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, Claire (2010): »Antagonism and Relational Aesthetics«, in: Dezeuze, Anna: The ‘do-it-yourself’ artwork. Participation from Fluxus to new media. Manchester and New York. Bishop, Claire (2012): Artificial Hells. Participatory Art and the Politics of Spectatorship. London/New York. Blom, Philipp (2009): Der taumelnde Kontinent. Europa 1900 – 1914. München. Bosma, Josephine (2004): »Die Konstruktion von Medienräumen«, in: Medien Kunst Netz. URL: http://www.medienkunstnetz.de/themen/public_sphere_s/ medienraeume/1/> (Stand 27. 04. 2014). Bosma, Josephine (2011

Literaturverzeichnis∗ Aarseth, Espen (1997): Cybertext. Perspectives on Ergodic Literature, Baltimore. Aarseth, Espen (2008): ›A Hollow World: World of Warcraft as Spatial Practice‹, in: Digital Culture, Play and Identity. A World of Warcraft Reader, hg. v. Hilde G. Corneliussen u. Jill Walker Rettberg, Cambridge, Mass., S.111-122. Aarseth, Espen (2004): ›Genre Trouble: Narrativism and the Art of Simulation‹, in: First person. New Media as Story, Performance, and Game, hg. v. Pat Harrigan u. Noah Wardrip-Fruin, Cambridge, Mass. [u.a.], S.45

2-ENSATT-ENS). Notes on Contributors 259 Chris Salter is Concordia University Research Chair in New Media, Technology and the Senses, Co-Director of the Hexagram network, Director of the Hexagram Concordia Centre for Research and Creation in Media Art and Technology and Associate Professor, Computation Arts in the Department of Design and Compu- tation Art at Concordia University, Montreal. Living and working in both Mon- treal and Berlin, Salter’s work explores the borders between the senses, art, design, and new technologies over a range of large

kulturgeschichte. Die Archives Internationales de la danse (1931–1952), munich: kieser Benjamin, walter (1971): “die aufgabe des Übersetzers”, in: Gesammelte schriften, Bd. IV/1, frankfurt/main: suhrkamp ------------. (1982): Das Passagen-Werk, in: rolf tiedemann (ed.): Gesammelte schriften, Bd. V, frankfurt/main: suhrkamp Bhabha, homi k. (2012): Über kulturelle Hybridität: Tradition und Übersetzung, anna Babka, gerald posselt (eds.), wien: turia and kant Bolter, jay david, grusin, richard (2000): Remediation. understanding New Media. cambridge, london: the mIt press

als kulturgeschichte. Die Archives Internationales de la danse (1931–1952), münchen: kieser Benjamin, walter (1971): „die aufgabe des übersetzers.“ In: ders.: Gesammelte schriften, Bd. Iv/1, frankfurt a. m.: suhrkamp ders. (1982): Das Passagen-werk. In: rolf tiedemann (hrsg.): Gesammelte schriften, Bd. v, frankfurt a. m.: suhrkamp Bhabha, homi k. (2012): Über kulturelle hybridität: Tradition und Übersetzung, anna Babka, gerald posselt (hrsg.), wien: turia und kant Bolter, jay david, grusin, richard (2000): Remediation. understanding New Media. cambridge

led to a new reading of what a body is, of what an image is, and of the relationship between the two. Some- thing had happened with the body, in relation to images. Dance and (new) media were about to come up with a new deal, with dance crediting the body as the source of all images, and ever-circulating images de- picting the glamorous body as new master of truth. The body is now that which must be listened to, believed in and taken care of. After a few centuries during which the body was to be tamed and reduced to silence, it is now a garrulous oracle whose

.reinhard- doehl.de/zurlage.htm Bergk, Adam (1799): Die Kunst, Bücher zu lesen und Nebst Bemerkungen über Schriften und Darsteller, Jena. Best, Otto F. (1978): Das verbotene Glück. Kitsch und Freiheit in der deut- schen Literatur, München und Zürich. Bezzel, Chris (1978): dichtung und revolution, in: Konkrete Poesie I (Text & Kritik, Heft 25, 1978), hg. v. Heinz Ludwig Arnold, 35-36. Biggs, Simon (2002): Technology, Aura, and the Self in New Media Art. In- terview with Simon Biggs, in: dichtung-digital 3/2002 (www.dichtung- digital.org/2002/04-20-Biggs.htm). Bishop

century, the idea of radio art as an art that builds on the means offered by the medium led to precisely that specific listening and broadcasting art for which the ether is a magic place of manifestation. The “radio ether” is an idiosyncratic interpretation of the air, an airy fairy, a playground for new forms, and a material aesthetic that—as we’ve already mentioned— benefitted art on the whole. The acoustic silver screen in the sky. 184 Despite—or perhaps because of—the new media, all doors are open to such an art form; after all, those media have made the ether

Education Institutions have been funded by the Govern- ment Department for Education and Skills, and British theatre has been funded largely by Arts Council England via the Government Department for Culture, Media and Sport. In 1997, the Report of the National Committee of Inquiry into Higher Education, chaired by Sir Ron Dearing set the agenda in which higher education, theatre, and new media were to play their part; the Dearing (1997) Report not only defined problems within higher education, but also contained a vision. »The vision that emerged is not just about

ausschließlich vor und nach der eigentlichen Aufführung eingesetzt wurde, eine Produktion also, die nicht den hier angelegten Kriterien einer Internet Perfor- 2. de Lahunta, Scott: Sampling… Convergences between Dance and Technology. http: //art.net/dtz/scott2.html (Zugriff am 08.03.2000) – So trägt auch das Journal of Research into New Media Technologies den Haupttitel Convergences. Vgl. http://www. luton.ac.uk/Convergence/ (Zugriff am 26.02.2003) 32 2005-09-20 13-18-49 --- Projekt: T389.kumedi.glesner.theater-internet / Dokument: FAX ID 023295210563518|(S. 31- 54) T01