This bibliography (right) contains references made across the exposition — including within the CONTEXTUALISING ESSAY and the three RE-TURNING pages.
Theodor W. Adorno, ‘The Essay as Form’, in Brian O’Connor (ed.) The Adorno Reader, (Oxford: Blackwell, [1958] 2000), pp. 91 – 111.
Verena Andermatt Conley, Hélène Cixous: Writing the Feminine, (Lincoln and London, University of Nebraska Press, 1991).
Alex Arteaga, ‘Embodied and Situated Aesthetics: An enactive approach to a cognitive notion of aesthetics*’, Artnodes, no. 20 (2017).
Alex Arteaga, How Do We Do It? An Introduction Lecture given at KASK on February 20th 2018, unpaginated. Available at http://www.open-frames.net/pdf/otcoe/119-lecture_Alex_Arteaga.pdf
[Checked on 16 August 2023]
Alex Arteaga and Emma Cocker, ‘Editorial: Practices of Phenomenological and Artistic Research’, in Phenomenology & Practice, Vol. 17 No. 1 (2022), pp. 9 - 56. Available at https://journals.library.ualberta.ca/pandpr/index.php/pandpr/article/view/29522/21471
[Checked on 16 August 2023]
J. L. Austin, How to Do Things with Words (Cambridge, MA: Harvard University Press, 1975).
Karen Barad, ‘Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter’, Signs: Gender and Science 28, no. 3 (Spring 2003), pp. 801-831.
Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning, (Durham, NC: Duke University Press, 2007).
Roland Barthes, Image, Music, Text, (Flamingo, London, 1984).
Julia Bell, Radical Attention (London: Peninsula Press, 2020).
María Puig de la Bellacasa, Matters of Care: Speculative Ethics in More Than Human Worlds, (Minneapolis, London: University of Minnesota Press, 2017).
Franco ‘Bifo’ Berardi, The Uprising: On Poetry and Finance, (Los Angeles: semiotext(e), 2012).
Alan Blackwell, Emma Cocker, Geoff Cox, Thor Magnusson, Alex McLean, Live Coding: A Users’ Manual, (Cambridge, Massachusetts, London: The MIT Press, 2022).
Barbara Bolt, A Performative Paradigm for the Creative Arts?, Working Papers in Art and Design 5, 2008.
Barbara Bolt, Felicity Coleman, Graham Jones, Ashley Woodward, Sensorium: Aesthethics, Art, Life, (Newcastle: Cambirdge Scholars Publishing, 2007).
Henk Borgdorff,‘The Production of Knowledge in Artistic Research’, in Michael Biggs and Henrik Karlsson, (eds.) The Routledge Companion to Research in the Arts, (London and New York: Routledge, 2011), pp.44 – 63.
Michelle Boulous Walker, Slow Philosophy: Reading Against the Institution, (London, New York: Bloomsbury 2017).
Nicolas Bourriaud, Altermodern: Tate Triennial 2009, (London: Tate Publishing, 2009)
David Burrows, Simon O'Sullivan, Fictioning: The Myth-Functions of Contemporary Art and Philosophy, (Edinburgh University Press, 2019).
Judith Butler ‘Giving an Account of Oneself,’ Diacritics, nr 4, vol. 31 (2001), pp. 22-40.
Corina Caduff, Tan Wälchli, (eds.) Artistic Research and Literature, (Wilhelm Fink, 2019).
Craig Calhoun, Habermas and the Public Sphere, (MIT, 1992).
Michel de Certeau, The Practice of Everyday Life, (Berkeley, London: University of Calofornia Press, 1984).
Yves Citton, The Ecology of Attention, trans. Barnaby Norman, (Cambridge: Polity, 2017).
Hélène Cixous, ‘The Laugh of the Medusa’, in (eds.) Elaine Marks and Isabelle de Courtivron, New French Feminisms: An Anthology, (New York and London: University of Massachusetts Press, 1980), pp. 245 – 264.
Hélène Cixous, Three Steps on the Ladder of Writing, (New York, 1993).
Hélène Cixous, Coming to Writing and Other Essays, (Cambridge, MA: Harvard University Press, 1991).
Hélène Cixous, Stigmata: Escaping Texts, (Routledge: London and New York, 1998).
Hélène Cixous and Frédéric-Yves Jeannet, Encounters: Conversations on Life and Writing, (Cambridge and M.A: Polity, 2013).
Emma Cocker, ‘Performing stillness: Community in Waiting’, in Stillness in a Mobile World, eds. David Bissell, Gillian Fuller (Oxon and New York: Routledge, 2010), pp. 87 – 106.
Emma Cocker, Nikolaus Gansterer and Mariella Greil. See Choreo-graphic Figures: Deviations from the Line, (Berlin, de Gruyter, 2017).
Emma Cocker, ‘Conversation as Material’, Phenomenology & Practice, Volume 17 (2022), No.1, pp. 201 – 231. Available at https://journals.library.ualberta.ca/pandpr/index.php/pandpr/article/view/29475/21483
[Checked on 16 August 2023]
Emma Cocker, Cordula Daus, Lena Séraphin, ‘Reading on Reading: Ecologies of Reading’ in Mika Elo, Tero Heikkinen, Henk Slager (eds.), RUUKKU #14 Ecologies of Practice, 2020. Available at https://www.researchcatalogue.net/view/618624/618625
[Checked on 16 August 2023]
Emma Cocker, ‘Towards an Attitude of Openness’, keynote lecture at the Society for Artistic Research conference, Care, Share, Dare, 2021.
Available at https://www.researchcatalogue.net/view/1220981/1220982
[Checked on 16 August 2023]
Gemma Corradi Fiumara, The Other Side of Language: A Philosophy of Listening (London: Routldge, 1990).
Gilles Deleuze, Essays Critical and Clinical, trans. Daniel W. Smith and Michael A. Greco, (Minneapolis: University of Minnesota Press, 1997).
Mladen Dolar, His Master's Voice, (Eine Theorie der Stimme, Frankfurt 2007).
Bracha L. Ettinger, Intimacy, wit(h)nessing and non-abandonment, Available at http://jordancrandall.net/main/+UNDERFIRE/site/files/q-node-562.html
[Checked on 16 August 2023]
Bracha L. Ettinger, The Matrixial Borderspace, (Minneapolis: University of Minnesota Press, 2006).
Alex Fattal, ‘Counterpublic’, in (ed.) Hilary Callan, The International Encyclopedia of Anthropology, (Wiley Blackwell, Hoboken, NJ, 2018).
Christine Fentz and Tom McGuirk, Artistic Research: Strategies of Embodiment, (NSU Press, 2015).
Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics, trans. Saskya Iris Jain, (Oxon, New York: Routledge, 2008).
Jane Flax, Thinking Fragments: Psychoanalysis, Feminism and Postmodernism in the Contemporary West, (Los Angeles: University of California Press, 1991).
Vilém Flusser: Gesten. Versuch einer Phänomenologie, (Frankfurt 1994).
Ken Friedman, Owen Smith and Lauren Sawchyn, (eds.), The Fluxus Performance Workbook, re-published as a Performance Research e-publication, 2002. Available at - https://www.thing.net/~grist/ld/fluxusworkbook.pdf].
Irwin Goffman, The Presentation of Self in Everyday Life, (Edinburgh: University of Edinburgh, 1956).
Irwin Goffman, Behaviour in Public Places: Notes on the Social Organization of Gatherings, (New York: The Free Press, 1963).
Henriette Gunkel, Ayesha Hameed, Simon O'Sullivan (eds.), Futures and Fictions, (Repeater Books, 2017).
Byung-Chul Han, Disappearance of Rituals: A Topology of the Present, (Cambridge: Polity Press, 2020).
Byung-Chul Han, The Transparency Society, (Stanford University Press, 2012).
Donna Haraway, ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Knowledge’, Feminist Studies, v. 14, n. 3 (Fall, 1988), pp. 575 – 603.
Brad Haseman, ‘A Manifesto for Performative Research’, in Media International Australia, 118: 1, 2006, pp. 98 – 106.
Phil Hubbard, Rob Kitchin and Gill Valentine, Key Thinkers on Space and Place, (Los Angeles, London: Sage, 2004).
Victoria Hunter, ‘Perecquian Perspectives: Dialogues with Site-Dance (Or, “On being here and there”)’, in Literary Geographies 3 (1) 2017, pp. 27-49.
Wolfgang Iser, The Fictive and the Imaginary: Charting Literary Anthropology (Baltimore: Johns Hopkins University Press, (1993 [1991]).
Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought, (University of California Press, 1993).
Ann Rosalind Jones, ‘Writing the Body: Toward an Understanding of “L‘Ecriture Feminine”’, in Feminist Studies, Summer, 1981, Vol. 7, No. 2 (Summer, 1981), pp. 247-263.
Nancy Kline, Time to Think: Listening to Ignite the Human Mind, (London: Cassell, 1999).
Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity, (Cambridge, Massachusetts and London: The MIT Press, 2004).
Henri Lefebvre, The Production of Space (Oxford: Blackwell Publishing, 1991).
Henri Lefebvre, Rhythmanalysis: Space, Time and Everyday Life (London: Bloomsbury Academic, 2017).
Dawn Lyons, Rhythmanalysis: Research Methods, (London: Bloomsbury Academic, 2020).
Lambros Malafouris, ‘At the Potter’s Wheel: An Argument for Material Agency’, in Carl Knappet and Lambros Malafouris (eds.), Material Agency, (Springer, 2008), pp. 19 – 36.
Max van Manen, Phenomenology of practice: meaning-giving methods in phenomenological research and writing, (London and New York: Routledge, 2014).
Erin Manning. The Minor Gesture, (Duke University Press, 2016).
Humberto Maturana and Francisco Varela, Autopoiesis and Cognition: The Realization of the Living (D. Reidel Pub. Co., Dordrecht, 1980).
Maurice Merleau-Ponty, The Phenomenology of Perception, trans. C. Smith, (London: Routedge & Keagan Paul, 1962 [1945]).
Maurice Merleau-Ponty, The Visible and the Invisible (Evanston: Northwestern University Press, 1968).
Dieter Mersch, Epistemologies of Aesthetics, (Zürich/Berlin: Diaphanes, 2015).
Dieter Mersch, Sylvia Sasse, Sandro Zannetti (eds.), Aesthetic Theory, (Zurich: Diaphanes, 2019).
Vytautus Michekevičius, Mapping Artistic Research: Towards Diagrammatic Knowing, (Vilnius: Vilnius Academy of the Arts Press, 2018).
Marion Milner, On Not Being Able to Paint, (Routledge, 2010).
W. J. T. Mitchell, ‘The Eyes Have It’, Artforum, January 1994, Vol. 32, No. 5.
Nina Möntmann, ‘New Communities’, in Public: Art Culture Ideas, 2009.
Jean-Luc Nancy, Being Singular Plural, (Stanford University Press, 2000).
Pauline Oliveros, Deep Listening: A Composers’ Sound Practice, (New York, Lincoln: Deep Listening Publications, 2005).
Ezequiel A. Di Paolo, Elena Clare Cuffari, and Hanne De Jaegher, Linguistic Bodies: The Continuity Between Life and Language, (Cambridge, Massachusetts: The MIT Press, 2018).
Georges Perec, An Attempt at Exhausting a Place in Paris, trans. Marc Lowenthal. (Cambridge (MA): Wakefield Press, 2010).
Georges Perec, Species of Spaces and Other Pieces, trans. John Sturrock, (London: Penguin Books, 1997).
Sarah Pink, Doing Sensory Ethnography, (London: Sage, 2015).
Della Pollock, ‘Performing Writing’, in Peggy Phelan and Jill Lane, eds., The Ends of Performance (New York University Press, 1998), pp. 73 – 103.
Jacques Rancière, Aisthesis: Scenes from the Aesthetic Regime of Art, trans. Zakir Paul, (London: Verso, 2013).
Jane Rendell, Site-Writing: The Architecture of Art Criticism, (London and New York: I. B. Tauris, 2010).
Irit Rogoff, ‘WE: Collectivities, Mutualities, Participations’, in I Promise its Political, (Museum Ludwig: Cologne, 2002).
Maxine Sheets-Johnstone, The Corporeal Turn: An Interdisciplinary Reader, (Exeter, UK: Imprint Academic, 2009).
Pierre Schaeffer, Traité des objets musicaux, (Le Seuil, Paris 1966).
Theodore R. Schatzki, Karin Knorr Cetins and Eike Von Savigny, (eds.) The Practice Turn in Contemporary Theory, (London and New York: Routledge, 2001).
Viktor Shklovsky: 'Art as Technique' in Theory of Prose, (Moscou 1925).
Richard Shusterman, Thinking Through the Body: Essays in Somaesthetics, (Cambridge University Press, 2012).
Mike Sperlinger, ‘Orders! Conceptual Art's Imperatives’, in Afterthought: New Writing on Contemporary Art, (Rachmaninoff, 2005).
Daniel Stern, Forms of Vitality: Exploring Dynamic Experience in Psychology, the Arts, Psychotherapy and Development, Oxford and New York: Oxford University Press, 2010).
Torkild Thanem and David Knights (eds.), Embodied Research Methods, (Los Angeles, London: Sage, 2019).
Paolo Virno, When the Word Becomes Flesh: Language and Human Nature, (Semiotext(e), 2015).
Michael Warner‘Publics and Counterpublics’, Public Culture, Volume 14, Number 1, Winter 2002, pp. 49 – 90.
Michael Warner, Publics and Counter Publics, (New York: Zone Books, [2002] 2005).
Simone Weil, Letter to Joë Bousquet on April 13, 1942. ‘Correspondance’, (Editions l'Age d'Homme in Lausanne, 1982), in Simone Pétrement, Simone Weil: A Life (New York: Pantheon Books, 1976).
Simone Weil, Gravity and Grace, (London and New York: Routledge, 2002/1947).
Simone Weil, Anthology, (London: Penguin Classics, 2005).
La Monte Young and George Brecht (eds.) An Anthology of Chance Operations, (Heiner Friedrich Inc., New York, 1970).