Johannes Birringer
Biographic Data
| ID | 1044446 |
|---|---|
| NAME | Johannes Birringer |
| GIVEN NAMES | Johannes |
| FAMILY NAME | Birringer |
| SIGNATURE | BIRRINGER J |
| AFFILIATIONS | Nottingham Trent University |
| ORCID | 0000-0003-0914-0598 |
| VERIFIED | Yes |
| TOTAL WORKS | 43 |
| TOTAL CITATIONS | 12 |
| AUTHOR COUNT | 43 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1984 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Digitally Disposed and Compromised
Music technology and electronic music performance, dance, interactive design and movement animation (visual and sonic) have enjoyed challenging partnerships for some decades now, but the constant evolution of software capabilities and multimodal design, in the current context of so-called immersive performance, has also raised critical questions about embodiment and the digital disposition or rendition of dancers or performers whose gestures and …
Gravel Maraboutage: A brief manifesto
Augmenting virtuality
Really Actually Windy: On Environments, Technologies, and Dividual Performances
Really Actually Windy: On Environments, Technologies, and Dividual Performances Johannes Birringer (bio) Really Actually Windy / R.A.W. Vol. 1. Curated by Mirei Yazawa and Anita Konarska. Performed and designed by Sayaka Akitsu et al. I'Klectik Art-Lab, London. May 7, 2016. Miss Revolutionary Idol Berserker. Directed by Toco Nikaido. LIFT Festival, The Barbican, London. June 22-July 2, 2016. Naše Nasilje i Vaše Nasilje. Directed by Oliver Frljić.…
The Theatre and Its Screen Double
This essay offers a close exploration of the live filming and sound production in the schaubühne berlin staging of strindberg's Fräulein Julie (directed by Katie Mitchell, shown on tour at the barbican, london, in 2012). It provides a series of theoretical and critical angles from which to discuss contemporary intermedia performance and audiovisual scenography. After a brief evocation of Artaud's writings in "theatre and cruelty" and on raw cinem…
Bauhaus, Constructivism, Performance
May 01 2013 Bauhaus, Constructivism, Performance Johannes Birringer Johannes Birringer JOHANNES BIRRINGER is a contributing editor to PAJ and director of the Design and Performance Lab at Brunel University, London. The DAP-Lab's latest dance work, for the time being, an homage to the futurist opera Victory over the Sun (1913), premiered in London in 2012. Search for other works by this author on: This Site Google Scholar Author and Article Inform…
Choreographic Objects: Stifters Dinge
What score? Pre-choreography and post-choreography
This article introduces a brief historical reflection on the current reception or production of dance and ‘choreographic objects’ in venues of documentation/exhibition (museum) and experimentation (laboratory), reviewing the curatorial direction of ‘Move: Choreographic You’ (Hayward Gallery) and Xavier Le Roy's ‘Retrospective’ (Fundacio Antoni Tapies). Previewing the artists’ writings in this issue of IJPADM, the author then comments on some of t…
The Sound of Movement Wearables: Performing Ukiyo
Although interest in wearable/mobile technologies in today's world of social networks, fashion and lifestyle industries is on the rise, the performing arts rarely integrate body-worn technologies into their dramaturgies. After some pioneering efforts in music and audio art, dance and theater practices have slowly begun to benefit from performance design investigating "sounding" garments that transduce the sensuality of movement gestures through t…
Moveable worlds/Digital scenographies
This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010
La Bambola di Carne
Exposed Elizabeth Stephens and Annie Sprinkle The International Workshop Festival/The Chelsea Theatre, London September 19-22, 2007
Digital Cultures Lab, 2005
Rammstein's Rite of Fire Nottingham Arena, February 7, 2005
Interactivity: User Testing? For Participatory Artworks
This article explores the new phenomenon of ‘user testing’ and response behaviour for interactive digital installations and programmed environments. After contextualizing the concept of interactivity, it addresses issues relevant to the research in participatory artforms, interaction design, production development (prototyping) and scientific testing comparing interactive dance and digital installations. As a test case, the author describes the D…
El Automovil Gris (review)
Interactive dance, the body and the Internet
This essay discusses the use and integration of network and communication technology in digital arts practice, particularly in dance. After contextualizing the concept of interactivity, it addresses issues relevant to form, practice, production and presentation in regard to interactive dance, the use of streaming media (telepresence) and network infrastructure. As an example, the author describes the polysite telepresence production of Here I com…
Dance and Interactivity
A growing number of practitioners in the international community of choreographers and performers has begun to experiment with computer-assisted work linking dance and new technologies. This hardly comes as a surprise, since dance-on-film and videodance had already attracted considerable attention, at least since the 1980s. Earlier experiments, such as the astonishing films by Maya Deren, take us back to the 1940s, and today's motion capture-base…
Performance Systems
Suite Fantastique: Architecure and the Digital
Contemporary Performance/Technology
Lively Bodies, Live Machines: Split Realities
investment from people using creative, spiritual and existential approaches to movement and bodily experience that depart from the technique-based rigors of ballet and modern dance training and that appear to be antagonistic to the technological imperatives imposed by media culture and hypertheories of cyberspace and virtual reality. Such theories can seem especially alienating and distorting from the point of view of dancers, who need to work wi…
The Movement of Memory: Scanning Dance
Dance, movement research and computer technology/digital arts are entering into a new relationship that redefines the parameters of choreography, composition and projection in multimedia performance. This article examines recent dance-performance research regarding the survival of physical bodies in Bill T. Jones’s choreography and in the technological workshops given by AlienNation Co. that explore digital interfaces, interactive environments an…
Homosexuality and the Nation: An Interview with Jorge Perugorria
Revolutionary Cuban culture faces perhaps its most important moment in history, since it has become all too apparent that the long-term effects of the U.S. blockade against the island, after the disintegration of the Soviet Union and the socialist bloc (Cuba's main trading partners), are pushing its economy to the brink of collapse. All the measures taken by the Cuban leadership during the rectification campaign, and now during the post-Soviet Sp…
Transcentrala—Na sončni strani Alp
Pina Bausch: Dancing across Borders
Theatre, Theory, Postmodernism
The Sound of Movement Wearables: Performing Ukiyo
Although interest in wearable/mobile technologies in today's world of social networks, fashion and lifestyle industries is on the rise, the performing arts rarely integrate body-worn technologies into their dramaturgies. After some pioneering efforts in music and audio art, dance and theater practices have slowly begun to benefit from performance design investigating "sounding" garments that transduce the sensuality of movement gestures through t…
Interactive dance, the body and the Internet
This essay discusses the use and integration of network and communication technology in digital arts practice, particularly in dance. After contextualizing the concept of interactivity, it addresses issues relevant to form, practice, production and presentation in regard to interactive dance, the use of streaming media (telepresence) and network infrastructure. As an example, the author describes the polysite telepresence production of Here I com…
Dance and Interactivity
A growing number of practitioners in the international community of choreographers and performers has begun to experiment with computer-assisted work linking dance and new technologies. This hardly comes as a surprise, since dance-on-film and videodance had already attracted considerable attention, at least since the 1980s. Earlier experiments, such as the astonishing films by Maya Deren, take us back to the 1940s, and today's motion capture-base…
Between Body and Language: "Writing" the Damnation of Faustus
Theatre requires expression in space. It must use its languages of expression to create a space in which the words that are spoken can become part of the multiplex transformational processes through which the performance realizes itself. The relationships, however, between the verbal and visual languages and the different spatiotemporal domains (theatrical, scenographic, dramatic) are as difficult to analyze as the dialectic between dramatic text…
Marlowe's Violent Stage: "Mirrors" of Honor in Tamburlaine
In the Induction to Ben Jonson's Bartholomew Fair, a Bookholder and a Scrivener come onstage to tell the Cspectators and hearers1 5 that the author wishes them to agree to 9Ccertain articles1 of a contract he has devised for the purpose of establishing a proper framework for the theatrical event that is to follow.'I The part that the audience is meant to play in the performance is obviously limited: Jonson's prescriptions intend to remind them no…
Between Body and Language: "Writing" the Damnation of Faustus
Theatre requires expression in space. It must use its languages of expression to create a space in which the words that are spoken can become part of the multiplex transformational processes through which the performance realizes itself. The relationships, however, between the verbal and visual languages and the different spatiotemporal domains (theatrical, scenographic, dramatic) are as difficult to analyze as the dialectic between dramatic text…
Postmodern Performance and Technology
The Controversial 1985-86 Theatre Season: A Politics of Reception
Overexposure: Les Immateriaux
Pina Bausch: Dancing across Borders
The Ride across Lake Constance
Rhapsodies of Words: "Trapicality" in Shakespeare's Theater
T HE PECULIAR PREDICAMENT of the boy actors in theater-those master counterfeiters who were trapped into the potentially infinite confusions of their double roles on stage (boy-dressed-as-girl-dressed-as-boy)-could be seen as an uncanny precursor of the legislative frontier between what can be represented and what cannot (and who is the subject of representation), which has most recently become the scene of an encounter between both the poststruc…
Texts, Plays and Instabilities
(1987). TEXTS, PLAYS AND INSTABILITIES. South African Theatre Journal: Vol. 1, No. 1, pp. 4-16
"Debating "Ways of Speaking, Loci of Cognition
An effort to translate your Comment: Ways of Speaking, Loci of Cognition (Schechner I987) to my own situation or to other political contexts I am aware of quite immediately lead to conclusions different from the ones you draw, namely that political thought and action cannot be meaningfully talked because practitioners (in your example: a black populist leader, a university professor, a theatre director) are so disconnected that their discourses o…
Invisible Cities/Transcultural Images
Medea: Landscapes beyond History
Argonaut-landscapes Berlin: a deterritorialized city trapped between different historical times and political systems, walled into a structural relationship between the similitude and difference of East-West, overcharged with the seductiveness of its schizophrenic space and the negative suspense created by its theoretical future. An overdetermined present: the capital of Germany, Pale Mother of its self-divisions. When Bertolt Brecht looked down …
Video Art / Performance: A Border Theory
Imprints and Re-Visions: Carolee Schneemann's Visual Archeology
Wilson/Wagner
Robert Wilson's Vision
The Theory-Death of the Avant-Garde
Transcentrala—Na sončni strani Alp
Theatre, Theory, Postmodernism
Homosexuality and the Nation: An Interview with Jorge Perugorria
Revolutionary Cuban culture faces perhaps its most important moment in history, since it has become all too apparent that the long-term effects of the U.S. blockade against the island, after the disintegration of the Soviet Union and the socialist bloc (Cuba's main trading partners), are pushing its economy to the brink of collapse. All the measures taken by the Cuban leadership during the rectification campaign, and now during the post-Soviet Sp…
Lively Bodies, Live Machines: Split Realities
investment from people using creative, spiritual and existential approaches to movement and bodily experience that depart from the technique-based rigors of ballet and modern dance training and that appear to be antagonistic to the technological imperatives imposed by media culture and hypertheories of cyberspace and virtual reality. Such theories can seem especially alienating and distorting from the point of view of dancers, who need to work wi…
The Movement of Memory: Scanning Dance
Dance, movement research and computer technology/digital arts are entering into a new relationship that redefines the parameters of choreography, composition and projection in multimedia performance. This article examines recent dance-performance research regarding the survival of physical bodies in Bill T. Jones’s choreography and in the technological workshops given by AlienNation Co. that explore digital interfaces, interactive environments an…
Contemporary Performance/Technology
Suite Fantastique: Architecure and the Digital
Performance Systems
Art (24 works) · Computer Science (15 works) · Visual arts (14 works) · Theatre and Performance Studies (13 works) · History (12 works) · Sociology (10 works) · Aesthetics (8 works) · Philosophy (7 works) · Cinema and Media Studies (6 works) · Dance (6 works)