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Performativity Martina Leeker ‘Performance’ and ‘performativity’ are central components of Andreas Reck- witz’s theory of the creativity dispositif as a discursive regime, typical of con- temporary culture in late modernity, oriented to self-performance and the al- ways new (Reckwitz 2017; 2016) – a double structure of performativity that Reckwitz describes through the exemplary case of “Namuth’s Pollock” (2017: 57-60). At the center of Reckwitz’s analysis is Hans Namuth’s 1951 film Jackson Pollock 51, which documented the artist’s work with drip painting. On

5. Kapitel: Performative Sammlungen Das Performative als Attribut künstlerischer Sammlungsformate Um die Definition einer performativen Sammlung eingrenzen zu kön- nen, möchte ich zunächst noch einmal an die Notwendigkeit erinnern, zwischen Ansammlungen und Sammlungen, ökonomischem und äs- thetischem Sammeln sowie nach dem jeweiligen Sammelantrieb, der allem Zusammentragen von Objekten vorangestellt ist, zu unterschei- den.Ähnlich verhält es sichmit demAttribut des Performativen imHin- blick auf die Beschreibung performativer Sammlungen. Denn das Per- formative

Eine philosophische Intervention in den Begriffsapparat der Cultural Studies
Begriffsbestimmung eines neuen künstlerischen Formats
Series: Theater, 131
Erzählen in Theater und Performance
Series: Theater, 59
Strategies of »Becoming an Author« in the Works of Paul Auster, Candice Breitz, Sophie Calle, and Jonathan Safran Foer

Performing encryption SUSAN KOZEL A political, performative and affective landscape is revealed in this chapter as a way of approaching the topic of performing the digital: from the macro of the upheaval caused by Edward Snowden’s revelations of mass data surveillance to the micro of a phenomenological account of a crisis following an artistic perfor- mance using mobile media. “Performing Encryption” is a response to working as a dancer and philosopher with mobile networked digital media that can be read as a part of a larger narrative of

Performing institutions A catalogue of performative practices MELANIE MOHREN AND BERNHARD HERBORDT The world is constantly reconfigured. Concepts are defined, and rules for poten- tial action are devised. Universities, academies and independent research institu- tions enhance and communicate knowledge. Libraries and archives attend to its administration. Parliaments create laws for living and working together. Art may toy with these social machineries and realize their potential to differ. Therefore, we question the grand narrating machines of

Performative Strategies In the fall of 2004, a young gay man made me the unsuspecting witness of a spec- tacle, a public performance of his queer sexuality, in a part of downtown San Francisco known as Yerba Buena Gardens, a carefully designed public space near the Museum of Modern Art which houses, among other attractions, a monument to civil rights movement leader Martin Luther King. Inscribed on the walls of a public fountain featuring a one-storey high cascading waterfall is a quote from one of his speeches: “No. No, we are not satisfied, and we will not

Performative Authenticity Identity Constructions among Asian Second-Generation Youths in Great Britain SABINE NUNIUS In the present paper, I would like to examine the specific notion of cultural authenticity which is currently promoted among members of the group of so-called second-generation immigrants in Great Britain. My study thus focuses on a community of people with an Asian background whose parents migrated to Britain in the 1950s and 1960s. The specific predicament of this circle consists in the fact that, while having been born and