scholarly journals Hanging Out with Cyclists

2016 ◽  
Vol 6 (3) ◽  
pp. 84-88
Author(s):  
Noam Shoked
Keyword(s):  
Los Angeles ◽  
Performance Studies ◽  
Art History ◽  
Architectural History ◽  
Associate Professor ◽  
Field Trips ◽  
University Of California ◽  
Art Practice ◽  
Art Students ◽  
And Performance

In 2014, architecture Professor Margaret Crawford and Associate Professor of Art Practice Anne Walsh taught the first University of California, Berkeley, Global Urban Humanities Initiative research studio course, called “No Cruising: Mobility and Identity in Los Angeles.” What occurred during the course had both varied and unexpected interpretations as ten students majoring in art practice, art history, architecture, and performance studies each selected a dimension of mobility they wished to identify on field trips to LA. One goal of these field trips, or research studios, was to get students out of their comfort zones to explore new approaches and methods. We encouraged students to draw on each others’ disciplines, so art students undertook archival research while architectural history students, like Noam Shoked, used interviews and photography to investigate contemporary conditions. The stories here are from Shoked as he comes to interpret and interact with the cyclist of LA.

Interview with Milla Cozart Riggio, Angela Marino, and Paolo Vignolo

2022 ◽  
Vol 3 (1) ◽  
pp. 282
Author(s):  
Emily Ruth Allen
Keyword(s):  
Performance Studies ◽  
Trinity College ◽  
Associate Professor ◽  
University Of California ◽  
National University ◽  
And Performance ◽  
The University

Emily Ruth Allen interviews Milla Cozart Riggio, Angela Marino, and Paolo Vignolo on Festive Devils of the Americas (2015). Interview date: Feb 4, 2021 Milla Cozart Riggio is James J. Goodwin Professor of English Emerita at Trinity College. Angela Marino is Associate Professor in the Department of Theater, Dance, and Performance Studies at the University of California Berkeley. Paolo Vignolo is Associate Professor of History at the National University of Colombia, Bogota

The Fiery Pacific: Volcanic Eruptions and Settler-State Theatricality in Oceania, 1780–1900

2014 ◽  
Vol 55 (3) ◽  
pp. 362-392
Author(s):  
Diana Looser
Keyword(s):  
Seventeenth Century ◽  
Performance Studies ◽  
Art History ◽  
Volcanic Eruptions ◽  
The Body ◽  
Red Color ◽  
Form Part ◽  
And Performance ◽  
Grand Opera ◽  
The City

In the closing scene of René-Charles Guilbert de Pixérécourt's melodramaLa Tête de mort; ou, Les Ruines de Pompeïa(1827), audiences at Paris's Théâtre de la Gaîté were presented with the spectacular cataclysm of an erupting Mount Vesuvius that invaded the city and engulfed the hapless characters in its fiery embrace. “The theatre,” Pixérécourt writes, “is completely inundated by this sea of bitumen and lava. A shower of blazing and transparent stones and red ash falls on all sides…. The red color with which everything is struck, the terrible noise of the volcano, the screaming, the agitation and despair of the characters … all combine to form this terrible convulsion of nature, a horrible picture, and altogether worthy of being compared to Hell.” A few years later, in 1830, Daniel Auber's grand operaLa Muette de Portici(1828), which yoked a seventeenth-century eruption of Vesuvius with a popular revolt against Spanish rule in Naples, opened at the Théâtre de Monnaie in Brussels. The Belgian spectators, inspired by the opera's revolutionary sentiments, poured out into the streets and seized their country's independence from the Dutch. These two famous examples, which form part of a long genealogy of representing volcanic eruptions through various artistic means, highlight not only the compelling, immersive spectacle of nature in extremis but also the ability of stage scenery to intervene materially in the narrative action and assimilate affective and political meanings. As these two examples also indicate, however, the body of scholarship in literary studies, art history, and theatre and performance studies that attends to the mechanical strategies and symbolic purchase of volcanic representations has tended to focus mainly on Europe; more research remains to be undertaken into how volcanic spectacles have engaged with non-European topographies and sociopolitical dynamics and how this wider view might illuminate our understanding of theatre's social roles.

‘She will wear the britsch’: Masculinity and the iconography of Prince Albert

2020 ◽  
Vol 7 (1-2) ◽  
pp. 199-222
Author(s):  
Hannah Bradshaw
Keyword(s):  
Nineteenth Century ◽  
Performance Studies ◽  
Art History ◽  
Male Body ◽  
Masculine Ideology ◽  
The Creation ◽  
Female Rule ◽  
And Performance

This article examines the early representations of Prince Albert that either satirize or attempt to reconcile the hierarchical ambiguities and issue of threatened masculinity that resulted from unconventional male consortship and female rule. It concludes that the latter was achieved through the development of a suitable and legible iconography for a nineteenth-century male consort in adherence with British iconographic tradition and values. Drawing from methods in nineteenth-century art history as well as gender and performance studies and anthropology, it argues that images of the male body play a fundamental role in the construction and perpetuation of masculine ideology and subjectivity through the creation of the semblance of an innate and axiomatic masculine archetype. In doing so, this article problematizes and historicizes masculinity by illuminating the plurality of expressions of masculinity and rejecting the essentialist narrative of masculinity as something measurable or quantifiable, as well as ahistorical, atemporal, apolitical and heteronormative.

On Disciplinary Finitude

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 505-512 ◽  
Author(s):  
Jeffrey T. Schnapp
Keyword(s):  
Los Angeles ◽  
Architectural History ◽  
University Of California ◽  
Filippo Tommaso Marinetti ◽  
Speed Limits ◽  
Avant Garde ◽  
The Social ◽  
History Of ◽  
Social Environmental ◽  
The University

The year 2008 was one of fruitful disjunctions. I spent the fall teaching at Stanford but commuting to the University of California, Los Angeles, to cochair the inaugural Mellon Seminar in Digital Humanities. During the same period, I was curating—at the Canadian Center for Architecture, in Montreal—an exhibition devised to mark the centenary of the publication of “The Founding Manifesto of Futurism,” by Filippo Tommaso Marinetti. Whereas other centennial shows (at the Centre Pompidou, in Paris, and at the Palazzo Reale, in Milan) sought to celebrate the accomplishments and legacies of Marinetti's avant-garde, the Canadian exhibition, Speed Limits, was critical and combative in spirit, more properly futurist (though thematically antifuturist). It probed the frayed edges of futurism's narrative of modernity as the era of speed to reflect on the social, environmental, and cultural costs. An exhibition about limits, it looked backward over the architectural history of the twentieth century to look forward beyond the era of automobility.

scholarly journals Waves of Data

2016 ◽  
Vol 6 (3) ◽  
pp. 80-83
Author(s):  
Greg Niemeyer
Keyword(s):  
Public Health ◽  
Performance Studies ◽  
Human Activities ◽  
City Planning ◽  
University Of California ◽  
National Endowment ◽  
The Arts ◽  
And Performance ◽  
The City ◽  
Positive Effect

With Brittney Silva’s tragic May 2014 death fresh in everyone’s memory, the city of San Leandro began collaboration efforts between them and University of California, Berkeley to do something to make the city safer for pedestrians. A course was developed at UC Berkeley called Sensing Cityscapes, offered Fall 2015, aiming to collect data about human activities too often ignored. As part of the interdisciplinary UC Berkeley Global Urban Humanities Initiative, the class aimed to harness methods not just from city planning, engineering, and architecture, but from the humanistic disciplines, cognitive science, art, public health, and performance studies, bringing students together from each field. We now are bringing the installation back to the streets of San Leandro with the support of a National Endowment for the Arts (NEA) Our Town grant for a project called San Leandro Lights. Transferring the project from the lab back to the street, we hope that the positive effect for individuals we observed in the lab will remain, and that responsive lighting will create a dynamic culture of attention.

Pop Culture/Visual Culture

2015 ◽  
Author(s):  
Rebecca Wanzo
Keyword(s):  
Visual Culture ◽  
Performance Studies ◽  
Art History ◽  
Film Studies ◽  
Pop Culture ◽  
Gender And Sexuality ◽  
The Gaze ◽  
Feminist Study ◽  
History Of ◽  
And Performance

Feminist scholars in fields as varied as art history, film studies, cultural studies, literary studies, sociology, communications, and performance studies have made important contributions to discussions about representations of gender and sexuality in everyday life. This chapter examines themes and issues in the feminist study of popular culture and visual culture, including: the history of sexist representation; the gendered nature of the “gaze” and the instability of that concept; the question of whether or not representation has effects; the anxieties surrounding consumption of “women’s texts”; and the challenges in deciphering women’s agency and authorship given constraints produced by institutions and ideology.

scholarly journals The long road to Megalopolis

2003 ◽  
Vol 70 (418/419) ◽  
pp. 23-35
Author(s):  
Luca Muscarà
Keyword(s):  
Los Angeles ◽  
Political Geography ◽  
Associate Professor ◽  
University Of California ◽  
The Subject ◽  
The University

The author is associate professor of geography at the Università degli Studi del Molise, Italy; and teaches at the GIS Masteřs Program of the Università di Roma La Sapienza. He holds a doctorate in political geography from the Università di Trieste (1998) and is dottore in lettere at the Università di Venezia (1985). He was a visiting professor at the University of California Los Angeles (2000, 2001) and is a member of the editorial board of Cybergeo: European Journal of Geography, based in Paris, and co-editor of Sistema Terra. He focused his research on the life and work of Jean Gottmann and is writing a book on the subject.

Hemispheric America in Deep Time

2010 ◽  
Vol 35 (2) ◽  
pp. 111-125 ◽  
Author(s):  
JILL LANE
Keyword(s):  
Los Angeles ◽  
Performance Studies ◽  
Uniform Space ◽  
Deep Time ◽  
Performance Artists ◽  
And Performance ◽  
Contemporary Artists

This article introduces hemispheric performance studies to suggest that performance in the Americas – and the very idea of the ‘hemispheric’ – may be usefully engaged as a set of connected practices in deep time rather than as a continental mass in uniform space. The argument is illustrated in relation to three contemporary artists: the Los Angeles-based photographer and multimedia artist Bruce Yonemoto, and the visual and performance artists Susana Torres from Lima, Peru, and Liliana Angulo from Bogotá, Colombia.

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