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is on the move. Animals and their suffering? Neighbours and their life’s work? The economic interests of the meat trade? The economic well-being of the country as a whole? Or, in some versions, the partisan political interests of a government keen to eradicate the disease and win a general election? It is very easy to imagine ways in which these different ‘bigger pictures’ don’t map onto one another. And this mismatched mapping was very real in 2001. This is why there were so many arguments about the contiguous cull. Choreography and Tinkering I have listed four

. Bewegung und Emotion im Kino des New Hollywood«. Jüngste Publikationen: »Shock and Choreography. Dying and Identity in Gim- me Shelter«, in: Snodi 6 (2010), S. 144–154; »Schrecken der Straße. Steven Spielbergs Duel als Road Movie-Horrorfi lm«, in: Uta Felten/ Kerstin Küchler (Hg.), Kino und Automobil – cinema e automobile – cinéma et automobile (im Erscheinen). Ramón Reichert, Professor für Neue Medien am Institut für Theater-, Film- und Medienwissenschaft, Universität Wien, lehrt Medientheo- rie und Kulturwissenschaft an der Johannes Kepler Universität Linz, am

Traversing the Contemporary (pl.): Choreographic Articulations between European and Indian Dance (Austrian Science Fund [FWF]: P 24190-G15) ver fasst. Er basier t auf meiner theoretischen Conclusio, die als Teil der Lecture Per- formance »Traversing the Contemporary: Inter twined Practices of Contemporary Dance in Germany« (Sandra Chatterjee und Johanna Devi) am 18.6.2016 beim Tanzkongress 2016 in Hannover präsentier t wurde. 2 | ›Er fahrung‹ verwende ich im Sinne der feministischen Historikerin Joan W. Scott: »Experience is at once always already an interpretation

der Universität Hamburg; Forschungs- schwerpunkte: Tanz- und Performancetheorie, Körpersoziologie, urbane und transnationale Tanz- und Bewegungskulturen, Medialität von Bewegung und Tanz; Publikationen zum Thema des Sammelbandes: Klein, Gabriele/Sting, Wolf- gang (Hg.) (2005): Performance: Positionen zur zeitgenössischen szenischen Kunst, Bielefeld: transcript; Klein, Gabriele/Noeth, Sandra (Hg.) (2011): Emerging Bodies. The Performance of Worldmaking in Dance and Choreography, Bielefeld: transcript; Klein, Gabriele (2005): Stadt. Szenen. Künstlerische

, Charis (2005), Making parents: the ontological choreography of re- productive technologies, Cambridge: The MIT Press. Zelizer, Viviana (1985), Pricing the priceless child. The changing social value of children, Princeton: Princeton University Press.

Reflexive Body Techniques: On Body Modifi- cation and Maintenance. In: Body & Society 11, 1: 1–35. — (2006): Reflexive Embodiment in Contemporary Society. Maidenhead: Open University Press. Cussins, Charis (1996): Ontological Choreography: Agency through Objectifica- tion in Infertility Clinics. In: Social Studies of Science 26, 3: 575–610. Diekämper, Julia (2011): Reproduziertes Leben. Biomacht in Zeiten der Präim- plantationsdiagnostik. Bielefeld: transcript. DIR = Deutsches IVF Register: Jahresberichte 1991–2010. PDF-Dateien abruf- bar unter: http

Wissenschaftsforschung hat Charis Thompson den Begriff der Cho- reografie mit ihrem Buch Making Parents bekannt gemacht. (Thompson 2005) In ihrer Arbeit über Fruchtbarkeitskliniken in den USA und wie dort Elternschaft erzeugt wird, verwendet sie den Begriff ontological choreography, um zu beto- 40 | CHOREOGRAFIEN PSYCHIATRISCHER PRAXIS nen, wie in diesem Prozess des Eltern-Machens Elemente von unterschiedlichem ontologischen Status in Relation gebracht werden müssen: „The term ontological choreography refers to the dynamic coordination of the technical, scientific, kinship

be trees, on your left Route 3 with a lot of cars going up and down. Also a Sunoco station and West’s diner to the left across the highway...”14 Although the remaining tour instructions capture only a fraction of the ex- perience of being on-site, their syntax gives us an indication of the tour’s choreography and how the artist’s voice was constitutional to the work. Assembled alongside Instamatic photographs depicting sights and the walking party as they explore the stone ruin, these material traces reorgan- ize Holt’s “author/artist functions” as a series

): Embodiment and Experience. The Existential Ground of Culture and Self, Cambridge: Cambridge University Press. Curtis, Sarah et al. (2007): „Therapeutic Landscapes in Hospital Design. A Qualitative Assessment by Staff and Service Users of the Design of a New Mental Health Inpatient Unit“, in: Environment and Planning C – Go- vernment and Policy 25 (4), S. 591-610. Cussins, Charis (1996): „Ontological Choreography. Agency Through Ob- jectification in Infertility Clinics“, in: Social Studies of Science 26 (3), S. 575-610. Das, Veena (2000): „The Act of Witnessing

spectators the real situation pales in comparison to the mysterious, nearly telepathic simul- taneity of the two animals. They almost seem to follow a choreography. Yet they lack rhythmic grace, so that the impression that prevails is one of useless effort, undignified pathos, and misunderstanding. Unintended comedy as the Christ ine N. Brinckmann310 consequence of relatively complicated head movements ensues when the dogs turn in various directions. Contributing to this effect is that they are pointed at the camera—and thus at the viewer—but are reacting to