Performing Data

Jonathan Bollen is Professor in the Graduate Institute of Performing Arts at National Taiwan Normal University.Mara Davis Johnson is Lecturer in Creative and Performing Arts at the University of Wollongong, Australia.Sarah Thomasson is Senior Lecturer in Te Whare Ngangahau - Theatre and Performance Studies at Te Herenga Waka - Victoria University of Wellington, Aotearoa New Zealand.James Wenley is Senior Lecturer in Te Whare Ngangahau - Theatre and Performance Studies at Te Herenga Waka - Victoria University of Wellington, Aotearoa New Zealand.

• List of IllustrationsSeries PrefaceOpening Provocation by Binge Culture, Aotearoa New Zeland Introduction – Artists Using Data in Creating Performance– Visualising Data in Researching Performance– Our Approach to Performing Data– Introducing Five Ideas: Data as Performance, Dramaturgy, Documentation, Flow, and Genealogy1. Data as Performance – Using Data as Source Material in Creative Practice– Embodying Social Data in Serial Performance– Critical Interventions in Embodying Data– The Aesthetics of Performing Data2. Data as Dramaturgy– Representing Creative Processes Using Data– Thinking About the Data of Dramaturgy– Character Networks and Dramatic Plots– Visualising the Emergent Relations of the Creative Process3. Data as Documentation – The Information in Performance Archives– Documenting Performance in the Digital Age– Theatre Aotearoa and AusStage– Analysing and Embodying Patterns in the Archive– Documentation and Indigenous Data Sovereignty4. Data as Flow– Following the Mobility of Performers– Transnational Histories as Cultural Flows– Touring Performance and Long-Range Visualisations– Transforming the Historical Narrative5. Data as Genealogy – Tracing the Lines of Artistic Influence– Techniques, Training and Performance Traditions– Artistic Collaboration and Aesthetic Innovation– What is Inherited, What is Accumulated, and What is Passed On?Next Steps – What We Have Learned– What Comes Next?References Index