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Extra info for Mental_Floss - July & August 2011
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La Nouvelle Revue Francaise (June). Artaud, Antonin. (1974) [1938]. The Theatre and Its Double. Collected Works, Vol. 4, London: Calder Publications. Breton, Andre. (1924). Surrealist Manifesto. htm, accessed January 2006. Breton, Andre. (1960) [1927]. Nadja, New York: Grove Press. Bunuel, Luis. (1984). My Last Breath. Trans. Abigail Israel. London: Vintage. Derrida, Jacques. (1976) [1967]. Of Grammatology. Baltimore, Maryland: The John Hopkins University Press. Foreman, Richard. (1985). Reverberation Machines: The Later Plays and Essays.
But there is a gap in the manifesto market that will surely be exploited in the future, since to date there have been no seminal manifestos on the conjunction of performance arts and digital media. This chapter may even provide an embryonic rehearsal towards its development: a fumbling early sermon prior to some future evangelical ejaculation about how the transformational capabilities of computers within theatrical contexts can relate to and extend philosophical theories, Artaudian and surrealist conceptions of art, and, most crucially of all, notions of truth.
16 Bodies Without Bodies Notes 1. This ‘more than’ differs between performance genres, and it actually serves as a measure of disciplinary identity. The dramatico-theatrical, for example, tends to work significantly in terms of faciality, foregrounded over time. 2. Hayles herself acknowledges this. References Bastick, T. (1985). Intuition: How We Think and Act, New York: John Wiley. Bergson, H. (1946). The Creative Mind. An Introduction to Metaphysics, trans. M. Andison, New York: The Philosophical Library.