phd outline + bibliography

Valérie Lamontagne
PhD Candidate: Special Individualized Program, Concordia University
Date Updated: Jan 13, 2011

Title: Performativity, Materiality and Laboratory Practices in Artistic Wearables
Topic: Investigate the role of performativity in artistic wearables.
Question: How are artistic wearables performative, and why?

Abstract: Look at performativity in relation to the specific materialities of wearable technologies (textiles, networks, technological apparatuses, interactivity, embodiment) which create distinct socio-technical couplings of human/nonhuman agencies. Situate the production of wearables within specific laboratory contexts to better understand material practices.

Aim: To develop an in-depth and specific discourse for artistically performative wearables - from body to materiality to technology to production contexts to social device - in order to show how wearables are performative on many distinct levels.

Advisors:
Performance Art / Performativity / Participation = Chris Salter
Laboratory / Studio Practices / STS = Sha Xin Wei
Wearables / Fashion = Joanna Berzowska + Otto von Bush

3 Areas of Research:

1. History: Modernist and Avant Garde uses costumes / garments
History of Avant Garde
How did Bauhaus mix art, science, technological, fashion, design.
History of Performance Art in Relation to the Costume
How did costumes / garment impact on the early history of performance art?
History of Early Modernist Fashion
How does the body interface with early modernist fashion?

2. Case Studies: Contemporary laboratory / studio practices and ecologies of wearables
What are the sites where wearables are “birthed” = institutions (fibers, electronics, fashion, chemistry & bio, industry, curatorial, cultural framing systems).
Case Studies: Select institutions of interest: Concordia, MIT, V2.
Look at very specific projects (contexts, technologies, overlap of disciplines).
What are the production contexts of artistic practices of wearables?
What are the specific materials related to site of production of artistic wearables?
Ecologies of Practice
What are the ecologies of practice specific to wearables?
How do laboratory / studio contexts impact on the materiality of wearables being produced?
Use research question around sites of practice to look at literature (Latour, Stengers, Pickering) that understands how technology is developed. (i.e. look at STS which has done institutional analyses.)

3. Performativity and Wearables: How wearables create hybrid material, somatic and technological assemblages for the production of performativity
Wearable Contexts
What are the presentation contexts of performative wearables?
Wearable Performativity
Where and when do wearables perform?
How are wearables performative, and why?
How do wearables makes the wearer “perform”?
How do the wearers of wearables perform together?
How do wearables become their own agents of performativity?
Wearable Somatic & Technological Assemblage
What is the relation between the apparatus & the body?
How do wearables mediate between the body and the environment?
How do wearables create instantiations of “performativity” that overlap human and nonhuman agencies?
How do wearables mix natural, cultural, technical & corporal etc.. “hybrid” - how does this hybridity get played out in a complex production process - designed, conceived, developed, displayed, used on the body.
Wearable Productions (what do wearables “produce”)
How can wearables support, script, enhance social, exchange, connectivity?
How do wearables perform attachments, mediations, extensions, networks, connectivity?

_______________________________________________________________________________

3 RESEARCH AREAS & BIBLIOGRAPHY

Performace Art / Participation / Performativity / Sociology = Chris Salter

Futurist / Avant-Garde / Modernism
+ Gunter Berghaus, Italian Futurist Theatre, 1909-1944 (Clarendon Press, 1998).
+ Günter Berghaus, Theatre, Performance, and the Historical Avant-garde (Palgrave Macmillan, 2006).
+ Marshall Berman, All That is Solid Melts Into Air (Penguin, 1988).
° Peter Bürger, Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1984).
° R. W. Flint (Ed.), Marinetti: Selected Writings (Farrar, Straus & Giroux, 1972).
+ Richard Humphreys, Futurism (Cambridge University Press, 1999).
+ Michael Kirby, Victoria Nes Kirby (Eds.), Futurist Performance (PAJ Publications, 2001).
+ Rosalind Krauss, The Originality of the Avant Garde and Other Modernist Myths (Cambridge: MIT Press, 1986).
+ Annabelle Henkin Melzer, Dada and Surrealist Performance (Johns Hopkins University Press, 1994).
+ Christine Poggi, Inventing Futurism: The Art and Politics of Artificial Optimism (Princeton University Press, 2008).
° Renato Poggioli, The Theory of the Avant-Garde, trans. Gerald Fitzgerald (Cambridge, Massachusetts, London, England: The Belknap Press of Harvard University Press, 1968).
+ Lawrence Rainey, Christine Poggi, Laura Wittman (Eds.), Futurism: An Anthology (Yale University Press, 2009).

Performance
+ Gregory Battcock & Robert Nickas, The Art of Performance: A Critical Anthology (New York: E.P. Dutton, 1984).
° Claire Bishop (Ed.), Participation (Cambridge: The MIT Press, 2006).
° Claire Bishop, "Antagonism and Relational Aesthetics" in October (Fall 2004, pp.51-79).
° Claire Bishop, "Socially Engaged Art, Critics and Discontents: An Interview with Claire Bishop" by Jennifer Roche in CommunityArtsNetwork
+ Judith Butler, Bodies that Matter (London & New York: Routledge, 1993).
+ Judith Butler, Excitable Speech: A Politics of the Performative (New York: Routledge, 1997).
° Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (London & New York: Routledge, 2006).
+ Judith Butler, Giving an Account of Oneself (Fordham University Press, 2005).
° Marvin Carlson, Performance: A Critical Introduction (London & New York: Routledge,1996).
° Claire Doherty (Ed.), Situation (Cambridge: The MIT Press, 2009).
° Rudolpf Frieling, Boris Groys, Robert Atkins, Lev Manovich, The Art of Participation: 1950 to Now (San Francisco Museum of Modern Art, Thame & Hudson, 2009)
° Roselee Goldberg, Performance Art: From Futurism to the Present (New York: Harry N. Abrams, 1979).
+ John Gray, Action Art: A Bibliography of Artists' Performance from Futurism to Fluxus and Beyond (Greenwood Press, 1993).
° Amelia Jones, Body Art, Performing The Subject (Minneapolis & London: University of Minnesota Press, 1998).
× Amelia Jones & Andrew Stephenson, Performing the Body/Performing the Text (London & New York: Routledge, 1999).
+ Peggy Phelan, Unmarked: The Politics of Performance (New York: Routledge, 1993).
° Chris Salter, Entangled (Cambridge: The MIT Press, 2010).
° Christopher L. Salter & Sha Xin Wei, “Sponge: A Case Study in Practice-based Collaborative Art Research” ?
+ Henry Sayre, The Object of Performance (Chicago: University of Chicago Press, 1992).
° Richard Schechner, Performance Studies: an introduction (London; New York : Routledge, 2002).
° Richard Schechner, Performance Theory (London; New York : Routledge, (1988) 2008).
° Rebecca Schneider, The Explicit Body in Performance (London & New York: Routledge, 1997).
° Blake Stimson & Gregory Sholette (Ed.), Collectivism after Modernism: The Art of Social Imagination after 1945 (University of Minnesota Press, 2007).
° Charlie Todd & Alex Scordelis, Causing a Scene: Extraordinary Pranks in Ordinary Places with Improv Everywhere (New York: HarperCollins Publishers, 2009).
° Michael Warner, Publics and Counterpublics (Zone Books, 2005).

Sociology
° Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard Nice (Harvard University Press, 1984). (pdf)
+ Pierre Bourdieu, "Haute Couture and Haute Culture" in Sociology in Question , Richard Nice (Sage Publications, 1994).
× Pierre Bourdieu, Outline of a Theory of Practice, trans. Richard Nice (Cambridge University Press, 1977).
+ Pierre Bourdieu, "Structures, Habitus and Practices" in P. Press (Ed.), The Polity Reader in Social Theory (Cambridge: Polity Press, 1994).
° John Dewey, Art As Experience (Perigee, 2005).
° Erving Goffman, Frame Analysis: an essay on the organization of experience (New York: Harper & Row, 1974).
° Erving Goffman, Presentation of Self in Everyday Life (New York: Anchor Books, 1959).
° Guy Debord, The Society of the Spectacle, trans. Donald Nicholson-Smith (New York: Zone Books, 1995).
° Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (University of California Press, 1984).
° Michel Foucault, The Birth of the Clinic: An Archeology of Medical Perception, trans. A. M. Sheridan Smith (New York: Vintage, 1973).
° Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan (New York: Pantheon, 1977).
° Michel Foucault, The History of Sexuality, vol. 1: Introduction (Harmondsworth: Penguin, 1977).
° Marcel Mauss, “Techniques of the body” in Economy and Society, 2:1, 70-88 (1973).
+ Georg Simmel, ‘Fashion’ in On Individuality and Social Forms (London” University of Chicago Press, 1904/1971).
+ Richard Sennett, The Fall of Public Man (Cambridge: Cambridge University Press, 1977).
+ Richard Sennett, Flesh and Stone: The Body and the City in Western Civilization (London: Farber and Farber, 1994).
° Hillel Schwartz in Jonathan Crary & Sanford Kwinter (Eds.), Incorporations (New York: Zone Books, 1992).

Laboratory Practices / Science Technology and Society = Sha Xin Wei

STS
° Karen Barad, Meeting the Universe Halfway: Quantum Physics & the Entaglement of Matter & Meaning (Duke University Press, 2007).
° Karen Barad, "Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter"in Signs: Journal of Women in Culture and Society, 28 (2003), No.3.
+ Wenda K. Bauchspies & Jennifer Croissant & Sal Restivo, Science, Technology, and Society: A Sociological Approach (Wiley-Blackwell, 2005).
° Jane Bennett, Vibrant Matter: A Political Ecology of Things (Duke University Press, 2009).
+ Mario Biagioli (Ed.), The Science Studies Reader (London & New York: Routledge, 1999).
° Georgina Born & Andrew Barry, “Art-Science: From public understanding to public experiment” in Journal of Cultural Economy, Vol. 3, No. 1, March 2010, pp. 103-119.
+ Georgina Born, Rationalizing Culture IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (University of California Press, 1995).
+ Georgina Born, Andrew Barry, Gisa Weszkalnys, “Logics of Interdisciplinarity” in Economy and Society, Volume 37, Issue 1 February 2008, pp. 20-49.
+ Michel Callon & Pierre Lascoumes & Yannick Barthe (Author), Acting in an Uncertain World: An Essay on Technical Democracy, trans. Graham Burchell (Cambridge: The MIT Press, 2007).
° Hans H. Diebner, Performative Science and Beyond: Involving the Process in Research (Springer, 2006).
+ Edward J. Hackett, Olga Amsterdamska, Michael Lynch, Judy Wajcman (Eds.), The Handbook of Science and Technology Studies (Cambridge: The MIT Press, 2007).
+ Ian Hacking, Representing and Intervening: Introductory Topics in the Philosophy of Natural Science (Cambridge University Press, 1983).
° Donna Haraway, “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective” in Feminist Studies, Vol. 14, No. 3 (Autumn, 1988), pp. 575-599.
° Donna J. Haraway, Modest_Witness@Second_Millennium. FemaleMan_Meets_OncoMouse: Feminism and Technoscience (London & New York: Routledge, 1997).
° Donna Haraway, Simians, Cyborgs, and Women (New York: Routledge, 1991).
° Rebecca Herzig "Performance, Productivity, and Vocabularies of Motive in Recent Studies of Science" in Feminist Theory 2004; 5; 127.
° Karin Knorr Cetina, Epistemic Cultures: How the Science Make Knowledge (Cambridge: Harvard Univeristy Press, 1999).
° Karin Knorr Cetina, The Manufacture of Knowledge: An Essay on the Constructivist and Contextual Nature of Science (Oxford: Pergamon Press, 1981). (pdf)
+ Karin Knorr Cetina, Science Observed: Perspectives on the Social Study of Science (Sage, 1983).
° Bruno Latour, Aramis, or the Love of Technology (Cambridge: Harvard University Press, 1996). (pdf)
° Bruno Latour & Steve Woolgar, Jonas Salk (Ed.) Laboratory Life: The Construction of Scientific Facts (Princeton University Press, 1986). (pdf)
° Bruno Latour, Reassembling the Social: An Introduction to Actor-Network-Theory (Oxford University Press, 2007). (+pdf)
° Bruno Latour, Science in Action: How to Follow Scientists and Engineers Through Society (Cambridge: Harvard University Press, 1988).
° Bruno Latour, We Have Never Been Modern (Cambridge: Harvard University Press, 1993).
+ Jean Lave & Etienne Wenger, Situated Learning: Legitimate Peripheral Participation (Cambridge University Press, 1991).
+ Michael Lynch, Art and Artifact in Laboratory Science: A Study of Shop Work and Shop Talk in a Research Laboratory (London & New York: Routledge, 1985).
+ Michael Lynch, Scientific Practice and Ordinary Action: Ethnomethodology and Social Studies of Science (Cambridge University Press, 1997).
+ Adrian McKenzie, Transductions: Bodies and Machines at Speed (London & New York: Continuum, 2002).
+ Andrew Pickering, The Cybernetic Brain (Chicago: University of Chicago Press, 2010).
° Andrew Pickering, The Mangle of Practice: Time, Agency, and Science (Chicago: University of Chicago Press, 1995).
+ Andrew Pickering, Science as Practice and Culture (Chicago: University of Chicago Press, 1992).
° Gilbert Simondon, Du mode d'existence des objets techniques (Paris: Aubier-Flammarion, (1958) 2001).
+ Gilbert Simondon, L’Individuation Psychique et collective (Paris: Aubier-Flammarion, 2007).
+ Sergio Sismondo, An Introduction to Science and Technology Studies (Wiley-Blackwell, 2003).
° Isabelle Stengers, "Ecology of Practice and Technology of Belonging"
° Isabelle Stengers, The Invention of Modern Science, Trans. Daniel W. Smith (University of Minnesota Press, (1993) 2000).
° Isabelle Stengers, Power and Invention: Situating Science, Trans. Paul Bains (University of Minnesota Press, 1997). (pdf)
° Lucy A. Suchman, Human-Machine Reconfigurations: Plans and Situated Actions (Cambridge University Press, 2007).
° Siegfried Zielinski, Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means trans. Gloria Custance (Cambridge University Press, 2008).

Philosophy
° Gilles Deleuze, Difference & Repetition, Trans. Paul Patton (New York: Columbia University Press, (1968) 1994).
° Giles Deleuze & Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, Trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1987).
° Gilles Deleuze & Felix Guattari, What Is Philosophy? Trans. Hugh Tomlinson & Graham Burchell (New York: Columbia University Press, 1994).
° Felix Guattari, Chaosmosis: An Ethico-Aesthetic Paradigm (Bloomington: Indiana University Press, 1995).
° Felix Guattari, Three Ecologies (Continuum, 2005).
° Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation (Durham & London: Duke University Press, 2002).

Wearables / Fashion = Joey Berzowska + Otto von Bush


+ Juliet Ash and Elisabeth Wilson, Chic Thrills (London: Pandora, 1992).
° Roland Barthes, The Fashion System, trans. Mathew Ward and Richard Howard (University of California Press, 1990).
° Charles Baudelaire, The Painters of Modern Life (Phaidon Press, 1995). (pdf)
° Malcolm Barnard, Fashion as Communication (London & New York: Routledge, 2002).
+ Sarah E. Braddock & Marie O'Mahony, Sportstech: Revolutionary Fabrics, Fashion and Design (London: Thames & Hudson, 2002).
° Sarah E. Braddock & Marie O'Mahony, Techno Textiles: Revolutionary Fabrics for Fashion & Design (Penguin/Putnam, 1999).
° Jan Brand & José Teunissen (Eds.), Fashion and Imagination: About Clothes and Art (ArtEZ Press, 2010).
+ Janet Bloor & John D. Sinclair, Rubber: Fun, Fashion, Fetish (New York: Thames & Hudson, 2004).
° Andrew Bolton, The Supermodern Wardrobe (London: V&A Publications, 2002).
° Andrew Bolton, Wild: Fashion Untamed (New York: Metropolitan Museum of Art, 2004).
° Christopher Breward, Fashion (Oxford University Press, 2003).
° Christopher Breward & Caroline Evans (Eds.), Fashion and Modernity (Vhps Palgrave, 2005).
+ Christopher Breward, The Culture of Fashion (Oxford & New York: Oxford University Press, 2003).
° Stella Bruzzi & Pamela Church Gibson (Editors), Fashion Cultures: Theories, Explorations & Analysis (London & New York: Routledge, 2000).
° Hussein Chalayan (Rotterdam: Nai Publishers, 2005).
° Elise Co, "Computation and Technology as Expressive Elements of Fashion," M.S. Thesis at MIT, Program of Media Arts and Sciences, 1998. http://acg.media.mit.edu/people/elise/.
+ Valerie Cumming, Understanding Fashion History (Costume & Fashion Press, 2004).
+ Fred Davis, Fashion, Culture and Identity (University of Chicago Press, 1994).
° Joanne Entwistle, The Fashioned Body: Fashion, Dress and Modern Social Theory (Polity, 2000).
° Caroline Evans, Fashion at the Edge: Spectacle, Modernity, and Deathliness (Yale University Press: 2003).
+ Mike Featherstone, ‘The Body in Consumer Society’, in M. Featherstone, M. Hepworth and B. Turner (Eds.), The Body: Social Process and Cultural Theory (London: Sage, 1991).
+ Joanne Finkelstein, The Fashioned Self (Cambridge: Polity Press, 1991).
° P. N. Furbank & A. M. Gain, Mallarmé on Fashion: A Translation of the Fashion Magazine La Dernière Mode with Commentary (Oxford/New York: Berg, 2004). (pdf)
+ Anthony Giddens, Modernity and Self-Identity: Self and Society in the Late Modern Age (Cambridge: Polity Press, 1991).
+ Dick Hebdige, Subculture: The Meaning of Style (London & New York: Routledge, 1981).
+ Anne Hollander, Feeding the Eye (Douglas & McIntyre / Fsg Adult, 1999).
+ Anne Hollander, Seeing Through Clothes (University of California Press, 1993).
+ Donald Clay Johnson & Helen Bradley Foster, Dress Sense: The Emotional and Sensory Experience of Clothes (Oxford/New York: Berg, 2008).
° Yuniya Kawamura, Fashion-ology: An Introduction to Fashion Studies (Oxford/New York: Berg, 2005). (pdf)
+ Susanne Küchler & Daniel Miller (Eds.), Clothing as Material Culture (Oxford/New York: Berg, 2005).
° Harold Koda, Extreme Beauty: The Body Transformed (New York: The Metropolitan Museum of Art, 2001).
° René König, À la mode: On the Social Psychology of Fashion, Trans. F. Bradley (Seabury Press, 1974).
° Susan Kozel, Closer (Cambridge: The MIT Press, 2008). (pdf)
° Suzanne Lee, Fashioning the Future (New York: Thames & Hudson, 2005).
° Ulrich Lehmann, Tigersprung: Fashion in Modernity (Cambridge: MIT Press, 2000). (pdf)
+ Gilles Lipovetsky, The Empire of Fashion: Dressing Modern Democracy, trans. Catherine Porter (Princeton Univ. Press, Princeton,1994)
° Ellen Lupton, Skin: Surface, Substance, and Design (Princeton Architectural Press, 2002).
° J. McCann & D. Bryson (Eds.), Smart Clothes and Wearable Technology (Woodhead Publishing Ltd., 2009).
° Matilda McQuaid, Extreme Textiles: Designing for High Performance (Princeton Architectural Press, 2005).
° Bradley Quinn, Techno Fashion (Oxford/New York: Berg, 2002).
° Bradley Quinn, Textile Futures: Fashion, Design and Technology (Oxford/New York: Berg, 2010).
° Bradley Quinn, The Fashion of Architecture (Vhps Palgrave, 2003).
+ Aileen Ribeiro, Dress and Morality (Oxford/New York: Berg, 2004).
° Bradley Rhodes "A brief history of wearable computing" ca. 1999, written as a part of the Wearable Computing activity under Sandy Pentland's Human Dynamics Group at the MIT Media Lab.
° Susan Elizabeth Ryan, "Re-Visioning the Interface: Technological Fashion as Critical Media" in Leonardo, Vol. 42, No. 4 (2009), pp. 300-306.
° Susan Elizabeth Ryan, "Social Fabrics: Wearable + Media + Interconnectivity" in Leonardo, Vol. 42, No. 2 (2009), pp. 114-123.
° Susan Elizabeth Ryan, "What is Wearable Technology Art?" in Intelligent Agent, 8.1.
° Sabine Seymour, Fashionable Technology: The Intersection of Design, Fashion, Science, and Technology (Springer, 2008). (pdf)
° Sabine Seymour, Functional Aesthetics: Visions in Fashion Technology (Springer, 2010).
° Courtenay Smith & Sean Topham, Xtreme Fashion (Munich/Berlin/London/New York: Prestel, 2005).
° Lars Svendsen, Fashion: A Philosophy, trans. John Irons (Reaktion Books, 2006). (pdf)
+ Efrat Tseëlon, ‘Fashion and the Signification of the Social Order’ in Semiotica 91 (1/2): 1-14, 1992.
+ Efrat Tseëlon, ‘Is the Presented Self Sincere? Goffman, Impression Management and the Postmodern Self’ in Theory, Culture and Society 9 (2) 1992.
+ Efrat Tseëlon, The Masque of Femininity: The Presentation of Woman in Everyday Life (London: Sage, 1995).
° Edward O. Thorp, “The Invention of the First Wearable Computer”, International Symposium on Wearable Computing 1998. (pdf)
+ Chris Townsend, Rapture: Art's Seduction by Fashion Since 1970 (New York: Thames & Hudson 2002).
° Nancy J. Troy, Couture Culture: A Study in Modern Art & Fashion (Cambridge: The MIT Press, 2003).
+ Barbara Vinken, Fashion Zeitgeist: Trends and Cycles in the Fashion System, trans. Mark Hewson (Oxford/New York: Berg, 2004).
° Otto von Busch, Fashion-able: Hacktivism and Engaged Fashion Design (Gothenberg: Camino Förlag, 2009).
° Bernadette Wegenstein, Getting Under the Skin: Body and Media Theory (Cambridge: MIT Press, 2006). (pdf)
° Elizabeth Wilson, Adorned in Dreams: Fashion and Modernity (Rutgers University Press, 2003). (pdf)

legend:
° = own
× = don’t own
+ = to order

© 2011 valerie lamontagne