The relationship between technological developments and modes of understanding and knowing is also the subject of Laura Karreman’s dissertation The Motion Capture Imaginary > Digital Renderings of Dance Knowledge (Ghent University 2017) which she successfully defended in Ghent on April 28. Her dissertation evaluates the implications of contemporary practices of digital dance capture and explores connections with other developments in society such as the ever-growing sophistication of motion recognition and gait analysis, touch screens and other haptic technologies, the analysis, visualization and application of big data, and our understanding of knowledge itself.

Karreman, Laura (2015). Repeating Rosas danst Rosas. On the transmission of dance knowledge.  Performance research, 20 (5), (pp. 98-107).

Karreman, Laura (2015). Worlds of MoCap. Writing dance on a three-dimensional canvasPerformance research, 20 (6), (pp. 35-42).

Karreman, Laura (2013). The Dance without the Dancer. Writing dance in digital scoresPerformance research, 18 (5), (pp. 120-128).

Karreman, Laura (2012). Camillo ’93: Rieks Swarte’s Memory Theatre.  Performance research, 17 (3), (pp. 39-44).