Can a performance be analysed as a textual practice? Starting from this question, the article tries to describe the effets du sens of some of the work of Marina Abramović, a Serbian performer and visual artist. From the 1970s, when the so-called body art emerged as a visual genre, offering the artist’s body as a naked site of inscription, up to the present, when performing has become a more playful and direct transmission of energy between the doer and the viewer, (...) the work of Abramović represents an effective and powerful example of the body-as-a-text in which subjectivity can be re-expressed and reinvented through the transformations of the relation between time and space. In the strong relationship created between the performer and the audience, what is enacted is a translation–transduction of material and cognitive meanings that results in a redefinition of a subjective and, simultaneously, collective experience of identity. (shrink)

Dans son introduction à la collection Moving Words. Writing Dance consacrée à une analyse des évolutions de la recherche anglophone des années 1990 sur la danse, Gay Morris souligne l’héritage d’une historiographie « anecdotique, sans théorisation, et avec un appareil critique très rudimentaire ». Carol Brown confirme que l’histoire de la danse est fondée essentiellement sur l’écriture des « balletomanes » qui ont idéalisé le corps de la danseuse comme une entité anhistorique. Rattachée à un...

(2010). Betwixt and Between: Working Through the Aesthetic in Philosophy of Education: George F. Kneller Lecture, Conference of the American Educational Studies Association Savannah, Georgia, October 30, 2008. Educational Studies: Vol. 46, No. 3, pp. 291-316.

This paper is going to discuss, what will be called, ‘The Internet of Bodies’. Our physical and virtual worlds are blending and shifting our understanding of three key areas: (1) our identities are diversifying, as they become hyper-enhanced and multi-sensory; (2) our collaborations are co-created, immersive and connected; (3) our innovations are diverse and inclusive. It is proposed that our bodies have finally become the interface.

The plays written about AIDS in the past dozen years form a radical canon establishing gay men as the locus for public attention. These plays have been all but silent in their representation of women with AIDS. This article examines the marginalized women in early plays such as The Normal Heart and As Is, and the women more central to later plays such as The Baltimore Waltz, Before It Hits Home, and Patient A. It foregrounds some of the most problematic (...) issues surrounding the AIDS virus: the perception of women as vectors of disease for men and unborn children, the insistent representation of women as mothers and caregivers, and the denial of patterns of abuse, sexual exploitation, and poverty which contribute to the marginalization of woman and people of color. (shrink)

: This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and "prosthetic" pregnancy, it asks whether the "monstrous" can offer different kinds of figurations of the maternal that acknowledge the agency and (...) potential power of the pregnant subject. (shrink)

This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and “prosthetic” pregnancy, it asks whether the “monstrous” can offer different kinds of figurations of the maternal that acknowledge the agency and potential (...) power of the pregnant subject. (shrink)

Over the past decade, representations of pregnant embodiment, foetal imagery and the maternal body have become the subject of intense feminist investigation across fields as diverse as philosophy, science and cultural studies. This body of work represents a sustained intervention in the politics of reproduction and the politics of representation that builds on earlier feminist discourses on motherhood. Within this article, I want to address the limits of, and ruptures in, the representation of the maternal body in relation to particular (...) examples of visual art practice. The article focuses on four pregnant figurations that seem to constitute certain limit points in the representation of maternal embodiment: the `phantom' pregnant body; the elderly prima gravida; the pregnant woman with disabilities; and young women undergoing abortion. My argument is that, in these particular visual texts, `being pregnant' is represented as an unnatural rather than a natural state and as a cultural rupturing of feminine and maternal norms. This seems to offer a useful starting point from which to interrogate the relations between prevailing discourses around the maternal subject and the unstable subject of pregnancy. (shrink)

Drawing on Mary Russo’s theorization of ‘female grotesques’, this article analyses Take a Peek! – a circus, fairground-styled ‘freak’ show by British performance artist, Bobby Baker. While making a display of or a spectacle out of herself can be argued for all of Baker’s work, Take a Peek!, the third show in her ‘Daily Life’ series, is especially concerned with ‘woman’ on display. The article argues that in Take a Peek! Baker turns herself into a ‘spectacular’ demonstration of ‘failed’ femininity (...) in a way that constitutes a site/sight of feminist critical ‘work’. The analysis proceeds by detailing the various ways in which Baker realizes her performance through strategies that serve to grotesque the feminine and figure an archaic maternal, the sorceress and the hysteric. In conclusion, Baker’s invitation to laugh at the grotesquing of her own body is proposed as a means of empowering those who look, to look differently at the ideas and ‘ideals’ that shape the feminine in contemporary cultural and social systems, and to expose the symbolic feminine for what it truly is – a freak show. (shrink)

When the city of Wuhan was severely locked down on January 23, 2020 for 76 days due to the coronavirus outbreak, many residents started writing “lockdown diaries.” This article argues these diaries constitute a kind of performance art for their authors, specifically, an 'art of endurance' as described by Shalson (2018). Keeping a diary requires a plan, but the following through of the plan is a contingent process requiring efforts and endurance. The challenges become particularly daunting for authors of online (...) diaries in pandemic times. The article analyzes multiple types of endurance associated with the Wuhan lockdown diarists, showing that in digitally-driven environments, where potential collective responses are a key context, the lockdown diaries of Wuhan, like works of endurance art, engage with meanings that reach far beyond their original experience and context. Their stories of endurance are an allegory of the endurance of the entire city of Wuhan. (shrink)

This article charts the feminist perspectives that have come out of the author’s thinking on the dance performance text Human Sex and how this has informed her own feminism. In doing so, the author argues that a feminist agenda is shifting and dynamic but also reliant upon prior readings and interpretations that provide the point of reference for a departure to other readings and perspectives. Using autobiographical material, the author highlights the importance of considering the personal histories of subject-hood that (...) influence a feminist consciousness and how these are the condition of possibility for making other readings. To demonstrate the shifting character of identity over time, she engages in different readings of Human Sex through the work of feminist theorists Sara Ahmed, Judith Butler and Peggy Phelan. (shrink)

Connecting identity, broadly defined to recent ‘advances’ in educational research, this paper takes up two different feminist treatments based in pragmatism and poststructuralism. The first is from Charlene Haddock Seigfried on ‘experience,’ and the second is from Peggy Phelan on ‘performance.’ The first is in keeping with a dominant tradition to secure identity through visibility and the second suggests critique through a turn to invisibility. The first arises out of Dewey's naturalism and the second through Lacan, performance art, and anti-representation. (...) At bottom is suggestion that an entire narrative tradition in educational research is potentially self-defeating. (shrink)

In an examination of the psychological aspect of passing, this essay challenges Sandy Stone's conceptualization and subsequent request for transsexuals to forego the act. Employing an auto-ethnographical approach, this essay contends that considering the “psychic” dimensions of passing requires different, and more hopeful, articulations about transsexual bodies, such that gendered and racialized transsexual bodies are produced not simply in terms of social reading and physical embodiment, but also through psychic affirmation and disavowal.

In this article, I examine how 24 City commemorates the factory and its workers through combining memory, the act of remembering, and its recitation, thus creating ‘memories in performance’ that construct an emotional history of this group. I use a Chinese word for commemoration, jinian to structure this paper into the three components of memory, the act of remembering, and mindful thought and recitation, all of which combine to commemorate the factory and the sacrifice of the worker class. I examine (...) how both the real and fictional interviews in the film create the same emotional meaning through producing emotions that are ‘real’ regardless whether their source is real or fake, thus emphasizing that memory is not only about history and ‘fact,’ but also, more importantly, about the emotion it conveys. I consider how the memories are affective in that they present a past that is being remembered, performed and retold in the present, thus enabling both the real and fictional memories to become ‘real’ in their narration. I analyze how the lived and fictive memories and their remembrance produces a filmic space to commemorate the factory and the workers' sacrifices, and argue that this produces an intimacy with the viewer, in that it presents the workers' history as personal stories being remembered, recalled, and felt again, not sterile facts being repeated. I conclude by considering how this film is indicative of a larger commemorative turn, and how it offers not only a ‘sight’ of commemoration, but also a site of commemoration – a commemorative object as well as a commemorative experience. (shrink)

This article considers women's use of the body as a site of protest by taking up women's participation in non-mainstream body modification. The use of scarification, multiple genital piercing and other practices by women in the lesbian SM movement has been considered self-mutilative (Jeffries, 1994). This article takes a different, but not uncritical, approach by examining the `reclaiming' discourse surrounding these practices and considering how this discourse reflects the feminist poststructuralist project of identity subversion.

Medical anatomy is one of the key sites of the scientific production, reproduction and maintenance of sex and gender. Our Human Anatomies Project explores the construction, reconstruction and maintenance of difference in genital anatomies, focusing especially on the clitoris. This article focuses on representations of human genitalia in the form of cyberanatomies - video, CD-ROM and internetbased renderings of human bodies. In cyberspace as elsewhere, the biomedical expert remains the proper and dominant mediator between humans and their own bodies, despite (...) the democratization of knowledges supposedly possible through the Internet. Special attention is given to the specific sites of production and distribution of these different cyberanatomies. Through our review of the globalization of cyberanatomies, we have come to witness the very sedimentation of sex/gender/sexuality in new arenas of representations of human bodies. Western biomedical imperialism and globalization of a standardized (American) body are taken up as core theoretical concerns. (shrink)

Drawing upon concepts of hauntology and spectrality and their applications in performance and media theory, the article investigates the relation between live performance, performative memory and technology in Komuna Warszawa’s project Paradise Now? RE//MIX Living Theatre. Premiered in 2013 as the 31st part of the remix sequence bringing together the past works of international experimental artists and theatres and present-day Polish performers and dancers, Paradise Now remix offers a critical and self-referential commentary on what is left after the demise of (...) political theatre and the utopian dream of paradise. My main argument focuses on the technological processes by which Komuna Warszawa spectralizes both the memory of the Living Theatre’s Paradise Now and its own performance through re-mediating, digitizing and remixing fragmentary images and scenes. Their ultimate effect is a melancholic sense of disappearance, impossibility and technologically produced vacuum. (shrink)

Because mourning and memorializing a miscarriage seems to imply acceptance of foetal personhood, feminists have been reluctant to address the often traumatic but common experience of pregnancy loss. Feminist anthropologists of reproduction have argued that adopting a view of personhood as constructed and negotiated, rather than inherent, solves this dilemma and enables the development of a feminist discourse of pregnancy loss. This article aims to make a critical contribution to such a discourse by analysing representations of lost babies and children (...) in online pregnancy loss memorials. It focuses on two genres of representation, idealized angels and medical ultrasound images. It argues that the dominance of a biological model of personhood limits the ability of both forms of representation to secure the status of memorialized children as real. However, pregnancy loss memorials do communicate the anguish of grieving parents, in part through the very unrepresentability of their loss. They also provoke a questioning of the taken for granted subject of `the child', whether imagined or real, absent or present. (shrink)

Answering a call for a 2013 exhibition at Ars Electronica bridging art and synthetic biology, a group of artists and designers offer ‘Blueprints for the Unknown’. Their fictional scenarios offer possible futures already embedded in and ready to become our present. By imagining potential events and soon-to-be organisms and bodies, these blueprints perform the untenable relationship between predictable bioengineered living forms and the unpredictable contexts within which such life subsists over time. While synthetic biology focuses on the particularities of each (...) micro-manipulation within a specific timeframe, art practices can speculate on the wider reverberations of modified life, making visible the vulnerable encounters and uneven exchanges across variable living forms and scales, from molecule to human, synthetic to organic. This paper explores the indeterminacies that arise as living forms become synthetically modified, reorganized and redirected at will. (shrink)

This article proposes the ideas of stochastic resonance and noise as devices with which to think of the body or self as plural and porous. Boundaries and surfaces are proposed as indefinite; cell switching and narratives of the self are discussed in relation to external forces, via Arendt’s inter-subjectivity and La Celca’s colonization as infection. The sonic artwork Ghost, which uses models of spiking neurons to materialize endogenous and exogenous composition in relation to noise and sonic memory is presented as (...) an exploration of the boundary or limit of the notion of self. This paper, which serves as a cogitatum rather than cognitio, articulates the human body as a complex and open system that steers towards chaos by adapting and accepting further complexity as, and within, constantly adaptive networks of creativity. We suggest that by focusing on the porosity of boundaries and the mechanisms that underlie their permeability, problems around identity and subjectivity might be seen in a new light. (shrink)

During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some ontological features (...) that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient. (shrink)

This article considers the grounds on which distinctions are drawn between the identities of gender, sexuality, `race' and class and explores the implications of these distinctions in relation to different kinds of identity politics and, in particular, to the politics implied by Judith Butler's theory of performativity. I argue that what is often taken to be the key site of much queer theory and activism - that is, the reappropriation of signifiers of difference - is problematic in the light of (...) a close analysis of subjectivities which are informed by `race', gender and class. More specifically, it may be that struggles which are frequently linked to issues of visibility are problematic in the context of subjectivities - class subjectivities - that are both enabled and constrained by a particular, and a particularly uneasy, relation to recognition and representation. (shrink)

In this article I argue the need for a reflexive use of photographic images in research, mainly in the publication and dissemination phase and specifically when the topic investigated relates to issues of visibility, in this case racism and understandings of beauty. This analysis draws on my work on contemporary practices of racism in Mexico, where personal photographs were used as research tools in life-story interviews, creating a sense of shared intimacy. Inspired by Barthes' refusal in Camera Lucida (2000) to (...) reproduce a photograph of his mother, in this article I focus on the dynamics between seeing and looking and suggest that `looking emotionally' at both participants' accounts and their photographic images, is a way to address the complexities of the gaze and discuss the specificity of different `ways of looking'. The notion of `looking emotionally' refers to an engagement, of researchers and audiences of research, with participants' lived emotional experiences that explicitly confronts the historical and social legacies of the visible. Here, photographs are understood not only as illustrative platforms from where experiences are organized, but also as `traps' that both inform and ensnare (Gell, 1999). As such, the argument aims to problematize the intimate relationship between gaze and photographic image in a context where racism is constrained to the visible, both in its reproduction and also in its pressing ongoing critique. (shrink)

With a focus on appearance and racialised perceptions of skin colour, this paper discusses the differences between being and feeling acceptable, pretty or ugly and the possibility of such displacement (from being to feeling or vice versa), as a way to understand what beauty does in people’s lives. The paper explores the fragility of beauty in relation to the visibility of the body in specific racialised contexts. It investigates the claim that beauty can be considered a feeling that emphasises processes (...) (what beauty does) rather than contents (what beauty is). Drawing from life stories with Mexican women, I examine their concerns about visibility, temporality and appearance as expressions of racist practices and ideas, within a context where the racial project of mestizaje (racial mixture) is in operation. Beauty matters as it makes evident the pervasiveness of racism in the everyday. The lived experience of beauty, in its displacement and fragility, as a feeling and as resource, can also point to some of the strategies to resist, cope and get on. (shrink)

In his work titled ‘Dance Curves: On the Dances of Palucca’, Wassily Kandisky translates two postures of the German Expressionist choreographer Gret Palucca from photographs into line drawings. The drawings are a study, but they are neither pictorial, nor straightforwardly representational. Staging an encounter between Dance Curves and Hannah Arendt’s investigation into thinking as both an interrupted and interruptive activity, this essay argues for a poetics of appearance as it is constituted by nonconforming acts of critique. Negotiating conflicts that shape (...) a politics of recognition for criticism which deliberately or implicitly refutes utility, I articulate a process of appearance of meaning with differential relation to modernist concerns for interpretation, dissenting from rationalist and objectivist traditions that have dominated theatre and performance criticism since the Enlightenment. What happens when I disavow the drawings from the images, remove them from the source? Perhaps in such a place, we might find critique as a process of deliberately mishandled translation, as an occupation of an idea shifted elsewhere, as a displacement of meaning. Appearance shapes itself around slippages of attention that depart from the work of performance. In this essay, I turn to how these slippages fold outwards from the encounter, to the political nexus between performance and its world. In Arendt, I locate a means through which forms of thinking rendered as criticism constitute a resistant poetics to normative modes of paying attention, operating beyond what Bojana Kunst calls ‘the ready-made possibilities of discourse’ under neoliberalism, that is, the ‘pre-established models of criticality and reflexivity’ to which art and artistic subjectivity often partake. (shrink)

Performance Philosophy, at its most hopefully imagined, seems to promise to succeed where other philosophical discourses and performative practises have come up short—perhaps even failed. That is to say, far from simply announcing a relatively modest interdisciplinary venture between philosophy and performance, Performance Philosophy seems invested with a radical potential that would, if realised, reveal a paradigm of creation and/or interpretation that is quite new and distinct. Its achievements, if successful, would be beyond the compass of performance and philosophy conceived (...) independently of each other. Even the term itself, ‘Performance Philosophy’, conveys a certain paratactical momentum that seems directed towards a profound artistic, intellectual, and disciplinary miscegenation where neither performance nor philosophy would remain separate and intact and neither would be subordinated to or conditioned by the unchanged disciplinary genealogy and underpinnings of the other. Though exciting in prospect, this is far from unproblematic. Is performance, as an act of deliberate creative expression, not to some degree pulling in the opposite direction to truth-revealing, knowledge-bearing philosophy? Or does Performance Philosophy relate only to more elastic understandings and redefinitions of philosophy? More specifically, this article asks what ‘thinking’ ‘itself’ might be in the context of Performance Philosophy and what sort of ‘knowledge’ it might give rise to. It will be argued that against the usual measures of epistemological success Performance Philosophy must be judged to fail. However it will then explores whether, in a move reminiscent of the aesthetics of failure of early German Romanticism, it is precisely failure that seems to hold the promise of opening up new epistemological ground. (shrink)

Within art therapy discourses there is a dearth of scholarly literature related to the dilemmas of voicing lesbianism and picturing lesbians. This is the result of sustained discrimination and censorship worldwide. In order to address this issue, a research study was designed to investigate this topic and its relationship to informing art therapy. There were two research methods and two research processes used in the project. Autobiography and art based research were the methods, and intertextuality and reflexivity were the research (...) processes. The methodology that underpinned the project was postmodern-feminism. Autobiographical material created through an art-based research method was reflexively viewed. The newly created visual texts stimulated intertextual links to past visual and written texts. These texts were used to map and track deeply held assumptions found embedded in essentialist, dualistic and modernist paradigms. By the use of postmodernfeminism deconstruction and reconstruction the investigation exposed and interrogated paradigm shifts resulting in subsequent personal transformations. The study revealed how past personal experiences of homophobia, lesbian invisibility and mental health treatment were deeply embedded in gender/sexuality norms, visual art discourse and social stigmatisation. These experiences impacted significantly on the ability to verbally and visually reveal both lesbian and lesbianism, and as such impacted on perceptual shaping of multiple selves within self. The study further demonstrated how the postmodern-feminist investigation destabilised dominant paradigms and subverted their location in “truth”, allowing for reconstruction of selves to be explicitly pictured. The significance of the findings for art therapy is three fold. Firstly, by offering a postmodern-feminist perspective through a lesbian lens, embedded modernist paradigms central to art therapy discourse are challenged. Secondly, the creative process of image making, within a postmodern-feminist frame is showcased. Within such a process change can be mobilised and self perceptions can be transformed. Thirdly, the study has advanced art therapy towards a more contemporary and critically informed discipline, one that can reflect on possible dilemmas encountered by lesbian clientele when verbally or visually self representing. The implications of the study have several intersections for the broader arts and health care sectors. (shrink)

This dissertation is situated within the field of media studies, with a particular focus on the "materialities of communication." The concept of "materialities" is oriented to the underlying conditions that allow communication to take place: the places, carriers and modes of communication that serve to shape and even alter meaning. My dissertation asks how this "material turn" can usefully be applied to and help develop the study of theatre.

The way we access dance is changing as the form is now widely viewed via digital transmission and documentation. This paper considers the ontological impact of this cultural shift. It sets out to challenge the view that dance works are accessible only through live performance. Adopting a non-realist ontological perspective,, I suggest that the way we relate to screenings and recordings of dance works impacts on the ontological status of the form, thus problematising existing schemata and calling for further philosophical (...) consideration. (shrink)

This essay addresses the common goals of but also the practical differences between the emerging fields of Performance Philosophy and Practice as Research. It does so by describing them both as interposing effective and affective action into the process of thinking and knowing, thereby resisting what Gilles Deleuze calls the Dogmatic Image of Thought. The dogmatic image is described as a directional movement based on Plato’s allegory of the cave, where those who would learn turn away from phenomenal becoming and (...) move upward and outward towards eternal Truth. This movement travels from a static unknowing to a static knowledge. Both PP and PaR resist such movement by employing techniques which forestall arriving at either stasis. Through their developments, PP and PaR have come to concentrate on resisting one of these points of stasis or the other – with PP concentrating on avoiding static knowing, and PaR concentrating on finding the proper expression to avoid static unknowing, even while presenting its findings in forms that may appear ephemeral. (shrink)