| 1. |
- Argyropoulou, Gigi, et al.
(författare)
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The Art of Lawlessness
- 2015
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Ingår i: Performance Research. - : Informa UK Limited. - 1352-8165 .- 1469-9990. ; 19:6, s. 78-80
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Tidskriftsartikel (refereegranskat)
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| 2. |
- Bork Petersen, Franziska, 1982-
(författare)
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Modelling Defiguration
- 2013
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Ingår i: Performance Research. - : Informa UK Limited. - 1352-8165 .- 1469-9990. ; 18:6, s. 157-160
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- For the presentation of his autumn/winter 2012 collection in Paris and subsequently in Copenhagen, Danish designer Henrik Vibskov installed a mobile catwalk. The article investigates the choreographic impact of this scenography on those who move through it. Drawing on Dance Studies, the analytical focus centres on how the catwalk scenography evokes a ‘defiguration’ of the walking models and to what effect.Vibskov’s mobile catwalk draws attention to the walk, which is a key element of models’ performance but which usually functions in fashion shows merely to present clothes in the most advantageous manner. Stepping on the catwalk’s sloping, moving surfaces decelerates the models’ walk and makes it cautious, hesitant and shaky: suddenly the models lack exactly the affirmative, staccato, striving quality of motion, and the condescending expression that they perform on most contemporary catwalks. Vibskov’s catwalk induces what the dance scholar Gabriele Brandstetter has labelled a ‘defigurative choregoraphy’: a straying from definitions, which exist in ballet as in other movement-based genres, of how a figure should move and appear (1998). The catwalk scenography in this instance determines the models’ walk. Furthermore, letting the models set off sound through triggers with attached sound samples gives them an implied agency. This calls into question the designer’s unrestricted authorship.
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| 3. |
- Engberg, Maria
(författare)
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Performing apps touch and gesture as aesthetic experience
- 2013
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Ingår i: Performance Research. - : Taylor & Francis. - 1352-8165 .- 1469-9990. ; 18:5, s. 20-27
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Tidskriftsartikel (refereegranskat)abstract
- This paper is concerned with aesthetic explorations of tactility and sensuality that contemporary multitouch gesture technologies offer. I explore the provocative performative space that is created in the feedback loop of the (popular) modernist interface design and engineering of Apple’s various iPhones and iPads and the multifarious aesthetic, musical, graphic, and textual interfaces of applications created by musicians, artists and writers. The paper is grounded in a comparative analysis of interfaces, focusing on the “dance of gestures” and its tight link to representation via that digital touch, the movement of the device, and the interfacial aesthetic elements of sound, image, and text. Among the interfaces/experiences studied are Björk’s biophilia, Opertoon’s Strange Rain, Jörg Piringer’s abcdefghijklmnopqrstuvwxyz and Jason Edward Lewis’s Speak. The dialogic between interface design and engineered interaction of the iPad’s LCD touchscreen extends to the user who, through sensory engagement, partakes in the aesthetic event. The paper argues that the touch-based works foreground a performative event, or, as I call it, an instance of polyaesthetics.
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| 4. |
- Engdahl, Christopher
(författare)
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The Transtemporality of Online Performance
- 2016
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Ingår i: Performance Research. - : Taylor & Francis. - 1352-8165 .- 1469-9990. ; 21:5, s. 107-110
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Tidskriftsartikel (refereegranskat)abstract
- This article examines notions of temporality of online performance as a way to rethink earlier debates about performance ontologies. Today, online, and increasingly mobile, technological activities such as photo and video sharing, instant messaging, blogging and social networking organise around performance practitioners' day-to-day existence. In this networked society, performances are constantly mediated through the prism of myriads of digital platforms. Because performances are enacted within or supported by digitally mediated networks and, this is crucial, they incessantly expand temporally, I will refer to online performance in terms of transtemporality, rather than depend on an ontology of unmediation and presence. I depart from Rebecca Schneider's Performance Remains (2011) where she argues how notions of performance, reiteration and documentation are intertwined and contingent, and from the recent performative answers to the logic of the archive found in Amelia Jones's and Adrian Heathfield's anthology Perform Repeat Record: Live Art in History (2012). I argue, by illustrations of Adam Weinert's performance work (2013-2014) as well as my own (2010-2012), that online performance is never fully present but immanently distended through remediation. Performances participate in inherently ruptured transtemporal networks (tweets, reperformances, blogging, video sharing) through which they are continuously remediated and transformed. I propose that online performance even might suggest that performance continuously escapes a sense of Being. Performance's ontology, or rather its ontogenesis proposed by Heathfield (2012), resides with the elements of transformation inherent in its online remediations.
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| 5. |
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| 6. |
- Kozel, Susan
(författare)
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Revealing practices : Heidegger's techne interpreted through performance in responsive systems
- 2005
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Ingår i: Performance Research. - : Routledge. - 1352-8165 .- 1469-9990. ; 10:4, s. 33-44
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Tidskriftsartikel (refereegranskat)abstract
- This article is a dialogue across the practices of philosophy and live performance. Martin Heidegger's 1955 lecture 'The Question Concerning Technology' is used increasingly to problematize practices of computational art, in this article his ideas are grounded in the improvisational practices of two art projects: the wearable computing installation called 'whisper' and the performance using 3 different motion tracking and capture systems called 'immanence.' These projects demonstrate an approach to technologies in performance that enhances otherness and the unpredictability associated with improvisation, thereby lending weight to Heidegger's claim that one turns to art to better understand technology because "the essence of technology is nothing technological".
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| 7. |
- Mattsson, Erik, 1980-
(författare)
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Governing by Proximity : On distance and proximity in the criminal trial
- 2017
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Ingår i: Performance Research. - : Informa UK Limited. - 1352-8165 .- 1469-9990. ; 22:3, s. 42-48
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Tidskriftsartikel (refereegranskat)abstract
- This article explores the inherent tension between techniques of distance and proximity in legal practice. Laying bare the interplay between spatial, social and representational distance and proximity, the article clarifies the politics of the trial and the various kinds of subjectivation that take place in the courtroom. Drawing on the writings of Bourdieu and Foucault, legal practice is seen as making use of a range of power techniques. Law is not only using distancing mechanisms, turning humans into de-personed legal subjects, but it also uses personalizing techniques, investigating both the crime and the criminal and striving for social proximity. In conclusion, the trial comes forth as a ‘therapeutized’ event focused on governing and transforming the subjects, rather than merely judging them. The material consists of observations and experiences made during a field study at the lower level courts of Stockholm, Sweden. In addition, perspectives from anthropological and sociological literature are used to highlight the structural and symbolic dimensions of law.
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| 8. |
- Other, Annabel, et al.
(författare)
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The Bristol Art Library
- 2017
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Ingår i: Performance Research. - London : Taylor & Francis. - 1352-8165 .- 1469-9990. ; 22:1, s. 25-26
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Tidskriftsartikel (refereegranskat)
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| 9. |
- Wikström, Josefine, 1983-
(författare)
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Practice Comes Before Labour : An attempt to read performance through Marx's notion of practice
- 2012
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Ingår i: Performance Research. - London/New York : Routledge. - 1352-8165 .- 1469-9990. ; 17:6, s. 22-27
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Tidskriftsartikel (refereegranskat)abstract
- What is the relationship between the critical categories 'performance' and 'labour'? Both terms are historically produced concepts, existing within certain philosophical, cultural and theoretical discourses. Within the context of art 'performance' is a broad category, which has come to mean anything from staged dance pieces, sculptural installations and mass demonstrations. Labour, also a compound term has broad connotations and can simply mean both paid an unpaid physical work. But as is well known, labour also appears in various forms and meanings in Karl Marx writings where it takes centre stage. My aim, on a broad scale, is to interrogate the historical formation and manifestation of the category of performance and its immanent relationship to forms of labour as they appear in the history of Western thinking and in particular in a Marxist discourse. More specifically – within this essay – is my intention to analyse performance as a generic category within the field of art as it established itself in the post-war period and its immanent affinity with a specific category of labour which appears in Marx's early writings.I will do this, firstly by examining the historical construction of performance as it took shape from the 1950s and onwards in the field of art. I will demonstrate that this category of 'performance' is generic, is constructed relationally to other categories and concepts within art. I will then investigate, not the concept 'labour' but the much broader term 'practice', which appears in Marx's early text “Theses on Feuerbach” from 1845. 'Practice' lays the ground for both 'labour' and 'production', which are developed in Marx's more mature writings such as Das Kapital. My point is that any philosophical and conceptual inquiry into 'labour' must begin with 'practice' in order to understand the former's depth.
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