scholarly journals The Performer as Philosopher and Diplomat of Dissensus: Thinking and Drinking Tea with Benjamin Verdonck in Bara/ke (2000)

2015 ◽  
Vol 1 (1) ◽  
pp. 226 ◽  
Author(s):  
Christel Stalpaert
Keyword(s):  
Public Space ◽  
Social Relations ◽  
Performance Studies ◽  
Paradigm Shift ◽  
Felix Guattari ◽  
Bruno Latour ◽  
And Performance ◽  
Eco Art

Ecology and activism is a burning issue in theatre and performance studies. However, following the French philosopher Bruno Latour, a radically new encounter with ecology is needed today, if eco-activism still wants to have a future. It seems that, in order to survive, eco-activism and eco-art have to move beyond their narrow and limited anthropocentric perspective. In this paradigm shift, the performer as philosopher – in the sense of a diplomat of dissensus – might play an important role. The Flemish artist and performer Benjamin Verdonck picks up this role of a performer as philosopher. In his artistic tree houses, Verdonck invites passers-by for coffee or tea and gently raises ecological issues. He performs protest as what I call “a diplomat of dissensus”, combining Latour’s writings on contemporary ecology and the function of the diplomat therein, and Jacques Rancière’s writings on dissensus and art in public space. Ecology, for its part, moves into the direction of what Félix Guattari in The Three Ecologies refers to as “the ethico-aesthetic aegis of an ecosophy” (Guattari 2000, 41), a contraction of ecology and philosophy that connects the environmental with a reflection on the psychic production of subjectivity and social relations.

scholarly journals Public Space in the New Urban Agenda. A Global Perspective on Our Common Urban Future

2019 ◽  
pp. 115-124
Author(s):  
Michael Mehaffy
Keyword(s):  
Public Space ◽  
Social Relations ◽  
Public Spaces ◽  
Global Perspective ◽  
Transfer Of Knowledge ◽  
The Future ◽  
Institute Of Technology ◽  
High Level ◽  
New Urban Agenda

This article is a report on the work of our group, the Centre for the Future of Places at KTH Royal Institute of Technology in Stockholm, and its role as an outgrowth of the Future of Places initiative – a partnership of UN-Habitat, the Ax:son Johnson Foundation, and the Project for Public Spaces. The original Future of Places initiative was a series of high-level conferences that brought together over 1,500 researchers, professionals, government leaders and activists from 275 organizations in 100 countries. The Future of Places also served as the first Urban Thinkers Campus, contributing to Habitat III and the language of its outcome document, the New Urban Agenda (United Nations, 2017). A primary focus of our series was the central role of public space as the connective framework for healthy urbanization – a point we made clear in the introduction to our “Key Messages” document: The Future of Places affirms the role of public spaces as the essential connective network on which healthy cities and human settlements grow and prosper. Public spaces enable synergistic interaction and exchange, creativity and delight, and the transfer of knowledge and skills. Public spaces can help residents to improve their prosperity, health, happiness and wellbeing, and to enrich their social relations and cultural life... (Future of Places, 2019).

scholarly journals The translator

2020 ◽  
pp. 1-19
Author(s):  
Gabriela Saldanha
Keyword(s):  
Performance Art ◽  
Performance Studies ◽  
Literary Translation ◽  
Self And Other ◽  
Art Form ◽  
And Performance

Abstract This article proposes that in order to understand the nature of literary translation as an art form, we need to complement existing approaches drawing on literary, linguistic and sociological theories with insights derived from performance studies. As a way of exploring what the theorization of translation as performance art could contribute to our understanding of literary translation, I map four basic tenets of performance as restored behavior (Schechner 1985) to two translators’ (Margaret Jull Costa and Peter Bush) accounts of their practice. The mapping is illustrated with writings by and interviews with the translators, focusing on four points of contact: the unresolved dialectal tension between self and other, the deliberate, rehearsed nature of decisions, the need for distance between original and performance/translation, and the role of the audience.

scholarly journals Urban Interiority in the Anthropocene

Interiority ◽  
2020 ◽  
Vol 3 (1) ◽  
pp. 83-96
Author(s):  
Nerea Feliz Arrizabalaga
Keyword(s):  
Public Space ◽  
Interior Design ◽  
Urban Areas ◽  
Life Forms ◽  
Urban Public Space ◽  
Biodiversity Crisis ◽  
Raising Awareness ◽  
The Face ◽  
And Performance

This paper explores how interior design could amplify the current discourse on sustainability within urban public space. The consideration of a number of contemporary authors that are questioning the traditional notion of interiority situates this paper within an expansive understanding of interiority in the context of the Anthropocene. Interiority is considered as a transferable condition based on modes of interior occupation, that can take place on the outdoors, and is often found in public spaces within dense urban areas. In the face of an upcoming biodiversity crisis, this text advocates for a necessary disciplinary shift away from traditional anthropocentric views, towards a multispecies conception of the built environment. Both the ideas and the case studies in this article seek to expand the role of interior elements, both semiotics and performance, to foster inclusivity of non-human species, in particular insects, in city environments. Two design proposals illustrate how interior design tactics might positively contribute to raising awareness about this underacknowledged population, and at the same time, help cultivate a sense of intimacy between us and the multiple life forms that inhabit our public urban spaces.

“Treated neither with Respect nor with Dignity”

2020 ◽  
pp. 19-40
Author(s):  
Eithne Luibhéid
Keyword(s):  
United States ◽  
Political Economy ◽  
Queer Theory ◽  
Performance Studies ◽  
The United States ◽  
African Refugees ◽  
Political Model ◽  
And Performance ◽  
The U.S

In this chapter, three LGBTIQ African refugees who have been resettled to the U.S. stage performances of belonging that insist upon seemingly contradictory desires to assimilate into neoliberal capitalist social formations while simultaneously indexing critiques of these very structures of power. The chapter draws on theorizations of fantasy and subjectivity from political theory, queer theory, and performance studies to suggest that these performances of self offer an expansive political model of belonging: to self, community, and nation that might be particularly necessary in contemporary shifts in political economy in the United States. I work to contribute a queer critique to existing scholarship on the role of imagination and fantasy in studies of refugee subjectivity and agency.

scholarly journals Yoga and White Public Space

Religions ◽  
2020 ◽  
Vol 11 (12) ◽  
pp. 669
Author(s):  
Rumya S. Putcha
Keyword(s):  
New York ◽  
Public Space ◽  
Fine Arts ◽  
Space And Place ◽  
Critical Race ◽  
History Museum ◽  
Metropolitan Museum Of Art ◽  
Discursive Analysis ◽  
And Performance

This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.

scholarly journals Philosophy of Islamic Values and Life: A Review of the Methodology of Cultivating Islamic Values Towards Modern Culture

2021 ◽  
Vol 1 (1) ◽  
pp. 01-07
Author(s):  
Triyo Supriyatno ◽  
Cyril Musaddad Abbud El-Aribi ◽  
Ahmad Muntakhib ◽  
Mulyani Mudis Taruna
Keyword(s):  
Moral Education ◽  
Paradigm Shift ◽  
Moral Foundation ◽  
Modern Life ◽  
Modern Culture ◽  
Cultural Life ◽  
And Performance ◽  
Islamic Values ◽  
Separate Discipline

There is no separate discipline of ethics in Islam, and the comparative importance of reason and revelation in determining moral values is open to debate. For most Muslims, what is considered halāl (permitted) and harām (forbidden) in Islam is understood in terms of what God defines as right and good. There are three main kinds of values: (a) akhlāq, which refers to the duties and responsibilities set out in the shari‘ah and in Islamic teaching generally; (b) adab, which refers to the manners associated with good breeding; and (c) the qualities of character possessed by a good Muslim, following the example of the Prophet Muhammad. Among the main differences between Islamic and western morality is the emphasis on timeless religious principles, the role of the law in enforcing morality, the different understanding of rights, the rejection of moral autonomy as a goal of moral education, and the stress on reward in the Hereafter as a motivator of moral behavior. An Islamic life system cannot be conveyed only by using verbal suggestions, verbal warnings but also necessary means that can form a complete cultural network. In this regard, intense dialogue with various existing values ​​is needed to bring about a paradigm shift in thinking in the form of symbols that can be applied in local cultural life. The method of cultivating Islamic values ​​demands conditions for improving the quality and performance of Muslim humans who have these values. Islamic values ​​that are properly understood will function as a compass for the direction where and how to live a modern life full of changes in values. Islamic values ​​will still play an important role in the future, especially in providing a moral foundation for the development of science and technology. Religious teachings must be brought closer to the context of modernity.

Dialogue and beyond

2017 ◽  
Author(s):  
Elaine King ◽  
Anthony Gritten
Keyword(s):  
Conceptual Model ◽  
Paradigm Shift ◽  
Music Performance ◽  
Art Music ◽  
Live Performance ◽  
Western Art ◽  
Physical Knowledge ◽  
Ensemble Performance ◽  
And Performance

This chapter explores the nature of dialogue in ensemble music performance, interrogating the ways in which ‘communication’ and ‘interaction’ occur in the context of rehearsal and live performance of western art music. An expanded conceptual model is proposed in which the epistemic difference between rehearsal and performance is characterized by a paradigm shift from communication (which we define as a one-way process of dialogue, illustrated by turn-taking) to interaction (a two-way process of dialogue, illustrated by reciprocity). The authors argue that interaction draws upon an embodied physical knowledge that is predominantly gestural and corporeal, alongside which (verbal) communication is one small contributory component. Finally, they claim that it is more propitious to understand the central role of embodied knowledge in ensemble performance in terms of interaction rather than communication.

scholarly journals Perception of Changes in the Urban Environment: Imaginary Spectra of Post-Industrial Development

2020 ◽  
Vol 20 (4) ◽  
pp. 197-213
Author(s):  
Kseniia K. Kalashnikova
Keyword(s):  
Urban Environment ◽  
Public Space ◽  
Social Relations ◽  
Industrial Development ◽  
Telephone Survey ◽  
Extreme Points ◽  
Left Bank ◽  
Post Industrial ◽  
The City

Russian cities are in constant flux, i.e. both their material embodiment and social relations are changing. This article attempts to analyze the process of perception of the ongoing changes by the example of Novosibirsk. The information base of the study is the data obtained from a telephone survey of the residents of the Novosibirsk region designed to show a picture of the perceived changes in the urban environment in quantitative categories, and the data from semi-formalized interviews with the city residents conducted to reveal the meanings put into this picture. Dichotomies – extreme points of imaginary spectra describing the process of perception – are used as an analytical tool of the study. As a result, the paper describes the dichotomies “center – periphery”, “homogeneity – individuality” as well as related trends, i.e. rhetoric of “growth” of the left bank of Novosibirsk, distribution of networks, the role of shopping centers in public space, privatization and deindustrialization

scholarly journals A GLANCE AT FOLK PERFORMANCE AND NON-NATIVE AUDIENCE

2021 ◽  
Vol 2 (2) ◽  
pp. 93-114
Author(s):  
Niraj Kumar ◽  
Subhashree Sahoo ◽  
M. Ramkrishnan
Keyword(s):  
Performance Studies ◽  
Interdisciplinary Studies ◽  
Academic Fields ◽  
Cultural Life ◽  
Performance Tradition ◽  
Performance Context ◽  
Folk Performance ◽  
And Performance ◽  
Point Of Intersection

Performance is an interesting subject of study and it is the point of intersection for many academic fields within humanities and social sciences. The studies on performance, thus, could provide opportunities for exploring different aspects of human behaviours and their creative reflections on the matters that are intrinsic to the concept of performance. In pursuit of performance studies, one could come across various knots that connect performance with every aspect of the socio-cultural life of people by redefining the stereotypical notions of “stage”, “actors” and “audience.” Further, the studies on performance could not be placed on a single trajectory as several approaches, perspectives and orientations that have emerged ever since the delimitation of performance happened by opening up its boundary for interdisciplinary studies lead by the undefined ‘performance studies’ of Richard Schechner. However, by dealing with the performance as a live presentation in all perceived forms of “stages”, a significant question has been asked in this paper as a token of beginning on the “problematic” presence of audience as outsiders (non-native and non-belonging) who, by their nature of reception and response, are understood as those who have no concern either for the performance or for the performers. While each form, in the folkloristic sense, is comprising of its natural context along with a dedicated or defined audience, it seems to be a surprising phenomenon as it developed over a period of time as a result of the prodigious and irresistible globalization process. Thus, the unintended and unsolicited transformation, as an impact of globalization, in the traditional and modern performances has shaped the nature and role of ‘audience’, making it an insignificant and irrelevant entity for the consumption with aesthetic appreciation and conviction on the values demonstrated. So this article problematizes the nature of audience in the decontextualized performance context by drawing insights from performance studies, semiotics, and other cognate disciplines. Based on the insights drawn from the fieldwork on Sarhul festival held in Ranchi district a few years ago, this paper argues that the role of audience cannot be understood unless there is a clear perspective on the nature of performance and performance tradition as defined by the community.

Trace nanoanalysis

1994 ◽  
Vol 52 ◽  
pp. 940-941
Author(s):  
D. E. Newbury ◽  
R. D. Leapman
Keyword(s):  
High Performance ◽  
Secondary Ion Mass Spectrometry ◽  
Detection Efficiency ◽  
Volume Element ◽  
And Performance ◽  
Trace Constituents ◽  
Secondary Ion ◽  
Concentration Levels ◽  
Structure Properties

Trace constituents, which can be very loosely defined as those present at concentration levels below 1 percent, often exert influence on structure, properties, and performance far greater than what might be estimated from their proportion alone. Defining the role of trace constituents in the microstructure, or indeed even determining their location, makes great demands on the available array of microanalytical tools. These demands become increasingly more challenging as the dimensions of the volume element to be probed become smaller. For example, a cubic volume element of silicon with an edge dimension of 1 micrometer contains approximately 5×1010 atoms. High performance secondary ion mass spectrometry (SIMS) can be used to measure trace constituents to levels of hundreds of parts per billion from such a volume element (e. g., detection of at least 100 atoms to give 10% reproducibility with an overall detection efficiency of 1%, considering ionization, transmission, and counting).

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