intervention by presenting information in a form that was usable in
only one way. Participants would have to be sufficiently privileged in the culture
of the digital to reinterpret the information back. Of course, this digital-person
choreography was designed in by humans in the first place and carries assump-
tions about the kinds of uses and users.
Arduino and other maker intermediaries require some basic knowledge of
coding, and the better the resources for coding the more things open up. The
combination of sensors and e-health kits did provide an extensive range of
entangled in practice (Feldman/Orlikowski 2011: 16).4 Agency is therefore under-
stood as performative; echoing actor network theory notions about technologies
as “choreographies of human and non-humans” (Pottage 2012: 167), and also
STS scholar Andrew Pickering’s concept of “the dance of agency” (1995), where
material and human agency temporally emerge through a ‘dance’ or ‘mangle’.
This mangle is a process of resistance and accommodation: resistance denotes
the failure to achieve an intended capture of agency in practice, while accom-
modation refers to an active
Tony Manero – white men occupying vocal registers and striking choreographic poses that
usurp the disco diva and the gay man while at the same time infringing upon, even denatur-
ing, the very white masculinity that such a colonizing move is supposed to secure.” (2008:
Within the terms we have been developing here, I would say that, as technē, disco
brought forth an improper sonic habitus, one that troubled American gender norms
of the day.
>> Watch the trailer for Saturday Night Fever
: Sisterhood is Global, p. 35-36.
9 Thompson, Charis: Making Parents. The Ontological Choreography of Reproductive
Technologies, Cambridge, Mass.: MIT Press 2005.
10 Judith Butler: Die Macht der Geschlechternormen, Frankfurt a.M.: Suhrkamp 2011, S.
11 Ebd., S. 202.
VON DER SCHWESTERLICHKEIT ZU EINER POLITK DER FREUND_INNENSCHAFT? | 287
sich von allem Anfang an in der Ordnung des Schwurs, des Kredits, des Für-wahr-Haltens
und des Glaubens. Der Bruder ist niemals ein Faktum.“12
Politisches Handeln, das auf Verwandtschaftsverhältnissen basiert, ist
shared capacity to do better, and to engage our creative spirit for a collective good
that is anti-racist, anti-homophobic, proto-feminist, and queer affirming. DeFrantz
acted as a consultant for the Smithsonian Museum of African American Life and
Culture, contributing concept and a voice-over for a permanent installation on
Black Social Dance that opened with the museum in 2017. Books include Black
Performance Theory, co-edited with Anita Gonzalez (2014), Choreography and
Corporeality: Relay in Motion, co-edited with Philipa Rothfield (2016). Creative
Pittsburgh, a perpetually shifting soundscape composed of words and music from
Earl Hines, Billy Eckstien, Billy Strayhorne, Mary Lou Williams, Art Blakey and
Jazz Messengers, George Benson, Ahmad Jamal… among others. The extraordi-
nary legacies of jazz in Pittsburgh in ghostly dialog, a uniquely generated conversa-
tion between their visions of the future to speak to the current, blighted present. The
robot sort of sneaks up on the public crossing the plaza as they begin to realize that
their movement is rendered in a choreographic invocation. And other black ghosts
this means I can’t enjoy how well Little Miss Navel Pearl is doing her
dance for me, or how much effort she is putting into putting on her show. Knowing
the truth about her doesn’t take away from the enjoyment I’m deriving from how
much passion and choreographic skill she’s bringing to her masquerade. I feel hon-
ored by her virtuosic attempt at such deception, I really do.
The Law had found themselves a good one with her. A real comer. An artist even.
One who could work for them and enjoy pleasuring herself as much for her own
benefit as for mine – albeit
missing stroke to the
ghost note in jazz; the unplayed sound that resonates all the more indelibly because
it is not sounded aloud. We also recognize it in the ghost stanza of the poem, and in
the truncated, clipped way in which Valencia gestures towards popular song in her
performances. Valencia’s angular choreography, like Basquiat’s drifting lines, alike
revise the conception of the lost object. The object that is entombed and encrypted
returns through performance. The ghost note and missing stroke requires the subject
to perceive something that is literally
«. In: Gondek/Waldenfels (Hg.)
(1997), S. 19-39.
(1998a): »Der Entzug der Metapher«. In: Haverkamp (Hg.), S.197-234 [orig.
(1998b): »Aus Liebe zu Lacan«. In: ders., Vergessen wir nicht – die Psychoan-
alyse!, hg. v. Hans-Dieter Gondek, Frankfurt/M., S.15-58 [orig. 1991].
(2001): Die unbedingte Universität, Frankfurt/M.
Derrida, Jacques/McDonald, Christie (1985): »Interview: Choreographies«. In:
Jacques Derrida, The Ear of the Other. Otobiography, Transference,
Translation. Texts and Discussions, hg. v. Christie McDonald, Lincoln/
London, S. 163
Desinfektionsmittel, Urin und Zigarettenrauch, die funktionale,
aseptische Hässlichkeit des Ortes, die Gefahr, entdeckt zu werden, die
Atmosphäre von Laszivität und eine dunkle, unheimliche Faszination,
die sich als eine spezifisch homosexuelle Topik formiert. In diesem
Raum sind nun alle Optionen offen:
»They were swept up by a completely irrational choreography: did everything.
Sean felt his throat stripped of its soft, protective mucus. He felt his behind
similarly strip-mined. He did the same to his friend. When he was inside him
he felt as if he were in a vise. The