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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

, playing 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: 101) 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 (https://www.youtube.com/watch?v=i5tBXe0kSLA) If we

: 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. 167-213. 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

| 443 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

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«. In: Gondek/Waldenfels (Hg.) (1997), S. 19-39. (1998a): »Der Entzug der Metapher«. In: Haverkamp (Hg.), S.197-234 [orig. 1978]. (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