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Making digital choreographic objects interrelate A focus on coding practices SCOTT DELAHUNTA AND FLORIAN JENETT Dance is a field of artistic practice(s) commonly associated with bodily move- ments and with the concept of a choreographer making certain kinds of decisions about where and when these movements will be performed in front of an audi- ence on a stage. There is plentiful evidence for this understanding of dance even though there is little consensus within the field itself about things like the physi- cal training of dancers, the education

PETER HERTZ-OHMES Deleuzian Empiricism and the Potential of Chaotic Choreographies “Wie macht man sich wahnsinnig, wenn man es nicht ist?” 1 Thank you for allowing me to speak English. Or rather, American. Americans are awfully nice people. I know, I am one of them! But in some respects they are illogical or unreasonable. In New York City and in Vienna one would say “me- schugge”. For example, in matters of nakedness, or politics. And since I want to say a little about both, I can only speak American. Otherwise you might possibly misunderstand me. This

225 BLURRING THE BOUNDARIES - INTERACTIONS BETWEEN CHOREOGRAPHY, DANCE AND NEW MEDIA TECHNOLOGIES SCOTT DELAHUNTA The connections between dance and technologies can be looked at from five fundamental perspectives: • Historic: Separate but often overlapping contemporary arts practices; modern/ post-modern dance having evolved alongside the electronic and media arts • Creative: An artistic tool in particular in the form of the digital com- puter; technology integrated into a variety of genres such as music, film, graphic arts, etc. and to an increasing

Colonial Erasure – Post-colonial Recovery: Identity/Alterity in Faustin Linyekula’s Choreographies KLAUS-PETER KÖPPING »Who am I? Leopold II, Lumumba, Mobu- tu?« (LINYEKULA, LECTURE TALK, WALKERS ARTS CENTRE, LONG ISLAND, N.Y., SEPT. 2011) »What have you done to us, Blaise Cen- drars?« (BLACK DANCER IN »LA CRÉATION DU MONDE 1923-2012«, DÜSSELDORF, JUNE 2013) »Who am I? Who are we? What are we in this white world?« (CÉSAIRE, »NÈGRE JE SUIS NÈGRE JE RESTERAI. ENTRETIENS AVEC FRANÇOISE VERGÈS«, 2005: 23) 44 | KLAUS-PETER KÖPPING Fig. 1

Zur Neubestimmung des Mensch-Technik-Verhältnisses im digitalen Zeitalter
Towards a New Theory and Practice of Gathering
Zur Ökologie künstlerischer Praktiken in Medienkulturen der Gegenwart

Romeo and Juliet Re-danced Choreographic Remakings of Shakespeare’s Tragedy MARIA MARCSEK-FUCHS Prokofiev’s ballet score to Romeo and Juliet (Op. 64) has been repeatedly recho- reographed since its first performance in 1938 until the present. Choreographies by Leonid Lavrovsky, John Cranko, Sir John MacMillan or Rudolf Nureyev, but also contemporary balletic versions, such as those by Matthew Bourne or Mark Morris, are only a few of the representative examples that not only re-adapt the musical score to choreographic dramaturgy but stand for re

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Contents INTRODUCING Performativity, performance studies and digital cultures Martina Leeker, Imanuel Schipper and Timon Beyes | 9 HISTORICIZING Performing (the) digital. Positions of critique in digital cultures Martina Leeker | 21 ANNOTATING Making digital choreographic objects interrelate: A focus on coding practices Scott deLahunta and Florian Jenett | 63 AFFECTING Speculation about 1:0. On the productive difference of the interval Marie-Luise Angerer | 83 TRADING The noisy motions of instruments: The performative space