Available at: http://hdl.handle.net/2027/spo.bbp2372.1995.072 (Accessed: 9 April 2018).

The International Conference on New Interfaces for Musical Expression (NIME). Archives available at: http://www.nime.org/archives/ (Accessed: 12 February 2018).

The International Computer Music Conferences (ICMC). Archives available at: https://quod.lib.umich.edu/i/icmc/bbp2372.* (Accessed: 12 February 2018).

Sound and Music Computing (SMC). Archives available at: http://smcnetwork.org/resources/smc_papers (Accessed: 12 February 2018).

Theses

Malloch, J. (2013) ‘Instrumented bodies: prosthetic instruments for music and dance’, A framework and tools for mapping of digital musical instruments, pp. 107–134. PhD thesis. McGill University. Available at: http://idmil.org/_media/publications/2013/malloch_phd_dissertation_2013.pdf (Accessed: 12 February 2018).

Articles

Bayne, J. (2012) ‘Artwork of the week: Francis Bacon’s Study after Velázquez’s Portrait of Pope Innocent X’, Huffpost, 30 April. Available at: https://www.huffingtonpost.co.uk/2012/04/30/francis-bacon-death_n_1464100.html?guccounter=1 (Accessed: 28 May 2018).

Dauerer, V. (2014) ‘Code+culture: new media art from Japan Part 1’, The Japan Times, 6 December. Available at: http://features.japantimes.co.jp/media-art-pt1/ (Accessed: 12 February 2018).

Palop, B. (2013) ‘Train fragments is an immersive audiovisual performance inspired by Steve Reich’, Creators, VICE, 26 June. Available at: https://creators.vice.com/en_us/article/jpvxv4/itrain-fragmentsi-is-an-immersive-ride (Accessed: 10 May 2018).

Poikonen, H. (2017) A dancer’s brain develops in a unique way. Available at: https://www.helsinki.fi/en/news/health/a-dancers-brain-develops-in-a-unique-way (Accessed: 12 Feburuary 2018).

Saltz, J. (2011) ‘Thee of a kind: A trio of Cézannes walks us through the artist’s pioneering way of seeing space’, New York Magazine, 13 February. Available at: http://nymag.com/arts/art/reviews/71564/ (Accessed: 28 May 2018).

Websites

deLahunta, S. (n.a) Apparition: background. Available at: http://www.exile.at/apparition/background.html (Accessed: 9 April 2018).

Kolgen, H. (n.a) HERMAN KOLGEN_SEISMIK_preview 01. Available at: https://vimeo.com/90652292 (Accessed: 10 May 2018).

Rosas (n.a) Rosas danst Rosas. Available at: http://www.rosas.be/en/publications/431-rosas-danst-rosas (Accessed: 11 June 2018).

Videos

Forsythe, W. (2006) Interviewed by Thiery De Mey, dance-tech.tv. Available at: https://vimeo.com/36635217 (Accessed: 8 June 2018).

Forsythe, W. (2012) Dance Biennale 2012 – A meeting with William Forsythe [Interview]. Available at: https://www.youtube.com/watch?v=Jl4qmjO2HNI (Accessed: 12 February 2018).

Jarecke, M (2012) Introduction to Laban’s Space Harmony [Lecture]. Available at: https://www.youtube.com/watch?v=p-B_E3loAto&t=15s (Accessed 2 June 2018).

McGregor, W. (2012) ‘A choreographer’s creative process in real time’, TED Global. Available at: https://www.ted.com/talks/wayne_mcgregor_a_choreographer_s_creative_process_in_real_time?utm_campaign=tedspread--b&utm_medium=referral&utm_source=tedcomshare (Accessed: 12 February 2018).

Nikolais, A. (1974) Interviewed by James Day for Day at Night, PBS, 29th November. Available at: https://www.youtube.com/watch?v=atmek4ra-UU (Accessed 27 May 2018).

Obenhaus, M. (1995) Einstein on the Beach: The Changing Image of Opera. Available at: https://www.youtube.com/watch?v=j1PxYB0wqSE (Accessed: 11 April 2018).

Todoroff, T. (n.a.) FireTraSe (Fire, Tracking and Sensors). Available at: https://vimeo.com/198146154 (Accessed: 12 February 2018).

Audio

Feldman, M. (1967) Interviewed by Charles Shere, KPFA, July. Available at: https://archive.org/details/MortonFeldmanInterview1967 (Accessed: 9 June 2018).

Attended Conferences / Festivals

Digital Québec 2015, British Film Institute, London, UK.

Moving Matter(s): On Code, Choreography and Dance Data, Fiber Festival 2017, Amsterdam, Netherlands.

Exhibitions

Move: Choreographing You: Art and Dance since the 1960s, Hayward Gallery, London, 2011.

Artworks / projects

18 Happenings in 6 parts (1959) by Allan Kaprow’s

A Volume, Within Which It Is Not Possible for Certain Classes of Action to Arise (2015) by William Forsythe

Aftershock (n.a) by Herman Kolgen

Apparition (2004) by Klaus Obermaier

Aufwand (2015) by William Forsythe

Café Müller (1978) by Pina Bausch

D.A.V.E. (1998 – 2000) by Klaus Obermaier

December 1952 (1952) by Earle Brown

Der Schwingende Tempel (1922) by Rudolf Laban

Die Geblendeten (1921) by Rudolf Laban

Eidos : Telos (1995) by William Forsythe, Thom Willem and Joel Ryan, Frankfurt Ballet Company

Einstein on the Beach (1976) by Philip Glass

Electric stimulus to face (2009) by Daito Manabe

Fase, Four Movements to The Music of Steve Reich (1982) by Anne Teresa De Keersmaeker 

Fearful Symmetry (n.a) by Ruairi Glynn

FireTraSe (n.a) by Todor Todoroff

Green Light Corridor (1970) by Bruce Nauman

Human Harp (2013) by Di Mainstone

Improvisation Technologies (2011) by The Forsythe Company and ZKM

Inception (2010) by Christopher Nolan

L’Après-midi d’un faune (1912) by Vaslav Nijinsky

Lady’s Glove (1994) by Laetitia Sonami

Les Gestes (2011-2013) by Joseph Malloch, Ian Hattwick, Sean Ferguson, Marlon Schumacher, Isabelle Van Grimde, Van Grimde Corps Secrets

Magnificent Triumphal Arch (2010) by Pablo Bronstein

Mind and Movement from the project Choreographic Thinking Tools (2013) by Wayne McGregor | Random Dance

Nemesis (2001) by Company Wayne McGregor

One Pig (2011) by Matthew Herbert

Rheo: 5 Horizons (2010) by Ryoichi Kurokawa

Rhizomatiks Circle (n.a) by Rhizomatiks Research

Rosas danst Rosas (1997) by Anne Teresa De Keersmaeker, filmed by Thiery De Mey

Seismik (n.a) by Herman Kolgen

Study after Velázquez’s Portrait of Pope Innocent X (1953) by Francis Bacon

Synchronous Objects (n.a) by William Forsythe, Maria Palazzi, and Norah Zuniga Shaw

Tent (1965) by Alwin Nikolais

The Card Players (1894 – 1895) by Paul Cézanne

The Fact of Matter (2009) by William Forsythe

The Poet Max Herrmann-Neisse (1927) by George Grosz

The StyHarp (n.a) by Yann Seznec

Thematic Variations on One Flat Thing, Reproduced (2007) by William Forsythe, filmed by Thiery De Mey

Topos (2014) by Luiz Naveda

Tower (1965) by Alwin Nikolais

Variations V (1965) by John Cage, Merce Cunningham, David Tudor, Gordon Mumma, Carolyn Brown, Barbara Dilley.

VIVISECTOR (2002) by Klaus Obermaier

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