Adopting an innovative and theoretical approach, Greek Tragedy and the Digital is an original study of the encounter between Greek tragedy and digital media in contemporary performance. It challenges Greek tragedy conventions through the contemporary arsenal of sound masks, avatars, live code poetry, new media art and digital cognitive experimentations. These technological innovations in performances of Greek tragedy shed new light on contemporary transformations and adaptations of classical myths, while raising emerging questions about how augmented reality works within interactive and immersive environments. Drawing on cutting-edge productions and theoretical debates on performance and the digital, this collection considers issues including performativity, liveness, immersion, intermediality, aesthetics, technological fragmentation, conventions of the chorus, theatre as hypermedia and reception theory in relation to Greek tragedy. Case studies include Kzryztof Warlikowski, Jan Fabre, Romeo Castellucci, Katie Mitchell, Georges Lavaudant, The Wooster Group, Labex Arts-H2H, Akram Khan, Urland & Crew, Medea Electronique, Robert Wilson, Klaus Obermaier, Guy Cassiers, Luca di Fusco, Ivo Van Hove, Avra Sidiropoulou and Jay Scheib. This is an incisive, interdisciplinary study that serves as a practice model for conceptualizing the ways in which Greek tragedy encounters digital culture in contemporary performance.

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What is artistic resonance and how can it be linked to one's life and one's art? This latest book of essays from legendary theatre director Anne Bogart, considers the creation of resonance in the artistic endeavour, with a focus on the performing arts. The word 'resonance' comes from the Latin meaning to 're-sound' or 'sound together'. From music to physics, resonance is a common thread that evokes a response and, in general, is understood as a quality that makes something personally meaningful and valuable. For Bogart, curiosity is a key personal quality to be nurtured throughout life and that very same curiosity, as an artist, thinker and human being. Creating pathways between performance theory, art history, neuroscience, music, architecture and the visual arts, and consistently forging new thought-paths, the writing draws upon Anne Bogart's own life and artistic journeys to illuminate potent philosophical ideas. Woven with personal anecdotes, stories and reflections, this is a book that will be of interest to any theatre artist and anyone who reflects on the power of the arts, of theatre-making and what it means to be engaged in the artistic process.

At the start of the March 2020 lockdown, Ian Beck would walk his greyhound Gracie through the early morning streets of Isleworth in west London, revelling in the light and the silence that the restrictions had brought. The familiar became charged with new meaning, inspiring Ian to paint the scenes around him for their own sake, something that he hadn't done since his student days in the sixties. Suburban streets, trees, fences, shrubs and overgrown alleyways - all are transformed in the quiet intensity of Ian's lockdown paintings. He painted interiors too: the moon shining through a bedroom window, objects on mantelpieces, the eeriness of back gardens at dusk. As the year progressed, the crisp light of spring gave way to the haze of summer and the gloom of autumn fogs. The Light in Suburbia collects sixty of Ian's paintings from this period: a remarkable record of his year spent trying to capture the beauty of the unprepossessing everyday.

Nina Möntmann's timely book extends the decolonisation debate to the institutions of contemporary art. In a thoughtfully articulated text, illustrated with pertinent examples of best practice, she argues that to play a crucial role within increasingly diverse societies museums and galleries of contemporary art have a responsibility to 'decentre' their institutions, removing from their collections, exhibition policies and infrastructures a deeply embedded Euro-centric cultural focus with roots in the history of colonialism. In this, she argues, they can learn from the example both of anthropological museums (such as the Rautenstrauch-Joest-Museum in Cologne), which are engaged in debates about the colonial histories of their collections, about trauma and repair, and of small-scale art spaces (such as La Colonie, Paris, ANO, Institute of Arts and Knowledge, Accra or Savvy Contemporary, Berlin), which have the flexibility, based on informal infrastructures, to initiate different kinds of conversation and collective knowledge production in collaboration with indigenous or local diasporic communities from the Global South.  For the first time, this book identifies the influence that anthropological museums and small art spaces can exert on museums of contemporary art to initiate a process of decentring.

This important book presents the work of the fascinating and singular artist Luigi Pericle (1916–2001). Pericle was a painter, illustrator and scholar, as well as a leading figure in the story of art in the second half of the twentieth century. The artist initially found fame as an illustrator, gaining widespread renown in the 1950s as the inventor of the character Max the Marmot. But his intense, enigmatic and multi-layered paintings increasingly drew the attention of the art world, with works that reflect his personal, metaphysical take on post-war abstraction exhibited at numerous venues in Britain during the 1960s. Pericle then abruptly retreated from the art system, and for the rest of his life continued to paint, write and to study esoteric philosophy in the secluded house he shared with his wife Orsolina on Monte Verit  in the Ticino region of Switzerland. The artist’s work was dramatically rediscovered in 2016 when the contents of his former residence were revealed. The process of restoring, cataloguing and researching his vast oeuvre is ongoing, and is overseen by Ascona’s Archivio Luigi Pericle, with which the exhibition has been organised. This beautifully illustrated publication, which accompanies an exhibition at the Estorick Collection, London, includes a full catalogue of the works, as well as essays by noted scholars.