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DC Field | Value | Language |
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dc.contributor.author | Broadhurst, S | - |
dc.date.accessioned | 2014-06-03T11:07:25Z | - |
dc.date.available | 2014-06-03T11:07:25Z | - |
dc.date.issued | 2012 | - |
dc.identifier.citation | Digital Creativity, 23(3-4), 225 - 238, 2012 | en_US |
dc.identifier.issn | 1462-6268 | - |
dc.identifier.uri | http://www.tandfonline.com/doi/abs/10.1080/14626268.2012.709941 | en |
dc.identifier.uri | http://bura.brunel.ac.uk/handle/2438/8546 | - |
dc.description | This is an Author's Accepted Manuscript of an article published in Digital Creativity, 23(3-4), 225 - 238, 2012. Copyright @ 2012 Taylor & Francis, available online at: http://www.tandfonline.com/10.1080/14626268.2012.709941. | en_US |
dc.description.abstract | Assisted by the rapid growth of digital technology, which has enhanced its ambitions, performance is an increasingly popular area of artistic practice. This article seeks to contextualise this within two methodologically divergent yet complimentary intellectual tendencies. The first is the work of the philosopher Merleau-Ponty, who recognised that our experience of the world has an inescapably ‘embodied’ quality, not reducible to mental accounts, which can be vicariously extended through specific instrumentation. The second is the developing field of neuroaesthetics; that is, neurological research directed towards the analysis, in brain-functional terms, of our experiences of objects and events which are culturally deemed to be of artistic significance. I will argue that both these contexts offer promising approaches to interpreting developments in contemporary performance, which has achieved critical recognition without much antecedent theoretical support. | en_US |
dc.language.iso | en | en_US |
dc.publisher | Taylor & Francis | en_US |
dc.subject | Performance and technology | en_US |
dc.subject | Art and perception | en_US |
dc.subject | Aesthetic theorisation | en_US |
dc.subject | Defamiliarisation | en_US |
dc.subject | Merleau-Ponty | en_US |
dc.subject | Extended body | en_US |
dc.subject | Visible and invisible | en_US |
dc.subject | Embodied experience | en_US |
dc.subject | Neuroaesthetic approach | en_US |
dc.subject | Visual perception | en_US |
dc.title | Merleau-Ponty and neuroaesthetics: Two approaches to performance and technology | en_US |
dc.type | Article | en_US |
dc.identifier.doi | http://dx.doi.org/10.1080/14626268.2012.709941 | - |
pubs.organisational-data | /Brunel | - |
pubs.organisational-data | /Brunel/Brunel Active Staff | - |
pubs.organisational-data | /Brunel/Brunel Active Staff/School of Arts | - |
pubs.organisational-data | /Brunel/Brunel Active Staff/School of Arts/Drama | - |
pubs.organisational-data | /Brunel/University Research Centres and Groups | - |
pubs.organisational-data | /Brunel/University Research Centres and Groups/School of Arts - URCs and Groups | - |
pubs.organisational-data | /Brunel/University Research Centres and Groups/School of Arts - URCs and Groups/Centre for Contemporary and Digital Performance | - |
pubs.organisational-data | /Brunel/University Research Centres and Groups/School of Health Sciences and Social Care - URCs and Groups | - |
pubs.organisational-data | /Brunel/University Research Centres and Groups/School of Health Sciences and Social Care - URCs and Groups/Brunel Institute for Ageing Studies | - |
Appears in Collections: | Theatre Dept of Arts and Humanities Research Papers |
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Fulltext.pdf | 533.2 kB | Adobe PDF | View/Open |
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