This is a bibliography-in-progress collecting references on Dance, Performance, Digital Art and Interactive Technologies. Efforts are being made to expand the international and transcultural scope of the bibliography. While dealing with dance and technology, it does not cover issues of computer dance notation.

• Alankus, G., A.A., Bayazit, and O.B., Bayazit. 2005. “Automated Motion Synthesis for Dancing Characters: Motion Capture and Retrieval.” in Computer Animation and Virtual Worlds, 16(3,4): pp. 259- 271.
• Albertini, R. 1999. Technological Rituals. Stories from the Annenberg Dialogues. Los Angeles: Annenberg Center for Communications.
• Arnold, A. 2003. Deanimated. Matt Gerald and Thomas Miessgang (eds.). Wien/New York: Springer.
• Ascott, R. 1984. “Art and Telematics.” in Art Telecommunications, Heidi Grundmann, (ed)., Vancouver: The Western Front, pp. 25-58.
• Ascott, R. 1998. Art & Telematics: Toward the Construction of New Aesthetics. NTT Publishing Co.
• Ascott, R., (ed). 1999. Reframing Consciousness: Art, Mind and Technology. Portland: Intellect Books.
• Ascott, R. 2003. Telematic Embrace: Visionary Theories of Art, Technology and Consciousness. Edited and with an essay by Edward A. Shanken. Berkeley: Univ. of California.
• Aylward, R., and J. Paradiso. 2007. “A compact, high-speed, wearable sensor network for biomotion capture and interactive media.” in Proceedings of the 6th international conference on Information processing in sensor networks,
• Aylward, R., and J. Paradiso. 2006. “Sensemble: A Wireless, Compact, Multi-User Sensor System for Interactive Dance.” in Proceedings of 2006 Conference on New Interfaces for Musical Expression. Paris, France, pp. 134-139.

• Bakogianni, J.S., E., Kavakli, V., Karkou, M., Tsakogianni. 2007. “Teaching Traditional Dance Using E-Learning Tools: Experience from the WebDANCE Project.” in Proc. 21st World Congress on Dance Research: Dancers without Frontiers.
• Barabási, A. 2002. Linked: The New Science of Networks. Cambridge, MA.: Perseus Publ.
• Barfield, W., and S. Weghorst, “The sense of presence within virtual environment: A conceptual framework.”Proceedings of the International Conference on Human-computer Interaction, 5, 91993), pp. 699-704.
• Bates, J., A. Bryan Loyall, and W. Scott Reilly. 1992. “An architecture for action, emotion, and social behaviour.” in Proceedings of the Fourth European Workshop on Modeling Autonomous Agents in a Multi-Agent World, S. Martino al Cimino, Italy.
• Baumgärtel, T., (ed). 2001. net.art 2.0. new materials towards net art. Nürnberg: Verlag für moderneKunst.
• Bayliss, A., J., Sheridan, and N., Villar. 2005. “New shapes on the dance floor: influencing ambient sound and vision with computationally augmented poi.” International Journal of Performance Arts and Digital Media. 1(1):67–82.
• Bevilacqua, F., L. Naugle, I. Valverde. 2001. “Virtual dance and music environment using motion capture.” in IEEE Multimedia Technology and Applications Conference Proceedings, Irvine, CA.
• Biocca, F. 1997. “Cyborg's dilemma: Progressive embodiment in virtual environments”. Journal of Computer Mediated-Communication.
• Biocca, F., and B., Delaney. 1995. “Immersive virtual reality technology.” in: F. Biocca & M. Levy, Eds., Communication in the age of virtual reality. Hillsdale, NJ: Lawrence Erlbaum and Associates,
• Biocca, F., T., Kim, and M., Levy. 1995. “The vision of virtual reality.” in: F. Biocca and M. Levy, (eds)., Communication in the age of virtual reality. Hillsdale, NJ: Lawrence Erlbaum Associates, Inc., pp. 3-14.
• Biocca, F. (forthcoming).Presence of mind in virtual environments. Unpublished book manuscript: Media Interface and Network Design Lab, Michigan State University, East Lansing, MI.
• Brightman, P. 1990. “Computer Dancemakers.” Leonardo. 23(4):393-396.
• Birringer, J., (ed). 2011. “Connected Dance: Distributed Performance across Time Zones.” hypertext essay with Ellen Bromberg, Naomi Jackson, John Mitchell, Lisa Naugle, and Doug Rosenberg, in Transmigratory Moves/Dance in Global Circulation. Congress On Research in Dance Conference Proceedings, New York University, pp. 51-77.
• Birringer, J. 1999. “Contemporary Performance/Technology.” Theatre Journal 61(4): 361-81.
• Birringer, J., (ed). 2002. “Dance and Digital Media.” special issue prepared and edited for Performing Arts Journal70, introduction, pp. 84-93.
• Birringer, J. 2003 “Dance and Interactivity.” Dance Research Journal 35(2): 88-111.
• Birringer, J. 2004 “Dance and Interactivity.” Dance Research Journal 336(1): 88-111.
• Birringer, J. 2001. “Dance and New Environments.” Newsletter, Congress of Research in Dance.
• Birringer, J. 2004 “Dertransmediale Tanz.” in: Tanz Anders Wo: Tanz intra- und interkulturel l. Jahrbuch der Gesellschaft für Tanzforschung, hg. Krassimira Kurschkova, Nele Lipp. Hamburg: LIT Verlag (forthcoming)
• Birringer, J. 2002. “Experimentelle Tanzmedien, Interaktive Systeme.” in Tanz, Theorie, Text. Jahrbuch der Gesellschaft für Tanzforschung 2002, ed. Christa Zipprich/Gabriele Klein. Hamburg: LIT Verlag, pp. 477-98.
• Birringer, J. 2001. “The intelligent stage.” Performance Research 6(2): 116-22.
• Birringer, J. 2004. Klaus Behringer, Uschi Schmidt-Lenhard, (eds)., Wechselwirkung: Internationales Interaktionslabor. Saarbrücken: SDV.
• Birringer, J. 1998, “Media and Performance: along the border.” Baltimore: Johns Hopkins.
• Birringer, J. “New Environments for Interactive Dance.” in: Between Nature: Explorations in Ecology and Performance, ed. Nigel Stewart and Gabriella Giannachi. Frankfurt: Peter Lang (in press).
• Birringer, J. 2003. “Performance Systems.” South African Theatre Journal 17: 79-113.
• Birringer, J. “Spletna Okolja za Interaktivni Ples”/Networked Environments for Interactive Dance.“Maska 18, pp. 68-78.
• Birringer, J. 2004. “Transspacial Light and Virtual Choreography, ” ballettanz 6: 30-32.
• Bolter, J.D., and R., Grusin. 1999. Remediation: Understanding New Media. Cambridge: MIT Press.
• Bouwer, J., (ed.). 2000. Machine Times. V2 Organisation (ed.). Rotterdam: V2_ and NAI Publishers.
• Brandstetter, G and H. Voelkers. 2000. ReMembering the Body. Ostfildern: Cantz,(USA: D.A.P. New York).
• Brickwood, C. et al. 1999. New Media Culture in Europe. Amsterdam: DeBalle and the Virtual Platform.
• Bromberg, E., J., Birringer, J., Miklavcic, D., Zemmels, J., Facelli, “TelemediatedArt: The Utah experience with the ADaPT (Association for Dance and PerformanceTelematics) Collaboration.”
• Bromberg, E., and J. Birringer. 2002. “ADAPT: Telepresent Artistic Collaborations.” Centerfor High Performance Computing Newsletter, vol. 13: 2, Universityof Utah.
• Bromwich, M. 1995.”A Single Performer Controlled Interface for Electronic Dance/Music Theatre.“ Poster presented at 1995 International Computer Music Conference 'Digital Playgrounds', Banff Centre, Canada. Paper published in ICMC proceedings.
• Bromberg E., and J., Birringer. 2004. “ADaPT: Telepresent Artistic Collaborations.” Interdisciplinary Humanities 21(1), pp 87-93.
• Brouwer, J., A., Mulder, and S., Charlton. 2003. Information is Alive - Art and Theory on Archiving and Retrieving Data. Rotterdam : V2_Publishing/NAI Publishers.
• Buck, B., G., Miller, AJ., Niehaus and A., Seech. 2004. “ADAPT (The Association for Dance and PerformanceTelematics): Multiple definitions of distributed performance.” Hawaii InternationalConference on Arts and Humanities.
• Buescher, M., J., O'Brien and J., Hughes. 1998. Interaction and Presence in Shared Electronic Environments (Fieldwork at ZKM). Lancaster University.

• Camurri A., P. Coletta, M. Peri, M. Ricchetti, A. Ricci, R. Trocca, G. Volpe. 2000. A real-time platform for interactive dance and music systems.” in Proc. Intl. Conf. ICMC2000, Berlin.
• Camurri, A., P., Morasso, V., Tagliasco, R., Zaccaria. 1986. “Dance and Movement Notation.” In Morasso & Tagliasco (Eds.), Human Movement Understanding, pp.85-124, Amsterdam: North Holland.
• Camurri, A., S. Hashimoto, M. Ricchetti, A. Ricci, K. Suzuki, R. Trocca, and G. Volpe. 2000. “EyesWeb: Toward Gesture and Affect Recognition in Interactive Dance and Music Systems”, Computer Music Journal. 24(1): p. 57
• Camurri, A. 1995. “Interactive Dance/Music Systems.” In Proceedings of the 1995 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 245-252.
• Camurri, A., S.Hashimoto, K.Suzuki, R.Trocca. 1999. “KANSEI analysis of dance performance”. In Proceedings of the 1999 IEEE Intl Conf on Systems Man and Cybernetics SMC’99, Tokyo, New York: IEEE Computer Society Press.
• Camurri A., Mazzarino B., Ricchetti M., Timmers R., Volpe G. 2004. “Multimodal analysis of expressive gesture in music and dance performances.” in A. Camurri, G. Volpe (Eds.), “Gesture-based Communication in Human-Computer Interaction”, LNAI 2915, Springer Verlag.
• Copier, M., and J., Raessens. 2003. Level Up: Digital Games Research Conference. Utrecht: Diagra/University of Utrecht.
• Crampton, N., K., Fox, H., Johnston, A.,Whitehead. 2007. “Dance, Dance Evolution: Accelerometer Sensor Networks as Input to Video Games.” In 2007 IEEE International Workshop on Haptic, Audio and Visual Environments and Games., pp. 107–112.
• Cunningham, H. 1998. ‘Digital Culture – the View from the Dance Floor’ in Digital Diversions: Youth Culture in the Age of Multimedia, Sefton-Green J (ed), London: UCL Press Ltd.

• Davcev, D., V., Trajkovic, S., Kalajdziski, S., Celakoski. 2003. “Augmented Reality Environment for Dance Learning.” in Proc. Int’l Conf. Information Technology: Research and Education, pp. 189- 193.
• De, M., and M. Beatriz, (ed). 2002. Arte e tecnologia na cultura contemporânea. Brasilia: Universidadede Brasilia.
• Deng, LQ., H., Leung, NJ., Gu, Y., Yang, (eds). 2011. “Real-time mocap dance recognition for an interactive dancing game.” in COMPUTER ANIMATION AND VIRTUAL WORLDS. 22 (2-3): 229-237.
• Dinkla, S. 1997. Pioniereinteraktiver Kunst. Ostfildern: Cantz Verlag.
• Dinkla, S., and M. Leeker. 2003. Dance and Technology/ Tanz und Technologie: Moving towards Media Productions - Auf dem Weg zu medialen Inszenierungen. Berlin: Alexander Verlag.
• Dixon, S. 2007. “Digital Performance – A History of New Media in Theater, Dance, Performance, Art, and Installation.” In The MIT Press.
• Domingues, D. 1997. Arte no Séc. XXI: A Humanização das Tecnologias. São Paulo: Ed. da Unesp.
• Dreyfus, H. 2001. Onthe Internet. London/New York: Routledge.

• Ebeweuter, N. 2005. “Dance movement: a focus on the technology.” In Computer Graphics and Applications, IEEE. 25(6): 80-83
• Enke, U. 2006. “DanSense: Rhythmic Analysis of Dance Movements Using Acceleration-Onset Times.” Master thesis, RWTH Aachen University.
• Essa, I., S. Basu, T. Darrell, and A. Pentland. 1996. Modeling, tracking and interactive animation of faces and heads using input from video. In Proceedings of Computer Animation '96 Conference, Geneva, Switzerland.
• Evers, F., L., der Velden, J.P., van der Wenden. 2002. The Art of Programming (Sonic Acts 2001 conference on digital art). Amsterdam: Sonic Arts.

• Fadon, C. 1991. “StillLife/Alive.” in Connectivity: Art and Interactive Telecommunications. Roy Ascott and Carl Eugene Loeffler. (eds.). Leonardo. 2(24).
• Fassler, M. 1996. Mediale Interaktion. München: Fink Verlag.
• Feldmeier, M., and J., Paradiso. 2004. ‘Giveaway wireless sensors for large-group interaction’, in Proceedings of CHI 2004, CHI Extended Abstracts, pp. 1291-1292.
• Fisher, S. 1990. “Virtual interface environments. ” in: The Art of Computer Interface Design. Laurel, B., (ed). Massachusetts, Addison Wesley.
• Fujimoto, M., N. Fujita, Y., Takegawa, T., Terada, M., Tsukamoto. 2009. “A Motion Recognition Method for a Wearable Dancing Musical Instrument,” in 2009 Inter- national Symposium on Wearable Computers. IEEE.
• Fujimoto, M., N., Fujita, Y., Takegawa, T., Terada, M., Tsukamoto. 2008 “Musical B-boying: A Wearable Musi- cal Instrument by Dancing,” Lecture Notes In Computer Science. 5309.
• Forest, F. “Communication Esthetics, Interactive Participation and Artistic Systems of Communication and Expression.” in Designing the Immaterial Society. Design Issues special issue. Marco Diani, (ed). University of Illinois, Chicago: 4(1,2): pp. 97-115.

• Gavrilla, D. M., and L. S. Davis. 1995. “3-D model based tracking of human upper body movement: a multi-view approach.” in Proc. of the IEEE-PAMI International Symposium on Computer Vision. Coral Gables, Florida: pp. 253-258.
• Gendolla, P., N., Schmitz, I., Schneider, P., Spangenberg,(eds). 2001. Formen interaktiver Medienkunst. Frankfurt: Suhrkamp.
• Gidney, E. 1983. “The Artist's use of telecommunications: a review.” Leonardo. 16(4): pp 311-315.
• Glesner, J. 2002. “Web Dance: Konvergenzen zwischen Tanz und Internet?” in Tanz, Theorie, Text.Jahrbuch der Gesellschaft für Tanzforschung , (ed). Christa Zipprich and GabrieleKlein. Hamburg: LIT Verlag, pp. 509-2.
• Goldberg, K. (ed). 2000. The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet. Cambridge, MA: MIT Press.
• Grau, O. 1999. “The history of telepresence: automata, illusion, and the rejection of the body.” in: TheRobot in the Garden: Telerobotics and Telepistemology in the Age of the Internet, ed. Ken Goldberg. Cambridge, MA.: The MIT Press: pp. 94-99.
• Grau. 2003. Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.
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• Gray, J. 1989. “The Evolution of Dance Technology.” in Dance Technology: Current Applications and Future Trends. National Dance Association, pp 1-5.
• Griffith, N. and M. Fernstro ̈m. 1998. “LiteFoot: A floor space for recording dance and controlling media,” in Proceed- ings of the 1998 International Computer Music Conference. Ann Arbor, MI.
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• Guedes, C. 2006. “Extracting Musically-Relevant Rhythmic Information from Dance Movement by Applying Pitch Tracking Techniques to a Video Signal.” in Proceedings of the 2006 Sound and Music Computing Conference, Marseille, France.
• Guedes, C. 1999. “Mapping Dance to Musical Rhythm: The Creation of a Computational Algorithm for Musical Gesture.” PhD Proposal, School of Education, New York University.
• Gutknecht, J, I., Kulka, P., Lukowicz, T., Strieker. 2008. Advances in Expressive Animation in the Interactive Performance of a Butoh Dance, pp. 418–433.

• Hachimura, K., K., Takashina, and M., Yoshimura. 2005. “Analysis and Evaluation of Dancing Movement Based on LMA.” in Proc. IEEE Int’l Workshop Robots and Human Interactive Comm., pp. 294-299
• Hachimura, K., H., Kato, and H. Tamura. 2004. “A Prototype Dance Training Support System with Motion Capture and Mixed Reality Technologies.” in Proc. IEEE Int’l Workshop Robot and Human Interactive Comm., pp. 217-222
• Hansen, M. 2004. New Philosophy for New Media. Cambridge: MIT Press.
• Herbison-Evans, D. 1988. “Dance, Video, Notation and Computers”. Leonardo, 21(1): 45-50.
• Herbison-Evans, D. 1999. “Publications”. Several articles relating to computers and dance/ dance notation and computer animation.
• Held, R., and N. Durlach. 1992 “Telepresence. ” Presence, 1(1): pp 109-112.
• Henning, Pohl. 2010. “Motion Pattern Recognition For Interactive Dance.” Master thesis. Darmstadt, Germany.
• Hünnekens, A. 1997. Derbewegte Betrachter. Theorien der Interaktiven Medienkunst. Köln: Wienand.
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