Carruthers, Beth (2009) Strife: The Unbearable Intimacy of Human/Animal ‘Intimate Relations’ in Carol Gigliotti (ed.) Leonardo’s Choice: Genetic Technologies and New York: Springer. Animals. Case, Sue-Ellen (ed.) (1990) Performing Feminisms: Feminist Critical Theory and Baltimore: The Johns Hopkins University Press. Theatre. Causey, Matthew (1999) Test of the Double: The Uncanny Performer in the ‘Screen Space of Technology’, 51(4), December, pp.383-394. Theatre Journal, Causey, Matthew (2009) Theatre and Performance in Digital Culture: From London and New York: Routledge. Simulation to Embeddedness. Chapple, Freda and Kattenbelt, Chiel (eds.) Intermediality in Theatre and 3rd edn. Amsterdam and New York: Rodopi. Performance. Liat (2012) Algorithms Inspire Interactive Contemporary Dance’, ‘Industrial Available at: Wired.co.uk. (Accessed: 11 December 2012). Cleland, Kathy (2011) as Social Actors: Audience Perception of Agency, ‘Robots Emotion and Intentionality in Robotic Performers’ in Proceedings of the 17th Istanbul, 14-21 International Symposium on Electronic Art, ISEA2011, September, Available at: rs (Accessed: 11 August 2014). Clemens, Paula (1982) Impossible to Repossess…’, 7(3/4), Contact Quarterly, ‘It’s pp. 52-55. Clynes, Manfred E. and Kline, Nathan S. (1995) and Space’ in Chris Hables ‘Cyborgs Gray, Steven Mentor and Heidi J. Figueroa-Sarriera (eds.) The Cyborg New York and London: Routledge, pp. 29-33. Handbook. Coniglio, Mark (2004) importance of being in Gavion Carver and ‘The Colin Beardon (eds.) New Visions in performance: The impact of digital Lisse: Swets & Zeitilinger Publishers, pp.5-12. technologies. Connerton, Paul (1989) Cambridge: Cambridge University How Societies Remember. Cuevas, Isabel, Plaza, Paula, Rombaux, Philippe, De Volder, Anne G. and Renier, Laurent (2009) discrimination and identification are improved in early ‘Odour blindness’, 47(14), pp.3079-3083. Neuropsychologia,
Carruthers, Beth (2009) ‘Intimate Strife: The Unbearable Intimacy of Human/Animal Relations’ in Carol Gigliotti (ed.) Leonardo’s Choice: Genetic Technologies and Animals. New York: Springer. Case, Sue-Ellen (ed.) (1990) Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press. Causey, Matthew (1999) ‘Screen Test of the Double: The Uncanny Performer in the Space of Technology’, Theatre Journal, 51(4), December, pp.383-394. Causey, Matthew (2009) Theatre and Performance in Digital Culture: From Simulation to Embeddedness. London and New York: Routledge. Chapple, Freda and Kattenbelt, Chiel (eds.) Intermediality in Theatre and Performance. 3rd edn. Amsterdam and New York: Rodopi. Liat (2012) ‘Industrial Algorithms Inspire Interactive Contemporary Dance’, Wired.co.uk. Available at: (Accessed: 11 December 2012). Cleland, Kathy (2011) ‘Robots as Social Actors: Audience Perception of Agency, Emotion and Intentionality in Robotic Performers’ in Proceedings of the 17th International Symposium on Electronic Art, ISEA2011, Istanbul, 14-21 September, Available at: rs (Accessed: 11 August 2014). Clemens, Paula (1982) ‘It’s Impossible to Repossess…’, Contact Quarterly, 7(3/4), pp. 52-55. Clynes, Manfred E. and Kline, Nathan S. (1995) ‘Cyborgs and Space’ in Chris Hables Gray, Steven Mentor and Heidi J. Figueroa-Sarriera (eds.) The Cyborg Handbook. New York and London: Routledge, pp. 29-33. Coniglio, Mark (2004) ‘The importance of being in Gavion Carver and Colin Beardon (eds.) New Visions in performance: The impact of digital technologies. Lisse: Swets & Zeitilinger Publishers, pp.5-12. Connerton, Paul (1989) How Societies Remember. Cambridge: Cambridge University Cuevas, Isabel, Plaza, Paula, Rombaux, Philippe, De Volder, Anne G. and Renier, Laurent (2009) ‘Odour discrimination and identification are improved in early blindness’, Neuropsychologia, 47(14), pp.3079-3083.
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