Dr. Matthew Causey

Dr. Matthew Causey

Fellow Emeritus, Drama

http://people.tcd.ie/causeym

Biography

Dr. Matthew Causey is currently Head of School of Creative Arts at TCD. He is Professor in Drama, College Fellow, and Director of the Arts Technology Research Laboratory. He is author of 'Theatre and Performance in Digital Culture: from simulation to embeddedness' (Routledge 2006). Recent publications include the essay 'Postdigital Performance' in 'Theatre Journal' (2017). He co-edited 'The Performing Subject in the Space of Technology: through the virtual towards the real' (Palgrave, 2015) which includes his chapter, 'The Right to be Forgotten and the Image-Crimes of Digital Culture'. He edited with Fintan Walsh 'Performance, Identity and the Neo-political Subject' (Routledge, 2014). His essay 'The Object of Desire of the Machine: the biopolitics of the posthuman' is anthologized in 'Resisting Biopolitics: philosophical, political and performative strategies' edited by Wilmer and Zukauskaite (Routledge, 2015). His theoretical writings on performance and techno-culture are published in 'Theatre Journal', 'Theatre Research Int'l', 'Journal of Dramatic Theory and Criticism', and 'TheatreForum' among others. In 2017 he was keynote speaker at the TaPRA (Theatre and Performance Research Association) Conference at Birkbeck University. In 2016 he keynoted at the 'Coimbra International Conference On the Virtual' at University of Coimbra, Department of Philosophy, Portugal. He was the keynote speaker at the Irish Museum of Modern Art's symposium on the artist John Gerrard. In 2015 he was keynote speaker at Ghent University's conference 'Does It Matter: Composite Bodies and Posthuman Prototypes in Contemporary Performing Arts' and the 'Digital Echoes' symposium at Coventry University. Funded by the HEA he created the Arts Technology Research Laboratory, which serves as an interdisciplinary postgraduate research centre in the area of art, technology and digital culture. He designed the Arts Strand of the HEA-funded Ireland-wide PhD in Digital Arts and Humanities which partners TCD, UCC, NUIM, NUIG and northern partners UU and QUB in a collaborative programme training researchers in new technologies, practices and theories of digital research. Dr. Causey is also a digital filmmaker and he has adapted, edited and directed three of Samuel Beckett's televisual works, 'Ghost Trio', 'Nacht und Träume' and ' but the clouds '. His film, 'Frank and Marie', was an official selection of both the Boston Irish Film Festival and Dublin's Darklight Digital Festival in 2004. As a musician he has recently produced two releases of original compositions, 'The Art of Living' and 'Obedientia Civium Urbis Felicitas' with his band Tujacques whose live performances included a spot at the Electric Picnic 2012. As a theatre-maker his performance work 'Tall Ships' was featured in the Dublin Fringe Festival 2014. Matthew's long career in theatre and performance, film and video stretches back to the seminal art period of the East Village and Soho in the 1970s and 80s. His original theatre works including 'Luminous Bodies', 'Paradise Regained', 'The Book of Ezekiel' and 'The Ecstasy of St. Zero, Retold' were performed throughout Soho during that time and were all chosen as 'Choices' in NYC's 'Village Voice'. The works were presented at such venues as the Envelope at the Performing Garage, the Open Space in Soho, and Soho Books. While working in the film industry in LA as an actor and editor he wrote/directed the experimental film 'Radio Word' (1983) featuring the machine-art provocateurs, Survival Research Laboratories. In the 1990s, after earning his PhD at Stanford University, he continued his work as an artist experimenting in new forms of computational and video art with his research group PTRL (Performance Technology Research Laboratory) at Georgia Tech where he was Asst Professor. Dr. Causey developed many intermedial works with PTRL including 'The Bacchae', 'Electricity (after Frankenstein)' and a production of 'Faust' was staged at Atlanta's 7 Stages.

Publications and Further Research Outputs

  • Matthew Causey, Emma Meehan, Neill O'Dwyer, The Performing Subject in the Space of Technology: through the virtual toward the real, London, Palgrave, 2015, 1 - 242ppBook, 2015, URL
  • The Right to be Forgotten and the Image-Crimes of Digital Culture in, editor(s)Matthew Causey, Emma Meehan, Neill O'Dwyer , The Performing Subject in the Space of Technology: through the virtual toward the real, London, Palgrave, 2015, pp69 - 81, [Matthew Causey]Book Chapter, 2015, URL
  • The Object of Desire of Machine: The Biopolitics of the Posthuman in, editor(s)Steve Wilmer and Audrone Zukauskaite , Resisting Biopolitics: Philosophical, Political and Performative Strategies, London, Routledge, 2015, pp202 - 215, [Matthew Causey]Book Chapter, 2015, URL
  • Causey, Matthew, The Right to be Forgotten and the Image-Crimes of Digital Culture (Keynote Presentation), Digital Echoes Symposium, Coventry University, 13 February, 2015, CDaRE The Centre for Dance ResearchInvited Talk, 2015
  • Causey, Matthew, The Right to be Forgotten and the Image-Crimes of Digital Culture, (Keynote Presentation), Does It Matter? Composite Bodies and Posthuman Prototypes in Contemporary Performing Arts, University of Ghent, Belgium,, 17-19 March, 2015Invited Talk, 2015
  • Causey, Matthew, The Object of Desire of the Machines, Rewind Film Festival, RUA RED, 7 November, 2015, Rua Red: South Dublin Arts CentreInvited Talk, 2015
  • Causey, Matthew, 'Ghost Trio', Samuel Beckett Centre, Trinity College Dublin, 2007, -Theatre Production, 2007
  • Causey, Matthew, Postdigital Performance, Theatre Journal, 68, (3), 2016, p427 - 441Journal Article, 2016, URL
  • Causey, Matthew, The Earth as Data Farm for the Virtual World: At the Origin of the Work of Art in Digital Culture, The Postdigital, Contributive Economy in Contemporary Art, Irish Museum of Modern Art, 19 December, 2016, ATRL/DITInvited Talk, 2016
  • Causey, Matthew , Encountering the Immaterial Body and the Incorporeal Event in Digital Art: Against the Virtual/Reality Distinction, Conference on the Virtual, Coimbra University, Portugal, 28 October, 2016, Philosophy Department of Coimbra UniversityInvited Talk, 2016, URL
  • Causey, Matthew, 'The Earth as Data Farm for the Virtual World (the origin of the work of art in postdigital culture)' , TaPRA Conference , Birkbeck University, 20 April, 2017, TaPRA New Technologies Working GroupInvited Talk, 2017
  • Causey, Matthew, 'Televisual Performance', Essays in Theatre/Etudes Theatrales, 13, (1), 1994, p61 - 71Journal Article, 1994
  • Causey, Matthew, 'Crash', Bachy 15, 15, 1979, p77 - 86Journal Article, 1979
  • Causey, Matthew, 'Schizophrenia, Pastiche and the Myth of Repetition', Vanishing Point, 1, 1994, p31 - 43Journal Article, 1994
  • Causey, Matthew, 'Mapping the Dematerialized: Writing Postmodern Performance Theory', Postmodern Culture, 5, (2), 1995, p50 - 59Journal Article, 1995
  • Causey, Matthew, 'Pataphysical Rerouting', The Journal of Dramatic Theory and Criticism, IX, (2), 1995, p29 - 64Journal Article, 1995
  • Causey, Matthew, 'Screen Test of the Double: the uncanny performer in the space of technology', Theatre Journal, 51, (4), 1999, p383 - 394Journal Article, 1999
  • Causey, Matthew, 'We Shall Be Monsters: the Performance Technology Research Laboratory (1994)', Theatre Forum, 18, (Winter/Spring), 2001, p42 - 51Journal Article, 2001
  • Causey, Matthew, 'Stealing from God: the crisis of creation in in Socìetas Raffaello Sanzio's Genesi and Eduardo Kac's Genesis', Theatre Research International, 26, (2), 2001, p199 - 208Journal Article, 2001
  • Causey, Matthew, 'Posthuman Performance', Crossings: An Electronic Journal of Art and Technology, 1, (2), 2001, p10 - 19Journal Article, 2001
  • Matthew Causey, The Ethics of Being (with) Monsters and Machines, Crossing: An Electronic Journal of Art and Technology, 1, (3), 2002, p22 - 31Journal Article, 2002
  • Matthew Causey, Theatre and Performance in Digital Culture: from simulation to embeddedness, London, Routledge, 2006Book, 2006
  • Screen Test of the Double: the uncanny performer in the space of technology in, editor(s)Philip Auslander , Performance: critical concepts in literary and cultural studies, London, New York, 2004, pp383 - 394, [Matthew Causey]Book Chapter, 2004
  • Audience Control, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp91 - 91, [Matthew Causey]Item in dictionary or encyclopaedia, etc, 2003
  • Charles Ludlum, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp771 - 771, [Matthew Causey]Item in dictionary or encyclopaedia, etc, 2003
  • Collectives and Collective Creation, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp286 - 287, [Matthew Causey]Item in dictionary or encyclopaedia, etc, 2003
  • Cyber Theatre, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp341 - 341, [Matthew Causey]Item in dictionary or encyclopaedia, etc, 2003
  • Joseph Chaikin, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp248 - 248, [Matthew Causey]Item in dictionary or encyclopaedia, etc, 2003
  • Judith Malina, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp792 - 792, [Matthew Causey]Item in dictionary or encyclopaedia, etc, 2003
  • Julian Beck, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp126 - 126, [Matthew Causey]Item in dictionary or encyclopaedia, etc, 2003
  • Living Theatre, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp754 - 755, [Matthew Causey]Item in dictionary or encyclopaedia, etc, 2003
  • Mabou Mines, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp777 - 777, [Matthew Causey]Item in dictionary or encyclopaedia, etc, 2003
  • La performance postorganica. La apariencia del teatro en los espacios virtuales in, editor(s)Jose Antoinio Mayoral , Literatura y Cibercultura, Madrid, Arcos/Libros S.L., 2004, pp297 - 325, [Matthew Causey]Book Chapter, 2004
  • Causey, Matthew, 'The Aesthetics of Disappearance and Politics of Visibility', Gramma: Journal of Theory and Criticism, Special Issue on The Theatre(s) in the Age of New Technologies, 10., 2003, p59 - 71Journal Article, 2003
  • Causey, Matthew, Herbert Blau (1926-2013), Journal of Beckett Studies, 23, (1), 2013, p120 - 124Journal Article, 2013
  • 'Postorganic Performance: The Appearances of Theatre in Virtual Domains' in, editor(s)Marie-Laure Ryan , Cyberspatial Textuality, Bloomington, Indiana University Press, 1998, pp182 - 202, [Causey, Matthew]Book Chapter, 1998
  • Theatre Arts in, editor(s)Charles E. Windquist and Victor Taylor , Routledge Encyclopedia of Postmodernism , London, Routledge , 1999, pp394 - 398, [Causey, Matthew]Book Chapter, 1999
  • 'A Theatre of Monsters: live performance in the age of digital media' in, editor(s)Maria M. Delgado and Caridad Svich , Theatre in Crisis?: performance manifestos for a new century, Manchester, Manchester University Press, 2002, pp179 - 183, [Causey, Matthew]Book Chapter, 2002
  • Ontological-Hysteric Theatre, Dennis Kennedy, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp956 - 956, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • Open Theatre, Dennis Kennedy, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp965 - 966, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • Richard Foreman, Dennis Kennedy, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp479 - 480, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • 'Socíetas Raffaello Sanzio', Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp1255 - 1255, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • 'Ridiculous Theatrical Company', Dennis Kennedy, Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp1135 - 1136, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • 'Surrealism', Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp1303 - 1304, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • 'Symbolism', Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp1309 - 1310, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • 'Mass media', Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp817 - 818, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • 'Media and Performance', Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp825 - 826, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • 'Multi-media performance', Oxford Encyclopedia of Theatre and Performance, Oxford, Oxford Universtiy Press, 2003, pp893 - 894, [Causey, Matthew]Item in dictionary or encyclopaedia, etc, 2003
  • Causey, Matthew, Review of Theatre of Socìetas Raffaello Sanzio , by Romeo Castellucci, Joe Kellehr, Nicholar Ridout, Claudia Castellucci, and Chiara Castellucci , Theatre History Studies, 29, (1), 2009Review, 2009
  • Causey, Matthew, Review of Digital Practices: Aesthetic and Neuroesthetic Approaches to Performance and Technology , by Susan Broadhurst , Contemporary Theatre Review, 19, (2), 2008, p3Review, 2008
  • Causey, Matthew, Review of Staging the Screen, by Greg Giesekem , Contemporary Theatre Review, 18, (3), 2008, p2Review, 2008
  • Causey, Matthew, Review of 'Telepresence and Bio Art - Networking Humans, Rabbits and Robots', by Eduardo Kac , Crossings: An Electronic Journal of Art and Technology, 5, (1), 2007Review, 2007
  • Causey, Matthew, Review of 'Antigone', Irish Theatre Magazine, 3, (15), 2008Review, 2008
  • Causey, Matthew , Review of 'Spinstern', Irish Theatre Magazine, 3, (12), 2002Review, 2002
  • Causey, Matthew , Review of 'The Chair', Irish Theatre Magazine, 3, (11), 2002Review, 2002
  • Causey, Matthew, Review of 'Marking the Territory' , Irish Theatre Magazine, 3, (11), 2002Review, 2002
  • Causey, Matthew, Review of 'Macbeth', Irish Theatre Magazine, 2, (9), 2001Review, 2001
  • Causey, Matthew, Review of 'Dublin International Theatre Symposium', Irish Theatre Magazine, 2, (8), 2001Review, 2001
  • Causey, Matthew, Review of Aesthetics of Disturbance, by David Graver , Brecht Yearbook., 1997Review, 1997
  • Causey, Matthew, Review of 'Theatre at the Margins', by Erik MacDonald , Essays in Theatre/Etudes Theatrales, 13, (2), 1995Review, 1995
  • Causey, Matthew, Review of Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance , by Philip Auslander , Theatre Journal, 47, (1), 1995, p155-7Review, 1995
  • Causey, Matthew, ''Tall Ships'', Dublin Fringe Festival, Arts Technology Research Laboratory, 2014, -Theatre Production, 2014
  • Causey, Matthew, 'Tujacques', Electric Picnic, 2012, -Music Production, 2012
  • Causey, Matthew, ''The Ecstasy of St. Zero, Retold'', Soho Books, NYC, 1977, -Theatre Production, 1977
  • Causey, Matthew, ''Luminous Bodies'', Open Space in Soho, NYC, 1978, -Theatre Production, 1978
  • Causey, Matthew, ''Paradise Regained'', The Performing Garage, NYC, 1978, -Theatre Production, 1978
  • Causey, Matthew, ''The Book of Ezekiel'', Drama Ensemble, NYC, 1978, -Theatre Production, 1978
  • Causey, Matthew, ''Crash'', Contemporary Arts Centre, New Orleans, LA, 1979, -Theatre Production, 1979
  • Causey, Matthew, Radio World, 1983, -Miscellaneous, 1983
  • Causey, Matthew , 'War is Beautiful: Futurist Art, Performance and Theory (Italy 1909-19)', 1992, -Miscellaneous, 1992
  • Causey, Matthew, ''Taping Through Silence: You Have a Beautiful Mind But It's Time You Threw It Away'', 1992, -Theatre Production, 1992
  • Causey, Matthew, ''Faust (after Goethe)'', 7 Stages, Atlanta, GA, 1999, -Theatre Production, 1999
  • Causey, Matthew, ''From the Depths of Mirrors. . .the Clatter of Weapons.' ', The Point, 1999, -Theatre Production, 1999
  • Causey, Matthew, 'Hidden Crimes', 1985, -Miscellaneous, 1985
  • Causey, Matthew, 'powers of the false' , 1993, -Miscellaneous, 1993
  • Causey, Matthew, 'Pataphysical Rerouting', 1992, -Miscellaneous, 1992
  • Causey, Matthew, 'How to Make a Postmodern Play', 1994, -Miscellaneous, 1994
  • Causey, Matthew, 'Frank and Marie' - Video (70:00), 2004, -Miscellaneous, 2004
  • Causey, Matthew, 'Videopticon: The First Annual Video Art Festival at Georgia Tech', 1996, -Visual art production, 1996
  • Causey, Matthew, 'Videopticon II: The Second Annual Video Art Festival at Georgia Tech', 1997, -Visual art production, 1997
  • Causey, Matthew, 'Videopticon III: The Third Annual Video Art Festival at Georgia Tech', Georgia Tech, 1998, -Visual art production, 1998
  • Causey, Matthew, Review of Staging the Screen, by Greg Giesekam , Contemporary Theatre Review, 18.3, (August), 2008Review, 2008
  • Causey, Matthew , Review of 'Digital Practices: Aesthetic and Neuroesthetic Approaches to Performance and Technology', by Susan Broadhurst , Contemporary Theatre Review, 19, (2), 2009, p237 - 239Review, 2009
  • Causey, Matthew, Theatre and Performance in Digital Culture: from simulation to embeddedness, paperback, Routledge, 2009, 230ppBook, 2009, URL
  • Jus Soli/Jus Sanguinis: The Biopolitics of Irishness in, editor(s)Sara Brady and Fintan Walsh , Crossroads: Performance Studies and Irish Culture, Palgrave, 2009, pp153 - 165, [Causey, Matthew]Book Chapter, 2009
  • Causey, Matthew, Review of The Theatre of Societas Raffaello Sanzio, by Romeo Castellucci , Theatre History, 29, 2009, p210-12Review, 2009
  • Causey, Matthew, Suppositions (as in uncertain beliefs) on the current place of theatre , Theatre Research International, 35, (3), 2010, p299 - 300Journal Article, 2010
  • Causey, Matthew, Naucht und Traume, 2010, -Miscellaneous, 2010
  • Causey, Matthew, ...but the clouds..., 2010, -Miscellaneous, 2010
  • Causey, Matthew, Ghost Trio, 2007, - Running time - 18:00Miscellaneous, 2007
  • Matthew Causey and Fintan Walsh, Performance, Identity and the Neo-Political Subject, First, New York and London, Routledge, 2013, 1 - 273ppBook, 2013, URL
  • ID/entity: The Subject's Own Taking Place in, editor(s)Matthew Causey and Fintan Walsh , Performance, Identity and the Neo-Political Subject, New York and London, Routledge, 2013, pp33 - 50, [Matthew Causey and Gabriella Calchi Novati]Book Chapter, 2013, URL
  • Causey, Matthew; Tujacques, ''The Art of Living'', Dublin, Ireland, Windmill Lane Studios, 2012, -Music Production, 2012, URL
  • Matthew Causey, 'Obedientia Civium Urbis Felicitas', 2013, -Music Production, 2013, URL
  • Causey, Matthew, ''Electricity'', Performance Technology Research Laboratory, Atlanta, GA, 2000, -Theatre Production
  • Causey, Matthew, ''The Bacchae'', 1997, -Theatre Production
  • Causey, Matthew, ''Kill The Dog' ', Stanford, CA, 1991, -Theatre Production
  • Causey, Matthew, ''Laboratory of Hallucinations'', Stanford, CA, 1992, -Theatre Production
  • Causey, Matthew, 'Death (Enrico IV: The Uncanny)', Stanford, CA, 1993, -Theatre Production
  • Causey, Matthew, ''The Apparatus'', Samuel Beckett Theatre, TCD, 2001, -Theatre Production
  • Causey, Matthew, ''The Black Sun'', Samuel Beckett Theatre, TCD, 2002, -Theatre Production

Research Expertise

My research explores the frontiers of the theory and practice of theatre and performance in digital culture. The strategy of the research is to articulate the cultural condition of digital societies, the social impact and philosophical problems of technologised institutional structures and the construction of identity in electronic communications. I innovate on the methods of digital art practice which includes an exchange with science and technology, engineering, computer science and art and I consider the manners in which that exchange fundamentally shifts the practices of each field. My book, 'Theatre and Performance in Digital Culture', edited collections, book chapters, journal publications and keynote presentations all explore that matrix. I designed the Arts Technology Research Laboratory on that model to embrace the synergies of the School of Creative Arts' performance and time-based disciplines to encourage the re-imagining of the arts in play with computational systems. My research is deeply engaged with the social issues surrounding digital culture and in some cases, examines the legal issues surrounding being in the space of technology such as the 'right to be forgotten' in Google search engines and the troubling impossibility of being forgotten in a digital system. I question how victims of trauma whose abuse has been electronically circulated can never be forgotten creating a ceaseless circulation of victimisation. I attempt to transfer that model of traumatic Internet identity to a grounding theory of digital culture and reflect on the manners in which performance practices are influenced. The number of citations of my writings, various keynote invitations and requests for publication indicates the influence my research is experiencing. Additionally, I pursue practice-based research as an inter-medial artist and digital filmmaker. I have pursued my practice-based training and research for many years as a professional theatre producer, director and writer in NYC during 1970s and 80s, and as film and video maker in Los Angeles in the 1980s and 1990s. My recent work includes two short films based on several of Samuel Beckett television plays, a collaborative stage adaptation of Beckett's 'Ill Seen Ill Said' and the release of two albums of original music.

  • Title
    ATRL - Arts Technology Research Laboratory
    Summary
    The Arts Technology Research Laboratory (ATRL) is an interdisciplinary, postgraduate research centre of the School of Drama, Film and Music at Trinity College Dublin designed to explore the emergent fields of creative arts practice and new technologies. ATRL senior scholars and postgraduate researchers will innovate unique practical methods while pursuing critical, historical and theoretical research in order to engage future art forms of digital culture that are networked, interactive, multimedia, hybrid, virtual, immersive and ubiquitous. ATRL draws on the synergies of the School of Drama, Film and Music's performance and time-based disciplines to re-imagine film and video, music and sound production, and theatre, dance, live art and installation in a digital environment. In collaboration with the Schools of Computer Science and Engineering, ATRL brings the scientist, engineer, artist and scholar into dialogue to offer the widest range of experimental opportunities and academic rigour in the practice and study of digital culture and the arts.
    Funding Agency
    HEA Capital Grant
  • Title
    PhD in Digital Art and Humanities
    Summary
    The Structured Ph.D. in Digital Arts and Humanities (DAH) will create the research platform, the structures, partnerships and innovation models by which fourth-level researchers can engage with a wide range of stakeholders in order to contribute to economic development on the island of Ireland and provide new professional opportunities for graduates. DAH will firmly establish a new research agenda by training the first cohort of PhDs in Ireland in the new technologies, methodologies, and theories for digitally-mediated arts and humanities, and by asking new and bold research questions which would have been inconceivable before the development of these new technologies and paradigms. The Structured PhD in DAH is a four-year programme that will provide world-class training in innovative models of arts practice and theory, and humanities research, archiving, and pedagogy. The programme will promote advanced practical and academic research in the application of new media and computer technologies in the arts and humanities. DAH will be multi-disciplinary and inter-institutional and will provide coherent exposure to transferable skills in digital content creation that will be enabling, academically rigorous and commercially viable.
    Funding Agency
    HEA - PRTLI Cycle 5
    Date From
    2011

Recognition

  • Provost's Fund for Visual and Performing Arts 2005
  • Trinity Long Room Hub Research Initiative Fund: Televisual Beckett (Abstract Machines) 2010
  • AHSS Benefaction Fund: Posthuman Performance 2002
  • Stanford University Postgraduate Fellowship and Stipend 1990-4
  • Provost's Fund for Visual and Performing Arts 2008
  • National Endowment for the Humanities Summer Program in the Humanities for School and College Educators: Modern Theatre with Herb Blau at University of Wisconsin, Milwaukee) 1996
  • Whiting Fellowship at CalArts (declined) 1994
  • 2004 Learning Innovation Project: 'New Media/New Theatre', Centre for Academic Practice 2004/5
  • 2004 Official Selection of Boston Irish Film Festival, Frank and Marie, a film by M Causey 2004
  • 2004 Provost's Fund for Visual and Performing Arts. Film Project. Trinity College Dublin 2004/5
  • AHSS Benefaction Fund: Theatre (at the origin of the virtual) 2017
  • AHSS Benefaction Fund: Theatre (The Scratch of Authenticity) 2011
  • Provost's Visual and Performing Arts Fund: 'All the Young Punks' 2017
  • Stanford Humanities Centre Year Fellowship (declined) 1994
  • 2004 Official Selection of Darklight Digital Festival, Frank and Marie, a film by M Causey 2004
  • Performance Studies International 2018
  • International Federation of Theatre Research (IFTR/FIRT) 2018
  • Association of Theatre in Higher Education 2018
  • American Society of Theatre Research 2018
  • Irish Society for Theatre Research 2018
  • Theatre and Performance Research Association (TaPRA) 2018
  • Editorial Board Member of Contemporary Theatre Review. Editors, David Bradby and Maria Delgado. Routledge. Previous.
  • Editorial Board Member of International Journal of Performance Arts and Digital Media. Editor, Maria Chatzichristopoulou. Current. 2004-2017
  • Editorial Board Member of Crossings: An Electronic Journal of Art and Technology. Editor, Mads Haahr. Trinity College Dublin. Current. 2006-2017
  • Editorial Board Member of Theatre Research International. Editors, Christopher Balme, Brian Singleton. Previous.