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Beijing Film Academy 2021
The annual Beijing Film Academy Yearbook highlights the best academic debates discussions and research from the previous year as previously published in the highly prestigious Journal of Beijing Film Academy. This volume brings together specially selected articles appearing for the first time in English to bridge the gap in cross-cultural research in cinema and media studies.
The book is the latest in the Intellect China Library series to produce work by Chinese scholars that have not previously been available to English language academia. Covering the subjects of film studies visual arts performing arts media and cultural studies the series aims to foster intellectual debate and to promote closer cross-cultural intellectual exchanges by introducing important works of Chinese scholarship to readers.
Wild Renaissance
A Renaissance is underway. It can be seen as a response to environmental societal and ethical issues so acute that human survival is in question. Artistic philosophical and political it builds on the scientific revolutions of the last decades and positions itself in relation to technoscientific and transhumanist promises. Within this Wild Renaissance man no longer positions himself as master and owner imposing his will on a passive and purposeless nature. He makes ready to listen to a new partner: the world around him. He discovers the potential of its forces which he both harnesses and engages with joining them with his own. A new era is taking shape restoring man to his “wild” dignity and giving his existence meaning joy and ambition. An art is emerging that is redefining the paradigms of creation. Its work is in the vanguard of this societal project.
There is a major tendency in contemporary art and design and perhaps the most innovative one that is putting in place new ways of working and producing works which represent a significant break with the principles that have guided modernity up to the present. We are witnessing the beginnings of a renaissance that can be described as “wild.” Powerfully ambitious it stands as a response to the acute environmental societal and ethical questions raised in today’s world and at their heart the very survival of the human species as we enter the Anthropocene era. It bears witness to massive shifts in consciousness and echoes a call for a change that is becoming increasingly audible. Nature or more precisely a new way of being “wild” – that is to say of thinking and acting on the Earth is the key reference around which the contents of an alternative common destiny are being articulated. The “Wild Renaissance” is supplanting both the modernity that placed man at the center of the world assigning him the vocation of becoming the master and owner of nature and postmodernity which put an end to the great narratives and left only an absolute relativism incapable of supporting new sustainable models.
The word “renaissance” is not used lightly. It stems from a philosophical and ecological analysis of the turn of the 15th and 16th centuries in Italy. This upheaval did not come out of nowhere. Today as back then a period of some hundred and fifty yeas paved the way for its emergence. The proto-Wild Renaissance goes from the mid-19th century to the early 21st century. The evolution and convergence of art philosophy and the sciences of the environment can be observed there in relation to key historical and political moments that have repeatedly raised the question of the continuing habitability of the Earth.
The Wild Renaissance is articulated around a renewed vision of humankind and nature. Humankind no longer aspires to impose its will on a passive purposeless nature. Instead it is beginning to listen to a new partner: the world around it. Humanity is discovering the potential of these forces and entering into a relation with them allying them with its own. Humanity is going from from master to collaborator assuming an ecological responsibility that goes hand in hand with a revived dignity and an existence that is all the more exciting for all that. Already-established figures in contemporary art and design together with emerging creators are at the forefront of this new movement. The works and practices analyzed here are shown in a new light with a fresh understanding of their historical grounding conceptual underpinnings and significance for the present.
Previously published in French by Presses Universitaires de France (PUF).
Product Design, Technology, and Social Change
This cultural history critically examines product design and its development from pre-industrial times to the present day considering major milestones in the mass production of goods and services aiming to incorporate a more inclusive worldview than traditional surveys of the topic.
The breadth and versatility of product design through history has been profound. Products have long supported the integration and interpretation of emerging technologies into our lives. These objects include everything from tools accessories furniture and clothing to types of transportation websites and mobile apps. Products provide singular or multiple functions are tangible and intangible and in many instances have impacted the quality of our lives by saving time or money or by increasing feelings of personal satisfaction. At the same time many products have negatively impacted people and the environment. For nearly every product that makes it into the hands of a consumer there is also a designer who created it and someone who laboured to make it.
Examines the relationship between products consumption sustainability politics and social movements. This "pocket history" surveys product design from the agricultural revolution and the birth of cities through industrialisation and a digital design revolution.
New Queer Television
This edited collection will draw attention to how the mainstreamification of queer identities has crafted a dynamic field in which a wide variety of queer identities can be put on display and consumed by audiences.
Queer critics and queer theory as a whole tend to frame queer identities as marginal (Sedgwick 1990; Halberstam 2011) and these landmark scholars have cemented a foundational understanding of queerness that is now at odds with current shifts in media production. The chapters here will present a broad variety of queer identities from across a range of televisual genres and shows in an effort to reconsider the marginalisation of queerness in the twenty-first century. Doing so challenges pre-existing notions that such mainstreamification necessitates being subsumed by the cisheteropatriarchy. Therefore the project argues the converse: that heteronormative assumptions are outdated and new queer representations lay the groundwork for filling gaps that queer criticism has left open.
artmaking as embodied enquiry
What can a fold be? Virtually anything and everything.
For centuries folds/folding has captured the world’s imagination. Folds readily appear in revivals of the ancient craft of origamithe simplest acts of pedestrian life in art design architecture performing arts linguistics the philosophical turnings of the mind and last but not the least in the many ingenious computations of (bio)engineering and technology. What awaits our understanding is how deeply the fold roots into embodiment into our very impulse to create.
This book is about folding as a vibrant stimulus for trans-disciplinary artistic research – whether for the performative for product realization or simply to enliven body mind and spirit. Conceived as art-made-differently Susan and Glenna share the abundance of their decade-long collaboration in developing their approach to practice research in the fold. In addition to their own insights they invite eight of their collaborators to contribute each a veteran artist. The fold is destined for artmaking – for making any art. Etching into the very fabric of embodiment the fold practice reaches outside the constraints of disciplinary silos into niche areas that embrace the unknown with all its underlying tensions and ambiguities.
Reflecting on a current and unique somatic oriented arts research practice and pedagogy with an intriguing blend of interdisciplinary concern and theory practice and includes a wide variety of practice samples and images.
Encountering the Plague
This edited collection features fourteen newly commissioned articles each of which responds to the theme of plague from different disciplinary perspectives. Contributors focus on the impact of COVID-19 on everyday life but also draw on insights from different historical experiences of plague as a way of exploring human responses to epidemics past and present.
Each chapter opens with a different illustration that serves as a source for subsequent discussion enabling readers to make connections between everyday objects experiences and broader critical debates about plague and its impact on humanity. Thought-provoking commentaries stem from a variety of humanities disciplines including archaeology electronic literature history linguistics media and cultural studies and musicology and the book is divided into four sections: Rituals and RitesRites and Behaviours; Plague in History; Covid-19 - texts and discourse; Creative Responses to Plague.
As a collection Encountering the Plague explores ways in which humanities research can play a meaningful role in key social and political debatesand provides compelling examples of how the past can inform our understanding of the present.
Outback
Focusing on the incidence of the ‘Westerns’ film genre in the 120-odd years of Australian cinema history exploring how the American genre has been adapted to the changing Australian social political and cultural contexts of their production including the shifting emphases in the representation of the Indigenous population.
The idea for the book came to the author while he was writing two recent articles. One was an essay for Screen Education on the western in Australian cinema of the 21st century; the other piece was the review of a book entitled Film and the Historian for the online journal Inside Story . Between the two he saw the interesting prospect of a book-length study of the role of the western genre in Australia’s changing political and cultural history over the last century – and the ways in which film can without didacticism provide evidence of such change. Key matters include the changing attitudes to and representation of Indigenous peoples and of women's roles in Australian Westerns.
When one considers that the longest narrative film then seen in Australia and quite possibly the world was Charles Tait’s The Story of the Kelly Gang (1906) it is clear that Australia has some serious history in the genre and Kelly has ridden again in Justin Kurzel’s 2020 adaptation of Peter Carey’s The True History of the Kelly Gang.
World Film Locations: Los Angeles
World Film Locations: Los Angeles Volume 2 is an engaging and highly visual city-wide tour of both well known and slightly lesser known films shot on location in one of the birthplaces of cinema and the ‘screen spectacle’. It pairs 50 synopses of carefully chosen film scenes with evocative full-colour film stills.
When the World Film Locations series was launched in 2011 with volumes on Los Angeles New York Paris and Tokyo the world was a different place. Although interest in film locations has grown steadily for years as people seek to walk in the footsteps of their cinematic idols by visiting sites from their favorite movies – the recent global lockdown seems to have only increased an appetite for cinetourism; prompting us to consider a second volume for one of the world’s most evocative and enduring locations. The city of Los Angeles with its meandering sun-baked sweep and beautifully fractured topography continues to lure filmmakers into its clutches – affording an endless panoply of locations to prop up both character and story. Since 2011 thousands of new productions have made the most of what the city has to offer; using reusing and discovering places that will surely become sites of pilgrimage in years to come - and while this volume includes just 50 of them our modest selection is carefully curated to compliment volume 1 and further reveal both the well-known and more hidden parts of a Los Angeles in constant flux.
The heart of Hollywood’s star-studded film industry for more than a century Los Angeles and its abundant and ever-changing locales – from the Santa Monica Pier to the infamous and now-defunct Ambassador Hotel – have set the scene for a wide variety of cinematic treasures from Chinatown to Forrest Gump Falling Down to the coming-of-age classic Boyz n The Hood.
This second volume marks an engaging citywide tour of the many films shot on location in this birthplace of cinema and the screen spectacle. World Film Locations: Los Angeles Vol 2 pairs fifty incisive synopses of carefully chosen film scenes – both famous and lesser-known – with an accompanying array of evocative full-colour film stills demonstrating how motion pictures have contributed to the multifarious role of the city in our collective consciousness as well as how key cinematic moments reveal aspects of its life and culture that are otherwise largely hidden from view.
Insightful essays and interviews throughout turn the spotlight on the important directors iconic locations thematic elements and historical periods that provide insight into Los Angeles and its vibrant cinematic culture. Rounding out this information are city maps with information on how to locate key features as well as photographs showing featured locations as they appear now.
A guided tour of the City of Angels conducted by the likes of John Cassavetes Robert Altman Nicholas Ray Michael Mann and Roman Polanski World Film Locations: Los Angeles Vol 2 is a concise and user-friendly guide to how Los Angeles has captured the imaginations of both filmmakers and those of us sitting transfixed in theatres worldwide.
Critical Digital Art History
Digital Art History has often aligned itself with the practical concerns of digital technology and the responsibilities of art institutions and associated institutional roles such as collection managers information specialists curators and conservators. This emphasis on practicalities and implementation while undeniably important has often meant that there is little room for critical examination of the broader implications of digital technology and computational methodologies in art history.
This anthology seeks to address the dearth of critical reflection by approaching the use of digital technology in art history from a theoretical perspective and critically assessing specific case study examples. This book also considers the political dimensions associated with the large-scale digitization and the application of digital tools within museums and collection management.
A long-standing concers of the field—and also a major focal point of this book—is museum and collecting practices in the digital era. While there is a certain degree of continuity in the field there are some important shifts and changes too. One of the key changes is the widespread uptake of artificial intelligence tools and an increased
attention to both the broader historical and societal aspects of the use of digital repositories and tools.
Infrastructure in Dystopian and Post-apocalyptic Film, 1968-2021
Dystopian and post-apocalyptic movies from 1968 to 2021 usually conclude with optimism with a window into what is possible in the face of social dysfunction - and worse. The infrastructure that peeks through at the edges of the frame surfaces some of the concrete ways in which dystopian and post-apocalyptic survivors have made do with their damaged and destroyed worlds.
If the happy endings so common to mass-audience films do not provide an all-encompassing vision of a better world the presence of infrastructure whether old or retrofitted or new offers a starting point for the continued work of building toward the future.
Film imaginings energy transportation water waste and their combination in the food system reveal what might be essential infrastructure on which to build the new post-dystopian and post-apocalyptic communities. We can look to dystopian and post-apocalyptic movies for a sense of where we might begin.
Decolonizing Islamic Art in Africa
This collection explores the dynamic place of Muslim visual and expressive culture in processes of decolonization across the African continent. Presenting new methodologies for accentuating African agency and expression in the stories we tell about Islamic art it likewise contributes to recent widespread efforts to “decolonize” the art historical canon.
The contributors to this volume explore the dynamic place of Islamic art architecture and creative expression in processes of decolonization across the African continent in the twentieth and twenty-first centuries. Bringing together new work by leading specialists in the fields of African Islamic and modern arts and visual cultures the book directs unprecedented attention to the agency and contributions of African and Muslim artists in articulating modernities in local and international arenas. Interdisciplinary and transregional in scope it enriches the under-told story of Muslim experiences and expression on the African continent home to nearly half a million Muslims or a third of the global Muslim population.
Furthermore it elucidates the role of Islam and its expressive cultures in post-colonial articulations of modern identities and heritage as expressed by a diverse range of actors and communities based in Africa and its diaspora; as such the book counters notions of Islam as a retrograde or static societal phenomenon in Africa or elsewhere. Contributors propose new methodologies for accentuating human agency and experience over superficial disciplinary boundaries in the stories we tell about art-making and visual expression thus contributing to widespread efforts to decolonize scholarship on histories of modern expression.
Watch this Space
This book and its individual essays examine key emerging and evolving practices theories and methodologies that operate in the blurred boundary between spatial design disciplines such as architecture interior and urban design and film and moving image studies more broadly.
The collection is an exploration of the evolving interdisciplinary rhetoric connecting spatial design disciplines like architecture and urban design with film and moving image studies. It is premised on the argument that the understanding of ‘space’ in these areas continues to draw on each other’s fields of reference and that in recent times this has expanded further to the point in which it blurs with multiple other disciplines including media art cultural studies and art practice to name but three. The result of this evolving interdisciplinary understating of ‘space’ in design disciplines and moving image studies is an expanded field of haptic-visual practice and theory that can be investigated as both a material and an image-based construct.
It engages with this evolving set of ideas and underlines how each of its primary discipline areas now increasingly incorporate tools and methodologies from each other’s fields. For example architects routinely engage with cinematic practice as a means of exploring space cultural theorists inspect filmic space as a two-dimensional surrogate of the real media artists incorporate knowledge of spatial design in video installations and film makers create spaces on screen that are informed by architectural theory. This all follows what can be defined as a discursive turn in our view of spatial relationships across disciplines which by definition is complex eclectic occasionally contradictory and at times characterised by surprising confluences.
Conceived as a form of mapping of these confluences and contradictions this book collects varied essays that in their own unique ways explore the diversity of how we today define understand and engage with notions of the body in architectural-urban space. It does so through a triadic structure that progresses from haptic relationships of the body in architectural space through film readings of represented space in mainstream cinema and concludes with ‘experimental spatial’ projects inspired by film and the moving image. This tripartite structure specifically encourages a look across disciplines broadening architectural urbanist media and cinematic concerns through insightful case studies that engage with their subjects by means of novel techniques i.e. employing graphic software for an analysis of pre-digital films deconstructing cinematography in modernist classics or researching urban edgelands via collaging and montage etc.
The Human Shutter
This book provides four key insights beginning with how photographic stillness depth and motion emerged en masse departing from the gradualist narratives familiar in histories of photography and film.
Secondly the book addresses the role of binocular vision in the history of painting and photography. Thirdly the rich history of early stereoviews that constitute the origins of photographic cinema and other instances of temporality is examined. The author explains how binocular rivalry termed ‘the human shutter’ provokes a reexamination of the standard chronology of cinema. The role of the human shutter is demonstrated with a preliminary taxonomy of astonishing images excavated from the photographic archive. Lastly focusing on what happens after light arrives at the retina numerous artists and theorists have employed the stereoscope as a metaphor for critical thinking.
In addition to these new perspectives the book contains significant original research particularly regarding early photographers who have explored motion with binocular vision especially Antoine Claudet and Giorgio Sommer.
Equally important to this discussion are modern and contemporary artists and experimental filmmakers who have focused on stereoscopic spaces including Marcel Duchamp Robert Smithson Lucy Raven Ken Jacobs Alfons Schilling Arakawa and Gins and OpenEndedGroup.
Global Culture after Gombrich
Ernst Gombrich can be considered the most influential art historian of the 20th-century. Until now however the global impact of his work has been under-appreciated. Global Culture after Gombrich: Art Mind World presents essays by historians of art and culture - themselves students of Gombrich or associated with his scholarly home the Warburg Institute - from Asia the USA and Europe.
Subjects range from picture-making’s place in human evolution to the visual marginalia of the Renaissance and from nineteenth-century modernism to the implications of the latest neuroscience for cultural history. Other chapters treat fundamental issues such as the notion of connoisseurship the fate of the idea of ‘culture’ or the cultural specificity of modernism. They range from theoretical broadsides – notably a defence of the ‘intelligence’ of art - to intricate reflections – for example on caricature as a style.
In showing how Gombrich initiated enquiries that have spread in numerous – and global – directions Global Culture after Gombrich: Art Mind World makes a vital contribution to contemporary debates around the languages of art history and showcases the range of approaches and methods by which art history is and has yet to be written.
Queer Contemporary Art of Southwest Asia North Africa
Presents new perspectives on queer visual culture in the Southwest Asia North Africa region from queer artists as well as scholars who work on queer themes. With contributions from both scholars and artists this volume demonstrates that queer visual culture in the SWANA region is not only extant but is also entering an era of exciting growth in terms of its versatility and consciousness. The volume focuses on artworks produced in the contemporary era while recognizing historical and contextual connections to Islamic art and culture within
localities and regions from the pre-modern and modern eras.
By framing this volume as unambiguously located within queer studies the editors challenge existing literature that merely includes some examples of queer studies or queer representation but does not necessarily use queer studies as a lens through which to engage with visual culture and/or with the SWANA region. Through four interrelated sections - Gender and Normativity Trans* Articulations Intersectional Sexuality and Queer SWANA - this volume probes several previously unexplored academic areas namely the intersections of queer studies with other fields.
Part of the Critical Studies in Architecture of the Middle East series.
Gender, Race and Religion in Video Game Music
This book provides semiotically-focused analyses and interpretations of video game music focusing specifically on musical representation of three demographic diversity traits. Adopting a narratologist orientation to supplement existing ludological scholarship these analyses apply music semiotics to crucial modern-day issues such as representation of gender race and religion in video games.
An original and welcome contribution to the field it considers musical meaning in relation to the aspects of gender race and religion. This book will help readers to develop language and context in which to consider video game music in terms of society and representation and will encourage future research in these critical areas.
Yee analyses music's contributions to video games' narrative and thematic meanings specifically concerning three master categories of identity – gender race and religion. Containing twenty-five detailed analytical case studies of musical representation in video game music it sets out theoretical and conceptual frameworks beneficial for interpreting musical meaning from video game soundtracks. Though players and commentators may be tempted to view a game's soundtrack as mere 'background music' this research demonstrates video game music's social relevance as a major factor impacting players' cultural attitudes values and beliefs.
Part I explores immersion interactivity and interpretation in video game music proposing a theory of 'interpretative interactivity' to account for players' semiotic agency in dialogue with their ludic agency. Part II explores gender representation in a trajectory from conventional gender construction alternative femininities/masculinities and potential for non-binary representational possibilities. Part III explores musical representation of nationality culture and race proposing the concept of 'racialised fantasy' and applying frameworks from race scholarship to connect media representations of race to real world racial justice movements. Part IV examines religion introducing the concept of 'sonic iconography' to connect theological
meanings to the use of sacred music in video game music.
In Smithereens
What happens to contemporary dance costumes when the show is over and their surrounding legacy slips from view? How might costumes be mobilised towards representational repair post-performance? Located within Lea Anderson’s choreographic archive this book charts a series of hands-on interventions with the fabric remains of her companies The Cholmondeleys and The Featherstonehaughs. Centred on practices of Disintegration Preservation Transaction and Display they offer provocative modes of engaging with the physical leftovers of performance the degrading of memory and legacy around pre-digital theatre work and the temporal material transitions of artefacts enduring outside of traditional museological contexts.
How might we regard these mercurial items? As precious relics to be protected in museum holdings ghostly harbingers of residual performance histories or inconvenient detritus? The book travels from props-makers’ studios to auction houses and galleries incorporating film-making artefact handling and curation along the way in lively dialogue with perspectives from dance history material culture sociology and performance studies. The choreographic archive is envisioned as repository of the awkward scattered remains of legacy blown apart into fragments. Smithereens which can if we allow them demand an alternative after-life that disrupts the vanishing inflicted on these costumes and the companies who danced in them.
The Architect's Dream
Sean Pickersgill demonstrates that the goal of creating meaningful architecture can take a variety of critical and philosophical paths. The importance of architecture as an expression of broad complex social drivers is complemented by the equally popular idea that architecture as an intellectual pursuit retains its own autonomy as a self-referential culture. This book uniquely places the emphasis for innovation in architecture within the domain of critical thinking generally and a specific understanding of the semantics of built form.
The book draws on a broad range of subject areas from film to philosophy to anthropology to mathematics and economics to show that the path to meaningful creative practice is always based in an understanding of the principal drivers for change and meaning in society.
It is not a simple recipe book or workshop manual for others to reproduce. It requires the engaged reader to employ their own creative abilities to find what potential lies in each of the propositions and it will encourage the scholastic architect to continue to mine the rich veins of intellectual culture to demonstrate the latent purposiveness inherent in all meaningful architecture.
Dissens and Sensibility
The book is motivated by the author's long-lasting interest in the role of art in society in general and education in particular and is a contribution to arts-based approaches to education. An introduction to pedagogy of dissensus: a pedagogy informed by the dissensual characteristics of art. The book includes both theoretical foundations and examples of how the theory is unfolded in different contexts ranging from educational practice to own arts-based research. This publication is a unique opportunity to launch the relevance of the pedagogy of dissensus in an international context.
The author invites readers to encounter dissensus as an educational strategy through examples from her own research and teaching. Referencing philosophers and theorists such as Rancière Gert Biesta and Dennis Atkinson she demonstrates art’s ability to create necessary disturbance and resistance in art education. Putting art at the centre of education and democracy the author shows what an art education focusing on concepts and issue-based art rather than form colours and composition can contribute as a contrast to the dominating practice in art.
Obsessions of a Showwoman
Explores ‘showwomanry’ tracing a trajectory of incredible weird women at work: women who were stone eaters fire walkers women who hypnotized alligators or presented crucifixion shows; women in entertainment who worked for themselves; women that were often referred to as showgirls despite their extraordinary skill and artistry.
Carnesky continues an important lineage of performing women with bombastic theatrical flair and an extraordinary skill that ‘do not work for the management or the man. Showwomen work for themselves and other people work for them”. Carnesky has been a central figure in performance and live art during the last thirty years; her practice as a showwoman promotes alternative visions of matriarchal entertainment utopias and a new relationship to women’s position to power and politics.
The term showwoman introduces a new identity a new kind of performer who does not control or exploit others but opens up a possibility for collaboration that enables ‘shared experiences of visceral euphoria applause loss shape abjection hustle and struggle marginalisation and the fight against patriarchal injustices’ (Carnesky
2019 53). The book will use Carnesky’s work to showcase women working in radical ways treading the margins of cabaret and live art disrupting normative ideologies through the spectacular and opening new lines of feminist enquiry through weirdness absurdity provocation in live art and popular culture.
Sight Readings
Jazz photography has attracted increasing attention in recent years. Photographs of musicians are popular with enthusiasts while historians and critics are keen to incorporate photographs as illustrations. Yet there has been little interrogation of these photographs and it is noticeable that what has become known as the jazz photography 'tradition' is dominated by a small number of well-known photographers and 'iconic' images.
Many photographers including African American photojournalists studio photographers early twentieth-century émigrés the Jewish exiles of the 1930s and vernacular snapshots are frequently overlooked. Drawing on ideas from contemporary photographic theory supported by extensive original archival research Sight Readings is a thorough exploration of twentieth century jazz photography and it includes discussions of jazz as a visual subject its attraction to different types of photographers and offers analysis of why and how they approached the subject in the way they did.
One of the remarkable things about this book is its movement back and forth between detailed archive research the empirical documentation of photographers their techniques working practices equipment etc. and cultural theory the sophisticated discussion of aesthetics cultural sociology the politics of identity etc. The result is both a fine scholarly achievement and an engaging labour of love.
Entangled Histories of Art and Migration
Dedicated to the stories of migrants refugees asylum seekers and exiles this collection asks how these stories are interwoven with art art practices activism reception and (re-)presentation. It explores the complex entanglements of art and aesthetic practices with migration flight and other forms of enforced dislocation and border/border crossings in global contexts - the latter significant phenomena of social transformation in the twentieth and twenty-first centuries.
These complex entanglements take centre stage when migration shapes forms and aesthetics (and vice versa) when actors employ image politics and visualisation strategies in and about migration at different times and places or when materialities sites and spaces gain importance for decision-making processes. Taking an art and cultural studies perspective the book questions the significance of spatial changes for artistic practice in migration and elaborates on new or different theory-formation.
Interweaves histories of modernism and exile in different urban environments and focuses on historical dislocations in the first half of the twentieth century when artistic and urban movements constituted themselves in global exchange. Although this book takes a historical perspective it is written with an awareness of current flight movements and will make a significant contribution to the theory and methodology of research on exile.
The knowledge of previous historical exile experiences is important for the understanding of contemporary flight movements: after all these are not singular phenomena. For migration movements in the first half of the 20th century and for those of today it is equally possible to speak of urban centres of attraction for refugees: Today Berlin is a European metropolis of exile; in the 1930s and 1940s Paris Prague London New York Istanbul and Shanghai were destinations for refugees.
Entangled Histories of Art and Migration
Dedicated to the stories of migrants refugees asylum seekers and exiles this collection asks how these stories are interwoven with art art practices activism reception and (re-)presentation. It explores the complex entanglements of art and aesthetic practices with migration flight and other forms of enforced dislocation and border/border crossings in global contexts - the latter significant phenomena of social transformation in the twentieth and twenty-first centuries.
These entanglements take centre stage when migration shapes forms and aesthetics (and vice versa) when actors employ image politics and visualisation strategies in and about migration at different times and places or when materialities sites and spaces gain importance for decision-making processes.
Giving space to these stories of art and migration and its power of pluriverse knowledge production the book takes an art and cultural studies perspective and questions the significance of spatial changes for artistic practice in migration and elaborates on new or different theory formation. Bringing together its case studies and theoretical approaches the argumentation unfolds over the five sections of the book Visibilities | Invisibilities Sites | Spaces Materiality | Materialisation Racism | Resistance and Practices | Performativity.
Consent Practices in Performing Arts Education
This book explores consent as a foundational principle to guide practices and policies in university level performing arts education. It includes descriptions of the structural power dynamics present in educational spaces as well as tools for defusing them. It adapts the consent-forward protocols that are foundational to intimacy training in order to apply them to classroom and rehearsal spaces across performing arts disciplines.
This includes opening lines of communication actively discussing personal boundaries and modeling behavior that respects those boundaries. Additionally the book uses experiential reflections to address the real-world challenges that teachers face as they work to reshape their teaching habits and processes to include consent practices.
Ethno Music Gatherings
This book presents key findings from a 4-year project that sought to understand Ethno Gatherings an organized residential folk world and traditional music programme for young people aged 18-30. In response to three lines of enquiry pedagogy and professional development participant experience and the impact it had upon those who attended the authors examine the complexity of an Ethno music experience. By considering its history and current practices the following themes are explored: non-formal music making personal authenticity holistic praxis musical possible selves intercultural music exchange sustainability social media engagement song sharing and future practices. Constructed through data drawn from participant observations interviews online social media analysis onsite and video observations surveys and questionnaires the authors ask critical questions concerning Ethno’s history ethos pedagogy and philosophical ideals. First held in Sweden in 1990 Ethno Gatherings are now located in over 40 countries worldwide and are part of JM Internationals youth music programmes. As a collection of integrated thought the book’s purpose is to illuminate new understandings of what Ethno does to support its future growth and development.
Digital Embodiment and the Arts
A timely examination of the use of emerging technologies in the arts in recent decades from the first wave of Virtual Reality through to the current use of Mixed Augmented and Extended Realities. It highlights the necessity of understanding technological experiences through the assumption that all experience is embodied. An explosion of digital culture and experience has most certainly given artists and creative practitioners new ways of exploring a hybridisation of creative practices with access to technological tools only previously dreamt of. Further there are a number of threads around digital embodiment and its centrality to the digital experience.
The book is divided into 3: Section 1 explores the whole notion of embodied experience through a study of space and virtuality imagination and technology. Section 2 lays the ground for a more explicit understanding of the role the body has in our engagement with the digital technologies focussing on three distinct bodies: the gravitational body the virtual body and finally the hybrid body. Section 3 is split into three chronological chapters in terms of technological developments that of VR Virtual Worlds and Augmented Mixed and Extended Realities.
While individual aspects and themes covered here can be found in some recent books there is little that places digital embodiment within the arts in the way this book does. A unique synthesis.
Somatics in Dance, Ecology, and Ethics
This book of highly original essays addresses the field of movement-based and dance somatics through lenses of ethics and ecology. It is based in methods of phenomenology.
A new collection of essays previously published with Intellect as journal articles with the addition of new essays and editorial material. The text considers body-based somatic education relative to values virtues gender fluidity lived experience environmental awareness fairness and collective well-being. In delineating interdependent values of soma ecology and human movement that are newly in progress the collection conceives links between personal development of subjective knowledge and cultural critical and environmental positionality.
The text raises questions about defining somatics and self gender dynamics movement preferences normative body conceptions attention to feelings inclusiveness ethics of touch and emotional intelligence in somatics contexts. I include these crucial concerns of somatics and ethics as relational globally complex and ongoing.
Like much of Sondra Fraleigh’s writing these essays utilize phenomenology as a method to investigate embodied relationships—often through lenses of ethics and aesthetics. In providing some examples the text explores specific values of gratitude listening and emotional intelligence in somatic bodywork and learning environments.
Architecture, Film, and the In-between
The long-established dialogue between architecture and film offers an interdisciplinary platform for a critical examination of spaces of in-between.
Apart from architecture informing scenography and cities serving as backdrops to the moving image films have actively participated in shaping the public opinion about architecture and its allied disciplines. While architecture and design may not necessarily be central themes in a film their spatial contextualization of the narrative informs cinematic productions. Screen Space and the In-Between looks at both the filmic imagination/representation of architectural in-betweenness as well as the in-between spaces within the inherent architectural structure of filmic expression.
On the one hand cinematic production serves as a site to project utopian fantasies of the built environment and on the other hand the processes tools and methods involved in both architecture and film function as mediators between abstract ideation and its materialized manifestation.
The book interrogates the filmic creation of spatial imaginaries through the anthropological lens especially as the disciplines in the built environment react to the liminal spaces of the cinematic. It adopts cinematic experiences of the built environment as a vantage point to reframe ongoing theoretical debates about liminal spaces.
Foreword by Mark Foster Gage
Contributors: Giuliana Bruno Beatriz Colomina James F. Kerestes Graham Harman Ferda Kolatan Juhani Pallasmaa Eva Perez De Vega Mehmet Sahinler Patrik Schumacher Maria Sieira Alican Taylan Vahid Vahdat Jason Vigneri-Beane Jon Yoder Michael Young
Becoming a Visually Reflective Practitioner
Professional practice is increasingly becoming more complex demanding dynamic and diverse. This important and original new book considers how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Ideally for visual arts practitioners on all levels this book presents a self-study model grounded in compelling research that highlights arts-based methods for examining four areas of professional practice: professional identities work cultures change and transitions and envisioning new pathways.
Chapters address the components of the self-study model artistic methods and materials and strategies for interpreting self-study written and visual outcomes with the aim of goal setting. Each chapter includes visuals references and end-of-chapter prompts to engage readers in critical and visual reflection. Appendices offer resources and guidelines for creating and assessing self-study outcomes.
The fluctuating nature of professional practice necessitates the pursuit of discernment and clarity that can be achieved through an ongoing reflective practice. Self-study is a systematic and flexible methodology for purposeful reflection on professional practice that embraces dialogic interpretive rhizomatic and visual inquiry. Self-study can occur at any level of practice and in the context of work-related professional development formal study or as a self-initiated inquiry. An arts-based self-study model for visual arts practitioners is explored and focuses on four intersectional components shaping professional practice: professional identities work cultures and communities transition and change within professional practice and envisioning new pathways for professional practice.
The self-study model is grounded in contemporary theory practice and compelling research and embraces robust strategies for understanding the complexities of professional practice that can include dual multiple overlapping hybrid and conflicting professional identities tensions within work cultures and unexpected changes within professional practice. Each chapter focuses on a component of the self-study model and an area of professional practice concluding with references and end-of-chapter prompts that are aimed to facilitate critical reflection-on-practice and the creation of written and visual responses.
With visual arts practitioners in mind various arts-based methods for self-study are discussed that highlight visual journaling as a key method for engaging in self-study. Interpretive research methods are discussed to guide readers in understanding the phases and processes for interpreting written and visual self-study outcomes. Processes are outlined to help readers determine key insights themes issues and questions from their self-study outcomes how to use them in formulating new questions and articulating new professional goals. Several levels for interpretation are presented to offer readers options relative to their professional needs and aims.
Throughout the text charts and visuals serve to summarize and visualize key chapter points. Images by visual arts practitioners appear throughout the text and represent a wide range of artistic media methods and approaches appropriate for self-study. The appendices provide additional resources for enhanced understanding of chapter concepts and key terms guidelines and rubrics for writing reflections creating visual responses and using a visual journal in the self-study process.
Primary readership will be visual arts practitioners at all levels. Ideal for university level graduate courses or as a guide for individuals and small groups of practitioners who seek to engage in arts-based self-study as professional development.
The Physical and the Digital City
The Physical and the Digital City is a unique collection of projects where researchers and designers show how the theories of technology underpinning the digital urban environment are applied in practical and spatial terms. The authors are experts in their respective fields who pursue cutting edge solutions for city-making and consider the theoretical premise critically. It is designed to be a self-contained and interdisciplinary reference text to introduce students designers and scholars to the idea of physical/digital and its urban application.
The book will help students and designers to develop a clear understanding of the physical and digital principles underpinning urban assemblages and a solid set of references to start working within this topic with confidence. Of interest to all students and scholars interested in urban studies (geography planning urban design social sciences and humanities) and human-computer interaction (media studies computer science social sciences cognitive sciences anthropology and psychology). The book will clarify the role of digital technologies within the city along with its possible implications for people and communities.
It is oriented to the academic and professional communities interested in architectural urban and digital design from different angles. This includes those interested in computational architecture for example eCAADe Education and Research in Computer Aided Architectural Design in Europe ACADIA Association of Computer Aided Design in Architecture CAADRIA Computer Aided Architectural Design Research in Asia SIGraDi Sociedad Iberoamericana de Grafica Digital CAAD Futures Foundation as well as those interested in the human-computer interaction.
Performing Maternities
Performing Maternities is a collection of essays creative work images and scripts which emerged out of an online international symposium held at Brighton University in November 2020. Collectively the contributors challenge celebrate and share the normative the queer the transgressive the joy and the pain of performing maternity. The book asks key questions about the construction of maternal identities and mythologies in the contemporary world the ways these impact on indivduals in different social economic and sexual identities and the ways in which - as mothers writers artists parents and grandparents -we can challenge and address those identities.
Jess Dobkin’s Wetrospective
Taking as its starting point the first-ever retrospective exhibition (2021) of Canadian performance artist Jess Dobkin the book reflects on the internationally acclaimed artist’s playful and provocative practice as performer activist curator and community leader. At the same time it grapples with a question that is vital for art and performance studies: How do archives perform?
More than a discrete showing of a single artist’s work the exhibition including its new staging in book form is a large-scale research experiment in performance curation investigating what it might mean for art institutions to take seriously the embodied and communal nature of performance art in their practices of archiving and museological display.
In Jess Dobkin’s Wetrospective a cast of renowned international performance theorists and artists dive into this exploration alongside Dobkin curator Emelie Chhangur and performance theorist and dramaturg Laura Levin. These contributions appear alongside a riot of full colour photographs providing access to Dobkin’s celebrated artistic productions from the last 25 years.
From Broadway to The Bronx
The depiction of New York City in song across a variety of different genres focusing on jazz genres as well as the work of both New York born artists like Billy Joel or Lin-Manuel Miranda and artists living most of their life in New York City like Shinehead or Debbie Harry that are intimately connected with the city.
The book analyzes songs written about New York City and engage with the depiction of the city within them but mainly use it as a way to deal with several musical genres that the city has been home to and instrumental in developing. These include the musical theatre scene on Broadway and beyond but also early 20th century sheet music hip hop disco punk dancehall jazz swing rock or pop music. The collection includes essays from authors with a cultural studies media studies cultural history or musicology background making possible a far-ranging treatment of the interconnection of the city space and its musical history.
Reframing Berlin
Reframing Berlin is about how architecture and the built environment can reveal the memory of a city an urban memory through its transformation and consistency over time by means of ‘urban strategies’ which have developed throughout history as cities have adjusted to numerous political religious economic and societal changes. These strategies are organised on a ‘memory spectrum’ which range from demolition to memorialisation.
It reveals the complicated relationship between urban strategies and their influence on memory-making in the context of Berlin since 1895 with the help of film locations. It utilises cinematic representations of locations as an audio-visual archive to provide a deeper analysis of the issues brought up by strategies and case studies in relation to memory-making.
Foreword by Kathleen James-Chakraborty
A new volume in the Mediated Cities series from Intellect
Call Me by Your Name
Adapted by James Ivory from André Aciman’s novel and directed by Luca Guadagnino the film Call Me by Your Name has been passionately received among audiences and critics ever since its 2017 release.
A love story between seventeen-year-old Elio (Timothée Chalamet) and graduate student Oliver (Armie Hammer) and set in 1983 ‘Somewhere in northern Italy’ Call Me by Your Name presents a gay relationship in a romantic idyll seemingly untroubled by outside pressures prejudices or tragedy. While this means it offers audiences welcome opportunities to swoon in front of an LGBTQ+ romance that equals classic heterosexual romances onscreen its relevance or political significance today may not be immediately apparent. And yet the film is abundantly infused with narrative thematic and stylistic elements that can be interpreted as speaking powerfully to contemporary audiences on questions of sexual identity.
This edited collection addresses how the film helps inform our understanding of contemporary sexual identity and romance. How does this love story explore wider tensions that exist between the specific and the general between the open and the hidden and between the past and the present? The contributors to the collection explore these questions in stimulating and contemplative manners.
Material Media-Making in the Digital Age
There is now no shortage of media for us to consume from streaming services and video-on-demand to social media and everything else besides. This has changed the way media scholars think about the production and reception of media. Missing from these conversations though is the maker: in particular the maker who has the power to produce media in their pocket.
How might one craft a personal media-making practice that is thoughtful and considerate of the tools and materials at one's disposal? This is the core question of this original new book. Exploring a number of media-making tools and processes like drones and vlogging as well as thinking through time editing sound and the stream Binns looks out over the current media landscape in order to understand his own media practice.
The result is a personal journey through media theory history and technology furnished with practical exercises for teachers students professionals and enthusiasts: a unique combination of theory and practice written in a highly personal and personable style that is engaging and refreshing.
This book will enable readers to understand how a personal creative practice might unlock deeper thinking about media and its place in the world.
The primary readership will be among academics researchers and students in the creative arts as well as practitioners of creative arts including sound designers cinematographers and social media content producers.
Designed for classroom use this will be of particular importance for undergraduate students of film production and may also be of interest to students at MA level particularly on the growing number of courses that specifically offer a blend of theory and practice. The highly accessible writing style may also mean that it can be taken up for high school courses on film and production.
It will also be of interest to academics delivering these courses and to researchers and scholars of new media and digital cinema.
Art Education in Canadian Museums
This collection considers how Canadian art educators are engaging with a new range of approaches to museum education and why educators are responding to 21st century challenges in ways that are unique to Canada.
Organized into three sections this collection reconceptualizes museums to consider accessibility differences in
lived experiences and how practices create impactful change.
With the overarching concept of relationality between art museums and interdisciplinary perspectives authors consider methodological philosophical experiential and aesthetic forms of inquiry in regional museum contexts from coast-to-coast-to-coast that bring forward innovative theoretical standpoints with practice-based projects in museums articulating how museums are shifting and why museums are evolving as sites that mediate different and multiple knowledges for the future. Informed by social justice perspectives and as catalysts for public scholarship each chapter is passionate in addressing the mobilization of equity diversity and inclusivity (EDI) in relation to practices in the field.
By weaving the learning potential of interacting with artworks more fully within situated and localized social and cultural communities the authors present a distinct socio-political discourse at the heart of teaching and learning. Rupturing preconceived ideas and sedimentary models they suggest a discourse of living futures is already upon us in museums and in art education.
Ulrike Ottinger
The first English language scholarly collection of articles on the leading Berlin based German artist and film-maker Ulrike Ottinger. The articles engage with the full range of the works from the early Berlin feature films of the 1970s and .'80s to the ethnographic documentaries also including the art exhibitions photography shows installations and artist books. The book brings together feminist film theorists with art historians and cultural theorists each with a distinctive and detailed perspective on the queer fabulist genres of Ottinger now in her 80s.
Modelling International Collaborations in Art Education
Based on over a decade of collective teaching this volume explores the hybrid use of online and in-person collaboration as a means of offering international experience to university-level arts students. Chapters articulate a collective learning based on the experiences of the International Art Collaborations Network (INTAC) Collective Body group and related programs which the authors and contributors have participated in as educators and students.
Illustrated with photographs screenshots and student projects the book inspires reflection on teaching methodologies and student artmaking strategies across cultures and languages. Pedagogical and methodological topics trace an evolution of curricular approaches and use of evolving online platforms. Examples of themes and visual strategies demonstrate the power of student-directed collaborative learning. Diverse voices have been gathered through research conducted with educators and alumni connected to INTAC providing perspectives on working collaboratively in a global context.
Student projects exemplify responses to the challenges of communication and creation that come with distanced artistic partnership. Chapters end with suggested points for conversation whether between educators students of art education or students entering collaborations. Although based on experiences in the visual arts the ideas and methods are applicable to others engaging in inter-institutional education or online collaborative practices.
Fully illustrated with examples of collaborative art projects photographs screenshots diagrams and posters.
Art Education in Canadian Museums
This collection considers how Canadian art educators are engaging with a new range of approaches to museum education and why educators are responding to 21st century challenges in ways that are unique to Canada.
Organized into three sections this collection reconceptualizes museums to consider accessibility differences in
lived experiences and how practices create impactful change.
With the overarching concept of relationality between art museums and interdisciplinary perspectives authors consider methodological philosophical experiential and aesthetic forms of inquiry in regional museum contexts from coast-to-coast-to-coast that bring forward innovative theoretical standpoints with practice-based projects in museums articulating how museums are shifting and why museums are evolving as sites that mediate different and multiple knowledges for the future. Informed by social justice perspectives and as catalysts for public scholarship each chapter is passionate in addressing the mobilization of equity diversity and inclusivity (EDI) in relation to practices in the field.
By weaving the learning potential of interacting with artworks more fully within situated and localized social and cultural communities the authors present a distinct socio-political discourse at the heart of teaching and learning. Rupturing preconceived ideas and sedimentary models they suggest a discourse of living futures is already upon us in museums and in art education.
The Bitter Landscapes of Palestine
Using both photographs and written narratives The Bitter Landscapes of Palestine provides a depiction of the lives and struggles faced by Palestinians living in the occupied Palestinian territories on the West Bank in particular the South Hebron Hills and the Jordan Valley. It sheds light on issues including house demolitions conflicts between Palestinian shepherds or farmers and Israeli settlers soldiers and police the daily struggles brought about by the occupation's efforts to displace Palestinians from their land and the resilience and bravery required to endure these conditions. This moving book conveys the beauty of the landscape the essence of the language the value of friendships and the richness of a threatened way of life.
Voices of activists both Palestinian and Jewish are brought into focus. The historical context that generated present realities in Palestine is outlined briefly as well as the history of the authors’ partnership. Their perspective mirrors extensive years of involvement in peace and human rights activism in Palestine. It also captures the ongoing dialogue between the two authors who have experienced together the continually renewed astonishment that comes with such experiences and encounters.
Propositions for Museum Education
From the perspective of art educators museum education is shifting to a new paradigm which this collection showcases and marks as threshold moments of change underway internationally. The goal in drawing together international perspectives is to facilitate deeper thinking making and doing practices central to museum engagement across global local and glocal contexts.
Museums as cultural brokers facilitate public pedagogies and the dispositions and practices offered in 33 chapters from 19 countries articulate how and why collections enact responsibility in public exchange
leading cultural discourses of empowerment in new ways. Organized into five sections a wide range of topics and arts-based modes of inquiry imagine new possibilities concerning theory-practice sustainability of educational partnerships and communities of practice with in and through artwork scholarship.
Chapters diverse in issues art forms and museum orientations are well-situated within museum studies enlarging discussions with trans-topographies (transdisciplinary transnational translocal and more) as critical directions for art educators.
Authors impart collective diversity through richly textured exposés first-person accounts essays and visual essays that enfold cultural activism sustainable practices and experimental teaching and learning alongside transformative exhibitions all while questioning – Who is a learner? What is a museum? Whose art is missing?
Places and Purposes of Popular Music Education
This book provides a manuscript-megaphone for a variety of perspectives on popular music education including those we do not usually hear from but who are doing far and away the coolest most relevant and most interesting things.
It includes rants manifestos and pieces that are pithy and punchy and poignant which have resulted in a wide tonal variety among chapters from more traditionally scholarly pieces replete with citations and references through descriptions of practice to straight-up polemics. It is more about beliefs experiences and motivation about frustrations aspirations and celebrations. The chapters are intended to whet appetites prime pumps open eyes and keep cogs turning. This book is organized into four parts: Beyond the Classroom Identity and Purpose Higher Education and Politics and Ideology. This book is intended for academics of all ages and stages but the writing is often deliberately non-academic in tone.
The book will appeal to those working in popular music studies communication studies education research and should be of interest to those involved in policy decisions at national and regional levels. It is also directly relevant to researchers looking music industry and music ecosystems nationally regionally and internationally as education and popular music industry DIY and community sectors continue to enmesh in complex and evolving ways.
Designing and Conducting Practice-Based Research Projects
This is a textbook aimed primarily at upper undergraduate and Master’s students undertaking practice-based research in the arts and includes practical guidance examples exercises and further resources.
The book offers definitions and a brief background to practice-related research in the arts contextualization of practice-based methods within that frame a step-by-step approach to designing practice-based research projects chapter summaries examples of practice-related research exercises for progressing methods design and evaluating research approach and lists for further reading. This textbook can serve as the foundation for a wider online “living” textbook for practice-related research in the arts.
Designing and Conducting Practice-Based Research Projects
This is a textbook aimed primarily at upper undergraduate and Master’s students undertaking practice-based research in the arts and includes practical guidance examples exercises and further resources.
The book offers definitions and a brief background to practice-related research in the arts contextualization of practice-based methods within that frame a step-by-step approach to designing practice-based research projects chapter summaries examples of practice-related research exercises for progressing methods design and evaluating research approach and lists for further reading. This textbook can serve as the foundation for a wider online “living” textbook for practice-related research in the arts.
Socially Engaged Creative Practice
This is the second book in the Performance and Communities series. An edited collection from academics and artists engages with both these notions of performance – that of identities in and through time and space - and of more formal instances of specific time-limited performances; textual embodied visual and communal.
Each chapter focuses on an individual or group’s mode of working and methodological practice of performance across a range of modes disciplines and media – from community opera to online queer performance from anti-racist class-room pedagogy to 1980s cabaret in nightclubs from community art projects in schools to community writing projects in transport interchanges the performers writers and creators represented here all engage and grapple with contemporary performance as a situated practice and as a problematic.
The personal perspective of each performer – directors librettists producers writers performers – is explicitly located in a community and the book offers a series of case studies detailing socially engaged work that aligns with concepts of performance and community.
Contemporary Absurdities, Existential Crises, and Visual Art
Some have called this an age of absurdity and as such Contemporary Absurdities Existential Crises and Visual Art presents the contributions of artists theorists and scholars whose words and works investigate the absurd as a condition of a tactic for and a subject in the contemporary.
The absurd is a lens on the disturbances of our moment and a challenge to the propositions about and solutions for the world. The absurd shakes off the paralysis that what we know must be the only thing we (re)produce. Those willing to recognize that and confront it rather than flee from it are thereby introduced to the political writ large.
This edited collection adopts ideas and practices associated with the absurd to explain how the contemporary moment is absurd and how absurdity is a useful potentially radical tool within the contemporary.
Critical art allows the absurd a space within which audiences can observe their own tendencies and assumptions. The absurd in art reveals our inculcation into hegemonic belief structures and the necessity to question the systems to which we subscribe. Today we see the absurd in memes performative politics and art expressing the
confusion and disorientation wrought by the endless emerging crises of our 24/7 relations.
Being Human Today
Education mental health and the arts all share a concern for human beings and for how they live their lives. Living one’s life and living it well has always been a challenge – life never simply happens. But what the particular challenges are differs from time to time from location to location and even from individual to individual.
In both education and mental health there is a strong pressure to think of being human as a technical problem that in some way can be ‘fixed’ by powerful research-based interventions. Also arts are quickly turned into an instrument for fixing problems. While such fixing may be possible and may appear to be quite successful from one perspective it clearly runs the risk of turning students and clients into objects – things to be acted upon rather than human beings to encounter and act with.
This book stages conversations between art education and mental health around the question of what it means to be human today. Moving beyond the suggestion that this requires ‘strong’ educational or therapeutic interventions or can be resolved by means of individual expression the chapters explore new possibilities for 'the arrival of I’.
Performing with the Dead
Proposes a methodology for incorporating concepts drawn from ancestor trance in Afrolatinx ritual for actors trained in Western methods. Danowski created four new works of theatrical performance writing the play texts and incorporating acting exercises from Afrolatinx rituals adapted for non–practitioners. Working toward a phenomenological understanding of what is happening when a performer incorporates a character drawing on the ritual knowledge of trance possession in Lukumí and Palo Monte to examine how ontologies might speak to each other.
Constructing a methodology called kanga (from the Bantu for tying and untying) using three methods based on aspects of Afrolatinx ritual and modified for performance contexts: spell charm and trance. This methodology enacts and complicates distinctions between performance and ritual serving as a contribution to respectful and responsible intercultural performance practices.
The methodology is bricoleur drawing from ethnography psychoanalytic theory and phenomenology. Kanga in practice leads to a state of consciousness that Danowski calls hauntological. This borrows from Derrida but is redefined to refer to the study of haunted states of consciousness where reality is co–constituted by the living and the dead where ancestral spirits are invoked to do the work once reserved for characters.
Multimodal Comics
Comics have always embraced a diversity of formats existing in complex relationships to other media and been dynamic in their response to new technologies and means of distribution. This collection explores interactions between comics other media and technologies employing a wide range of theoretical and critical perspectives.
By focusing on key critical concepts within multimodality (transmediality adaptation intertextuality) and addressing multiple platforms and media (digital analogue music prose linguistics graphics) it expands and develops existing comics theory and also addresses multiple other media and disciplines.
Over the last decade Studies in Comics has been at the forefront of international research in comics. This volume showcases some of the best research to appear in the journal. In so doing it demonstrates the evolution of Comics Studies over the last decade and shows how this research field has engaged with various media and technologies in a continuously evolving artistic and production environment. The theme of multimodality is particularly apt since media and technologies have changed significantly during this period. The collection will thus give a view of the ways in which comics scholars have engaged with multimodality during a time when “modes” were continually changing.
Heavy Metal and Disability
The relationship between metal and disability is distinctive. Persisting across metal’s sub-genres is a preoccupation with exploring and questioning the boundary that divides the body that has agency from the body that has none. This boundary is one that is familiar to those for whom the agency of the body is an everyday matter of survival.
Metal’s preoccupation with unleashing and controlling sensorial overload acts both as an analogue of neurodiversity and as a space in which those who are neurodivergent find ways to understand and leverage their sensory capacities. Metal offers potent resources for the self-understanding of people with disabilities. It does not necessarily mean that this potential is always explored or that metal scenes are hospitable to those with disabilities. This collection is disability-positive validating people with disabilities as different but not damaged.
While metal scholars who contribute to this collection see metal as a space of possibility in which dis/ability and other intersectional identities can be validated and understood the collection does not imply that the possibilities that metal affords are always actualised. This collection situates itself in a wider struggle to open up metal challenging its power structures; a struggle in which metal studies has played a significant part.
Reimagining the Art Classroom
This book is for artists teachers and those who prepare teachers. In the field of art and design education there are many theoretical strands that contribute to the practices of teaching and learning in the visual arts. The problem for artist teachers and those who prepare teaching artists is how to frame the diverse methodologies of art and art education in a way that affords divergent practices as well as deep understanding of issues and trends in the field. Teachers need a field guide that provides a contextual background of theory in order to make their own teaching practice relevant to contemporary art practices and important ideas within the field of education. The book in its content and presentation of content is pedagogical; it provides a catalyst and prompt for meaningful and personal artistic inquiry and exploration.
The book describes connections between teaching and artistic practices including the pedagogical turn in contemporary art. As a book for artists and designers it is graphically compelling and visually inspiring. It is designed to be engaging for the practitioner and theoretically robust. A problem with many current texts is that they are written by academics who are often a step removed from the issues of classroom instruction and tend use the language of the scholar which is appropriate for a scholarly journal but can be difficult for other audiences. This book will bridge this divide through its use of design narrative and descriptions of innovative artistic practices. Rather than being a book about “best practice” it is a book about “diverse practices” within art making and teaching.
This field guide to artistic approaches including methods for teaching art frames its arguments around critical questions that artists and art teachers must address such as: What is the role of art and design in secondary education? What will I teach? How do we go about teaching art? How do I know if my teaching is working? What is the role of traditional mediums and methods within contemporary art practices? How can art teachers contribute to the reinvention of schools? How might fluency within a medium be connected to important issues within culture including the culture of adolescents? This book includes examples of approaches that might provoke or inspire artist and pedagogical inquiry. These are approaches that actively engage students in work that disrupts taken for granted conventions about schooling and its purposes. It considers how art and design might transform the school experience for adolescents.
Following the Score
Based on a recent touring project The Ravel Trilogy this title comprises playtexts and essays that contextualise the themes and approaches of the devised work: Bolero (2014) Concerto (2016) and Solo (2018). The book takes an interdisciplinary critical enquiry into the working dramaturgy of performance ‘scores’ inspired by the music.
The book frames the playtexts of the trilogy alongside a series of reflective essays and provocations on contemporary dramaturgy and musicology from academics and artists in drama music linguistics and fine art. It contextualises themes and approaches of the trilogy and serves as a critical companion to a body of devised work. It stimulates a debate about dramaturgy and composition and invites discussion about postdramatic theatre's relationship to music.
This publication marks the culmination of the trilogy and its critical legacy and explores the work through the dual lenses of postdramatic theatre and research questions articulated and addressed by the practice-research undertaken by its co-creators. The dramaturgical context for The Ravel Trilogy and the reflective essays around it allow the editors to explore the relationship between theatre and music.
It raises questions about practice-research and notions of creating playtexts from musical scores. Pinchbeck and Smith reflect on making and performing The Ravel Trilogy and the process of researching devising and presenting work inspired by music where score becomes script and dynamics become stage directions.
The Drama Therapy Decision Tree, 2nd Edition
This substantially revised and expanded edition of the The Drama Therapy Decision Tree provides an integrated model for therapeutic decision-making by uniting drama therapy interventions with diagnostic information individual and group processes psychological distance the drama therapy pie and global outcomes.
This book is a practical guide in four sections not a checklist. Rather than using a standardized protocol that makes the decisions for the therapist drama therapy is based on dynamic embodied creative action with participants in the here and now. Conscious planning on the part of the drama therapist before the session supports spontaneity and creativity preparing them to make good therapeutic decisions in the moment during the session.
The opening section guides readers through the foundational principles leading readers into Section Two The Decision Tree which is a series of questions for early career drama therapists to ask themselves as they prepare treatment plans for clients. Diversity Equity and Ethics are covered in Section Three from the point of view of creative arts therapy practitioners. Section Four looks at Integrating the Five Phases of Treatment with the Drama Therapy Pie following different populations (diagnosis) of clients through the five phases of group therapy in order to illustrate how the Decision Tree supports intervention choice in the different phases of treatment.
The authors strive to provide a common language for communicating what drama therapists do and how they do it in order to demystify drama therapy for other mental health and medical professionals. Using the decision tree as a guide early career drama therapists can move forward confidently and ground their work with participants in an integrated system.
An online searchable database of drama therapy interventions provides descriptions therapeutic outcomes addressed and other useful information provides a wealth of additional supporting material. There is also a separate online resource of deroling activities.
The online resources can also be an asset for non-drama therapists who are wanting to incorporate a more active and embodied component safely into their work particularly in terms of warm-ups closure and deroling.
The Drama Therapy Decision Tree, 2nd Edition
This substantially revised and expanded edition of the The Drama Therapy Decision Tree provides an integrated model for therapeutic decision-making by uniting drama therapy interventions with diagnostic information individual and group processes psychological distance the drama therapy pie and global outcomes.
This book is a practical guide in four sections not a checklist. Rather than using a standardized protocol that makes the decisions for the therapist drama therapy is based on dynamic embodied creative action with participants in the here and now. Conscious planning on the part of the drama therapist before the session supports spontaneity and creativity preparing them to make good therapeutic decisions in the moment during the session.
The opening section guides readers through the foundational principles leading readers into Section Two The Decision Tree which is a series of questions for early career drama therapists to ask themselves as they prepare treatment plans for clients. Diversity Equity and Ethics are covered in Section Three from the point of view of creative arts therapy practitioners. Section Four looks at Integrating the Five Phases of Treatment with the Drama Therapy Pie following different populations (diagnosis) of clients through the five phases of group therapy in order to illustrate how the Decision Tree supports intervention choice in the different phases of treatment.
The authors strive to provide a common language for communicating what drama therapists do and how they do it in order to demystify drama therapy for other mental health and medical professionals. Using the decision tree as a guide early career drama therapists can move forward confidently and ground their work with participants in an integrated system.
An online searchable database of drama therapy interventions provides descriptions therapeutic outcomes addressed and other useful information provides a wealth of additional supporting material. There is also a separate online resource of deroling activities.
The online resources can also be an asset for non-drama therapists who are wanting to incorporate a more active and embodied component safely into their work particularly in terms of warm-ups closure and deroling.
Effective Journalism
This book provides journalists and the public with a broad overview of all the ways modern communication technologies and information approaches make it difficult for people to effectively find and interpret information and what they can do about it. The public may have a general awareness that things like confirmation bias content algorithms and the backfire effect exist and can influence their behaviour but this book will explain them in one place in plain language. Journalists likewise know that their audiences are dealing with some of these issues but continue to operate under the assumption that if they just publish facts the truth will win out in the court of public opinion.
The central argument of the book is that journalists and audiences can no longer afford to pretend that all information is competing on an even playing field and that it is enough for journalists to simply publish “the facts.” Just as behavioural economics provided a new way of thinking about economics one that understood people as non-rational actors this book attempts to explain the reality rather than the ideal of how people seek and process information and what journalists and their audiences can do to try to create an informed public in the face of that reality.
For many American journalists their work and their responsibility to the public is grounded in the concept of a marketplace of ideas. Journalists believe they should just report the facts as neutrally as possible and let the public judge those facts and put them in context. The marketplace of ideas requires individuals to rationally consider the information that is presented to them and weigh it against other available information. Through this process bad ideas will be judged and dismissed and good ideas will win out. We might like to believe that we are all capable of carefully and rationally evaluating information but the evidence is clear that it is simply not true. If it were true we would not observe such things as the continued persistence of flat-Earthers and moon-landing sceptics and others who champion backward social ideas that were dismissed decades or even centuries ago. The fact that these ideas continue to persist tells us that the public is not engaging in a clear-eyed rational consideration of all the available verified facts.
Walking in Art Education
This edited collection highlights ways that arts-educators have taken up important questions around learning with the land through walking practices across spatial temporal and cultural differences. These walking practices serve as ecopedagogical moments that attune us to human-land and more-than-human relationships while also moving past Western-centric understandings of land and place. Yet it is also more than this as the book situates this work in a/r/tographic practices taking up walking as one method for engagement.
Authors explore walking and a/r/tography in their local contexts. As a result the book finds that kinship and relationality are significant themes that permeate across a/r/tographic practices focused on ecopedagogy and learning with the land.
Unique to this collection is the weaving of groundings that both guide each chapter and emphasize the philosophical commitment of the book. Each grounding is written by scholars or artists with Indigenous backgrounds to Turtle Island (North America) or are scholars who are Indigenous to other countries and places who are now working in Canadian university settings. Many are Elders cultural stewards knowledge keepers and stewards of the land who find themselves immersed in practices that are artful ecological and in many instances involve the practice of walking. Each grounding offers an important lesson or prompt for readers to consider as they engage with the chapters as well as offering a conceptual re-centring and grounding to the land and the traditional knowledges from the territories on which this collection is being produced and edited.
Anishnaabe kwe scholar and artist Anna-Leah King reflects on the teachings of Alfred Manitopeyes a Saulteaux Elder from Muskcowekwun Pimosatamowin who shares that good walking and good talking is more than just a metaphor.
Ojibwa scholar and artist Natalie Owl troubles the dictionary definition of anecdotal in relation to walking in the world as an Indigenous woman.
Mukwa Musayett Shelly Johnson reflects on her relationship to the natural elements revealing how the winds have helped her learn emotional intimacy- from feelings of grief frustration anger respect power love and gratitude.
Metis scholar and artist Shannon Leddy invites the reader to a time-travelling walk tracing the colonial legacies of the land where she now lives in Vancouver Musqueam Territory going back to ancient Greece and engaging with Greek mythology and bringing us to creation itself as we gestate in our mother’s womb.
Cathy Rocke invites readers to her favourite walking path where she focuses her attention to the reciprocal relationships found in nature and considers how they can help us better understand healthy human relationships.
Gloria Ramirez reflects on her homeland in the Andean Mountains and how her body is intimately tied to the places she has walked.
In a poetic grounding story Shauneen Pete reflects on the traditional teachings shared by her grandfather from Little Pine First Nation about living and learning with the land.
Sheila Blackstock member of the Gitxsan First Nation invites readers to join her on a walk along the lakeshore in early springtime as she reflects on her walking practices that have taught her how to learn from nature. She describes her movements and senses as “a heart catalogue of understanding how to be in nature”.
In this grounding lesson from Peter Cole and Pat O’Riley the characters of Coyote and Raven invite readers to the Kichwa-Lamista of the High Amazon and the Quechua Andeans in the Sacred Valley of the Incas in Peru. Through story they talk about returning to the land in an era of climate change and learning about traditional lifeways of Indigenous relations that emphasize preserving maintain repairing caring and sharing.
In her grounding poem Yasmin Dean attunes to and shows gratitude to the Earth as she thoughtfully considers how to open and walk through the gate that leads to the sacred.
Leaping into Dance Literacy through the Language of Dance®
The main aim of this book is to present the theory and purpose underpinning the approaches to dance literacy as explored by the Language of Dance® community in the USA and UK. Through their teacher training programs they are changing the face of dance-based dance literacy using motif notation.
Through their teacher training programs they are changing the face of dance-based dance literacy using motif notation. This book reveals how dance notation literacy has changed due to practices being focused on constructivist and constructionist pedagogy. Based on work by dance educator Ann Hutchinson Guest and expanded upon by her protégés this is the first book of its kind to bring together theory praxis original research outcomes taxonomies model lesson plans learning domain taxonomies of dance and voices of dance teachers who have explored using dance notation literacy. We are in a new era for educating with dance notation focusing on learners’ engagement by making connections between the learning domains using constructivist and constructionist learning approaches.
Arts-literate dancers can deepen their dance craft and transfer their arts knowledge capacities and skills to lifelong learning. Dance-based dance literacy practices using notation enhance learners’ flexibility adaptability self-direction initiative productivity responsibility leadership and cross-cultural skills.
The book will appeal to dance educators focusing on cognitive and metacognitive learning in dance using communication problem-solving and critical thinking.
Useful for preschool and primary teachers aiming to integrate dance into classroom experiences and for secondary teachers teaching dance and looking to upgrade their approach to dance literacy so students are able to achieve higher level cognitive learning problem solving and social skills in dance classrooms.
Choreographers and dance teachers will find new approaches to dance making and to expressing their craft using a system that is well codified and now augmented with examples to guide them with making their own projects and processes.
Anyone with an interest in the idea of dance literacy will find concrete examples of how to put their knowledge into practice to advance their teaching and dance making.
Applied Theatre, Third Edition
Applied Theatre was the first collection to assist practitioners and students in developing critical frameworks for their own community-based theatrical projects. The editors draw on thirty case studies in applied theatre from fifteen countries—covering a wide range of disciplines from theatre studies to education medicine and law—and collect essential readings to provide a comprehensive survey of the field.
Infused with a historical and theoretical overview of practical theatre Applied Theatre offers clear developmental approaches and models for practical application.
This third edition offers refreshed case studies from many countries worldwide that provide exemplars for the practice of applied theatre. The book will be useful to both instructors and students in its focus on providing clear introductory chapters that lay out the scope of the field dozens of case studies in all areas of the field and a new chapter on responses to the global pandemic of 2020.
Also includes a new section on representation in its final chapter looking at the issues of how we represent ourselves and others on stage.
Fashion Projects
Fashion Projects: 15 Years of Fashion in Dialogue anthologizes the New York–based journal Fashion Projects. The book is an index of a particular time within the fashion studies landscape and the attendant fields of fashion writing fashion curation and critical fashion practice during which the field witnessed a meteoric rise.
The long-running non-profit journal Fashion Projects was described by The Paris Review as “a journal devoted to critical discourse in fashion” Fashion Projects was founded in New York in 2005 as a zine. It gradually morphed into a larger journal straddling the academic and general interest worlds with international distribution and an ardent readership. It served as a platform to highlight the importance of fashion within current critical discourses through longform interviews with a range of curators critics artists and designers. This book collects together the best articles from the journal most issues of which are now unavailable.
From exploring the rise of digital fashion media with Penny Martin (the founding editor-in-chief of SHOWstudio) to the continued importance of connoisseurship with Harold Koda (former Curator in Chief of the Met’s Costume Institute) the anthology records the increasing centrality of fashion to contemporary critical discourse.
Off Book
In the theatre world ‘off book’ signifies a deadline in the creative process: the date by which performers are to have memorised their lines and will no longer be allowed to carry their play script – the ‘book’ – on stage. As such Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context ‘off book’ captures the tension between ephemeral live performance and durable author-ized literature: in one sense the book – the written play – is the essential core the seed that gives the performance life and meaning. Yet the opposite could be equally true: an ‘on book’ performance would not really be a play at all and an actor reciting lines out of a script in hand is not really acting. A play is only realised in or through a performance. We cannot really learn or play our part until we can put the book down and enter the stage without it.
Devised performance might be described as ‘theatre without the book.’ Yet devisors also often use books – books like this one practical guidebooks and how-to manuals as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when devising in the context of higher education - a milieu like theatre wherein books traditionally signify authority status and meaning. So to the extent that theatres and campuses are places where one expects everything to be done ‘by the book’ devising on campuses is rebellious even sacrilegious. But on the other hand both the theatre and the university are expected to challenge tradition defy expectations and conduct experiments.
The book is presented in four sections reflecting the range of roles devising plays in higher education. The first section Devising Pedagogy: Teaching Transferable Tools examines how and why practitioners educators and programs conceptualise and plan for devising with adult learners in a range of higher education contexts. The second Devising Friction: Ensembles Individuals and the Institution shifts the discussion to the classroom where abstract pedagogical rubber meets the road of concrete reality. The third Devising (by) Degrees Practice-led postgraduate devising projects features contributions by emerging scholar-practitioners who engage with devising as both an object and method of creative scholarship. Finally the chapters in Devising Bridges: University-Community Engagement explore how devising connects higher education institutions with the public they are intended to serve — particularly in populations and communities that are marginalised within or even explicitly excluded from participating in higher education such as children and people with intellectual disabilities.
A valuable and unique resource for drama educators in universities university students in education drama and arts managements graduate students conducting research theatre historians practicing devised theatre artists.
Tribal and the Cultural Legacy of Streetwear
Tribal Streetwear is lifestyle streetwear brand that seeks to represent a variety of southern California sub-cultures that includes graffiti street art skateboarding surfing tattoos hip hop breakdancing punk lowriders and custom culture. Based in San Diego California Tribal has strong Chicano roots in its aesthetic and spans the globe with retail stores on several continents.
The text presents a series of articles essays and personal reflections that explore the various dimensions of Tribal Streetwear and how the impact of their designs continues to balance the precarious act of being relevant and responsible with their resources.
The book is divided into four sections.
Section 1 features essays that set a context for the text. This includes a history of Tribal and where it fits within the history of streetwear a personal narrative of the founding of Tribal and lastly an essay on the uniqueness of southern California aesthetics and the fascination with this southern California inspired fashion.
Section 2 is a series of interviews with notable artists musicians and cultural tastemakers that have contributed toward street culture and Tribal. These include Mr. Cartoon (tattoo artist) RISK (graffiti artist) PERSUE (street artists) Mike Giant (tattoo artist) Dyse One (graffiti artist) Craig Craig Stecyk III (skateboard culture) Bob Hurley (surf culture) and the Beastie Boys (hip hop).
Section 3 includes a series of invited and peer-reviewed academic articles on distinct subjects within the street culture genre that further dive into the inputs and influences of Tribal Streetwear. They include breakdancing surfing skateboarding graffiti street art tattooing music (hip-hop/punk) lowriders custom culture and Chicano Studies.
Section 4 is a series of photo essays that capture the three decades of Tribal Streetwear and serves as a visual history of the brand and the evolution of its graphics.
Performing Institutions
Performing Institutions: Contested Sites and Structures of Care builds upon scholarly work rooted in the social and cultural histories of education self-organization activist practices performance design and artistic research (at)tending to the ways that institutions are necessarily political and performed.
By evoking the idea of Performing Institutions it foregrounds all kinds of ‘actors’ that engage with (re)imagining creative practices - social artistic and pedagogical - that critically interact with institutional frameworks and the broader local and global society of which these institutions are part.
With case studies and critical reflections from Denmark Ireland Finland the UK Canada the USA Chile Asia and Australasia contributors show how they envision or pursue performing artistic cultural social and educational practices as caring engagements with contested sites addressing the following questions. How do current institutions perform – academically spatially custodially and structurally? How might we stay engaged with the ways that institutions are inherently contested sites and what role do care and counter-hegemonic practices play in rearticulating other ways of performing institutions and how they perform on us?
These are the questions central to this book as it stages a productive tension between two main themes: structures of care (instituting otherwise) and sites of contestations (desiring change).
Some of the texts in this collection stage a productive tension between ideas about caring contestations and contestation as a caring engagement in practice with a view towards institutional transformation. Other contributors investigate the idea of caring contestations as a critical concept that draws attention to questions of power and to the exclusions produced and reproduced in and through specific institutional practices. As such this collection of writing puts forward caring contestations as a critical mode for (re)enacting institutional engagements. This also brings forward questions of agency and how for those of us who perform within institutional structures we care to engage and/or contest those institutional engagements.
It is primarily aimed at scholars educators research-practitioners and postgraduate students in the fields of performance studies theory creation and design those working at art institutions and art schools Also relevant to researchers working across various fields of organizational as well as educational approaches to performance culture.
Art from Your Core
This book guides artists through the discovery and development of the art that they alone were born to create. Through real-life examples and exercises we tear down the cultural educational and psychological obstacles to finding authentic visual voice stripping away years of assumptions external and self-imposed limiting parameters.
We learn how to listen to the Universe and get out of the way when work wants to come through us. We construct a core foundation unique to each artist one that will grow along with them in their artistic
practice. Artists will discover their own singular visual vocabulary by mining their personal history psyche and world view to reveal new creative directions and learn how to intensify and develop their core ideas to make them more resonant and complex. We explore methodologies to tap into the subconscious cultivate breakthroughs create environments to maximize the gestation of ideas instill bravery and do meaningful research to produce deeply layered works of art.
While designed for college students professional artists will also find it allows them to get to that illusive
“next level” in their work; the one that calls to them haunts them in their dreams yet remains unarticulated in their practice.
In addition to helping undergraduate and graduate students who are looking to identify articulate and hone their vocabulary it can serve as a tool for more established artists to step up or refresh their practice. It is the kind of book that artists will keep on the studio shelf to pick up time and time again as their responses to the exercises will change throughout the course of their career.
There are extensive lists exercises and questionnaires anecdotes of art-historically significant artists and detailed descriptions of the methodologies they employ to tap into the subconscious various types of research on creative breakthroughs (and how to apply it to your own process) helpful suggestions to create an environment / lifestyle to maximize the gestation of ideas and how to do meaningful research to produce deeply layered works of art. While the tone of the book is often earnest and spiritual (in an “art is religion” kind of way) Kretz is aiming for a straightforward accessible kind-but-no-nonsense tenor with some humor and nurturing “tough love” when needed to say some of the things that artists need to hear but few people have the guts to tell them.
Fashion Knowledge
This new edited collection assembles academic essays and intellectual activism equally next to visual essays and artistic interventions and proposes a different concept for fashion research that eschews the traditional logic of academic fashion studies. It features acclaimed designers artists curators and theorists whose work investigates the multi-faceted debates on the rise of practice-based research in fashion.
The book sets out to explore current issues in fashion research with a particular focus on both methodology and expansion of the field to encompass overlooked voices and narratives. It has a particular concern with the relationships between theory and practice and with how knowledge is created and disseminated in fashion studies. It is an excellent and really valuable contribution to the field at a point both when fashion studies is expanding and when the fashion industry is at a crucial point of change.
Some of the contributions were originally presented at a symposium hosted by the Austrian Center for Fashion Research ‘TALKSHOW: The politics of practice-based fashion research’ at Vienna’s Museum of Applied Arts curated by Wally Salner. The symposium brought together a group of fashion scholars designers educators and practitioners to explore critical contemporary fashion (research) practices and to investigate critical fashion knowledge between theory and practice beyond assumed disciplinary and epistemological boundaries. Many contributions in this volume were initially presented at that symposium while others are testimonies of international debates that were part of the research activities of the Austrian Center for Fashion Research a research project funded by the Austrian Federal Ministry of Science Research and Economy led by Elke Gaugele.
The book is structured into three sections: Fashion Knowledge Practice-Based Fashion Research and Sites of Fashion and Politics. Contributions look at new forms of fashion knowledge that are forming with and along shifting fashion practices practice-based fashion research and sheds light on different sites and entanglements of fashion and politics in distinctive contemporary and historical moments of de/colonization anti/racism and anti/globalization.
Elke Gaugele is cultural anthropologist and professor of fashion styles and contextual design at the Academy of Fine Arts in Vienna Austria. Monica Titton is a sociologist fashion theorist and senior scientist at the fashion design department of the University of Applied Arts Vienna Austria. Other contributions are from Elke Bippus Astrid Engl Jojo Gronostay Ruby Hoette Bianca Koczan Priska Morger NCCFN Wally Salner Andreas Spiegl José Teunissen Lara Torres Carol Tulloch and Maria Ziegelböck
Readers will be academics practitioners designers artists curators museums theoretical scholars lecturers practice-based researchers students and practitioners at all levels in the fields of fashion textile art and design.
This new book with its original focus on practice-based research will be useful for a general and academic readership alike and to all those working within the field of fashion studies including those with a theoretical focus fashion practitioners and those working within innovative pockets of the fashion industry.
Theatre for Lifelong Learning
Theatre for Lifelong Learning is a step-by-step guide for anyone interested in teaching theatre courses and creating theatre with older adults.
This book provides instructors with syllabi discussion questions classroom management strategies resource lists and activities to teach courses from beginning to end. Special topics include Playwriting Play Development Storytelling Theatre Appreciation Theatre Criticism Theatre History and Theatre Theory.
This book helps readers become confident informed instructors of older adult learners. Theatre for Lifelong Learning is a tool for anyone who wants to build theatrical communities and support the emotional well-being of older adults through education practice and experimentation while also having fun.
Theatre for Lifelong Learning is a complete guide to navigate the theatre classroom from beginning to end. Anyone can become a theatre expert and educator with practice. If you already have a background in performing arts this book provides strategies that are useful for you as well. If you have experience as an educator this book will enrich your current skill set with interdisciplinary approaches. Tips and examples throughout assist you in creating and maintaining an accessible environment and making courses your own.
So how can teaching and learning about theatre help us live in the moment? When we are not engaged it’s easy to forget that we are capable curious creative people who can expand our knowledge and experiences every day. Theatre encourages finding meaning in small things chance encounters and the tapestry of life. All the material provided in this book will motivate instructors and students to get involved.
It will be most useful for arts practitioners participatory practitioners institutional educators and community outreach officers independent theatre instructors. Of potential interest to scholars and researchers in age studies or in teaching and learning. May also be useful for community arts organizations regional theatres and non-profit organizations working with older adults.
Art, Sustainability and Learning Communities
By engaging with education contemporary art and global sustainability goals this book connects the artistic way of communication with ecological obligations and social issues and promotes a sense of active citizenship. International empirical and curricular research presents a case for strong learning communities that take a clear political stand in favour of socially engaged art pedagogies.
The main aim of is to show how shared spaces for exchange in the fields of art education and continuous professional development can reflect inspire and integrate sustainability principles that are becoming crucial in today’s world. The authors propose the idea that coordinated action can lead to a more sustainable future by promoting a sense of community lifelong learning and confidence in the possibility of changing current conditions.
Its three parts combine expertise in visual arts education education for sustainable development contemporary art practice and sustainability activism. While Part I focuses on literature in the field and the interrelation of different disciplines Part II provides concrete examples of professional learning communities and pedagogies that can be used to enrich the field of art education. Finally Part III presents brief case studies illustrating international projects by contemporary artists curators environmentalists and others providing educators with several inspirational models of concrete and creative action.
The Neoliberal Self in Bollywood
This book explores the consequences of unbridled expansion of neoliberal values within India through the lens of popular film and culture. The focus of the book is the neoliberal self which far from being a stable marker of urban liberal millennial Indian identity has a schizophrenic quality one that is replete with contradictions and oppositions unable to sustain the weight of its own need for self-promotion optimism and belief in a narrative of progress and prosperity that has marked mainstream cultural discourse in India. The unstable and schizophrenic neoliberal identity that is the concern of this book however belies this narrative and lays bare the sense of precarity and inherent inequality that neoliberal regimes confer upon their subjects.
The analysis is explicitly political and draws upon theories of feminist media studies popular culture analyses and film studies to critique mainstream Hindi cinema texts produced in the last two decades. Rele Sathe also examine a variety of other peripheral ‘texts’ in her analysis such as the film star the urban space web series YouTube videos and social media content.
Data Dating
What does it mean to love with technology? Does data improve our emotional interactions? The collection approaches the query with critical essays and works of new media art to look into the construction of love and its practices in the time of digitally mediated relationships. With expertise coming from recognized researchers critics and artists in the field of media and cultural studies it analyses relationship trends and affect cultures that have emerged from technological acceleration.
Data Dating: Love Technology and Desire is a comprehensive study of love and intimacy under digitalism that reflects on the structure of feeling(s) and libido environments in the high-tech and media-bound landscapes of contemporary technocracies. Organized around ten chapters and ten works of new media art the collection offers an extensive critical analysis of technologized romance (and other emotional relations) as well as provides an insight into the codification execution deployment and evolution of the patterns of togetherness in the so-called Tamagotchi era.
The chapters engage in the problems of new material planes that have emerged from the abstraction of networked communication and dispersion of traditional notions of physicality. They close-read the templates of contemporary fantasy fetish and eroticism as shaped by platform capitalism datafication and new commodity cultures in which self-promotion for bonding relies on the new possibilities that are coming in with new media self-mediation formats. Central to the analysis is the carbon-silicon dynamics of love’s contemporary DNA and libidinal techne – practiced in the environment where screens interfaces algorithms data protocols and non-organic objects of affection and affect delineate organize and program the trajectories of encounter limerence and erotic pleasure. All the chapters are authored by recognized researchers in the field of love emotion media technology and cultural studies and they critically explore various aspects of love/intimacy under technocracy approaching them with expertise the goes beyond the typical high-modernist and post-structural reading of the media-ridden life practices and environments.
More importantly the collection includes landmark works of new media art coming from prominent new media artist gathered around 'Data Dating' – new media art exhibition curated by Valentina Peri (co-editor of the collection) and presented in Paris Tel Aviv and London. As such the collection proffers a unique and original critical approach – one that combines artistic practice and cultural criticism – to comment upon the transformation of human relationships and emotional standards under technological development with reference to the social change and cultural condition.
The collection of essays each accompanied by a work of media art that provides a comprehensive insight into the construction of love and its practices in the time of digitally mediated relationships.
Primary readership will be among educators researcher and students in disciplines including cultural studies media and communications philosophy sociology psychology and gender LGBTQ+ and sexual studies. It will be an extremely valuable resource for those in these fields.
It will be of interest to other groups including art curators online platform designers social media content managers and designers and data specialists.
The Urban Refugee
The presence of the refugee in the contemporary metropolis is marked by precarity a quality that has become a characteristic feature of the neoliberal urban milieu. Bringing together essays from diverse disciplines from architectural history to cultural anthropology and urban planning this collection sheds light on both the specificities of the contemporary urban condition that affects the refugees and the multi-dimensional impact that the refugees have on the city. The authors propose investigating this connection through three interlinked themes: identity (informality imagination and belonging); place (transnational homemaking practices); and site (the navigation of urban space).
In recent years there has been a significant growth in scholarship on forced migration particularly on the relationship between displacement and the built environment. Scholars have focused on spatial practices and forms that arise under conditions of displacement with much attention given to refugee camps and the social and political aspects of temporariness. While these issues are important the essays in this volume aim to contribute to a less explored aspect of displacement namely the interaction between refugees and the cities they inhabit. In this respect the volume underlines the specificity of the urban refugee as well as their spatial agency and investigates the irreversible effect they have on the contemporary urban condition.
The authors argue that viewing urban refugees solely as dislocated individuals outside the camp-like spaces of containment fails to understand the agency of the urban refugee and the blurred boundaries of identity that result. The term "refugee crisis" objectifies and denies active agency to refugees homogenizing dislocated individuals and groups. The neoliberalization of the past four decades has led to the precarization of labour and the displacement of refugees who frequently blend into the urban environment as hidden populations. Refugees are subjected to constant surveillance and the state's attempts to control them. However these attempts are not uncontested and the involvement of activist interventions further politicizes the urban refugee.
LIFE
LIFE: A Transdisciplinary Inquiry examines nature cognition and society as an interwoven tapestry across disciplinary boundaries. This volume explores how information and communication are instrumental in and for living systems acknowledging an integrative account of media as environments and technologies.
The aim of the collection is a fuller and richer account of everyday life through a spectrum of insights from internationally known scholars of the natural sciences (physical and life sciences) social sciences and the arts.
How or should life be defined? If life is a medium how is it mediated? Viewed as interactions transactions and contexts of ecosystems life can be recognized through patterns across the sciences including metabolisms habitats and lifeworlds. The book also integrates discussions of embodiment ecological values literacies and critiques with bioinspired synthetic and historical design approaches to envision what could constitute artful living in an ever-evolving interdependent world.
The volume foregrounds systemic approaches to life drawing on a wide range of disciplines and fields including architecture art biology bioengineering chemistry cinema studies communication computer science conservation cultural studies design ecology environmental studies information science landscape architecture geography journalism materials science media archaeology media studies philosophy physics plant signalling and development political economy sociology and system dynamics.
This is the second volume in the MEDIA • LIFE • UNIVERSE Trilogy. It follows and builds upon the 2021 collection MEDIA: A Transdisciplinary Inquiry ISBN 9781789382655
An Introduction to the Phenomenology of Performance Art
This original and unique new book takes an integrated approach to interrogating the experience and location of the self/s within the context of performance art practice. In its framing and execution of practical exercises and focused snapshots of internationally recognized performance practice Bacon situates their argument within the boundaries of specialism in the critical curation of performance art praxis as well as contemporary phenomenological scholarship.
Introducing the study and application of performance art through phenomenology for radical artists educators and practitioner-researchers; this exciting new book invites readers to take part explore contemporary performance art and activate their own practices.
Applying a queer phenomenology to unpack the importance of a multiplicity of Self/s the book guides readers to be academically rigorous when capturing embodied experiences featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’
This is an important contribution to the field and will be welcomed by performance artists and academics interested in performance. It may also appeal to those teaching concepts of phenomenology.
It will be relevant to students of performance as well as to artists audiences and museum goers. The approachable layout and clear authorial voice will add to the appeal for students early career researchers and mean that it has strong potential for inclusion in undergraduate and postgraduate syllabi within the field.
Gender, Sex, and Sexuality in Musical Theatre
Critics and fans alike often mistake theatrical song and dance as evoking a sweeping sense of simplicity heteronormativity and traditionalism. Nothing drove home this cultural misunderstanding for Kelly Kessler as when a relative insisted she watch the Clint Eastwood-Lee Marvin cinematic transfer of Paddy Chayefsky’s Paint Your Wagon (1969) with a young niece and nephew because it was a ‘sweet movie.’ In the relative’s memory good old-fashioned singing and dancing—matched with the power of an assumed hegemonic embrace of social norms—far outweighed the whoremongering alcoholism wife-selling and what appears to be narratively sanctioned polyamory.
This collection seeks to trouble such an over-idealized impression of musical theatre. Tackling Rockettes divas and chorus boys; hit shows such as Hamilton and Spring Awakening; and lesser-known but ground-breaking gems like Erin Markey’s A Ride on The Irish Cream and Kirsten Childs’s Bella: An American Tall Tale.
Gender Sex and Sexuality in Musical Theatre: He/She/They Could Have Danced All Night takes a broad look at musical theatre across a range of intersecting lenses such as race nation form dance casting marketing pedagogy industry platform-specificity stardom politics and so on. This collection assembles an amazing group of established and emergent musical theatre scholars to wrestle with the complexities of the gendered and sexualized musical theatre form. Gender and desire have long been at the heart of the musical whether because ‘birds and bees’ (and educated fleas’) were doing it a farm girl simply couldn’t ‘say no’ or one’s ‘tits and ass’ were preventing them from landing the part.
An exciting and vibrant collection of articles from the archives of Studies in Musical Theatre with contributions from Ryan Donovan Michele Dvoskin Sherrill Gow Jiyoon Jung David Haldane Lawrence Stephanie Lim Dustyn Martinich Adrienne Gibbons Oehlers Deborah Paredez Alejandro Postigo George Rodosthenous Janet Werther Stacy Wolf Elizabeth L. Wollman Bryan Vandevender and Kelly Kessler brought together with a newly commissioned piece by Jordan Ealey. All set against the backdrop of Kelly Kessler’s scene-setting introduction.
Excellent potential for classroom and course use on undergraduate and graduate courses in theatre studies musical studies women’s and gender studies.
Performance Art in Practice
Performance Art in practice – pedagogical approaches opens up a variety of philosophies that explore explain and challenge Performance art and introduces a range of practices used in higher level education.
The book is a collection of nine independent essays. All the writers have several years of practice as artists curators teachers professors researchers and in establishing performance art education in Finland. The essays explain challenge and deconstruct performance art from various angles: the body as a tool and a base of identity self as material pedagogic acts of dissidence challenging societal questions without politicing art building sustainable artwork based on emotions intuition and research using Fluxus scores in contemporary practices etc. are all topics dealt by the writers of Performance Art in practice – pedagogical approaches.
The essays are written from a practical point of view: how do we concretely teach performance art why have we chosen these ways and what are the outcomes. Teaching the experimental art form that doesn’t wear a uniform and relies on ever changing time and space isn’t all evident. Deconstructing performance art and reconstructing pedagogy springs out ideas that are relevant also elsewhere in the contemporary society.
The book challenges art school institutions: Individuality bound to collegiality fruitful dialogue that bases on trust and sharing with a sociologically and politically challenging curricula come out in texts written by Aapo Korkeaoja Eero Yli-Vakkuri Jussi Matilainen Pia Lindy and Tuomas Laitinen that refer to the remote countryside campus of SAMK Kankaanpää school of art. More urban perspective with philosophies research interests and pedagogic practices at The University of Arts Helsinki are opened up by Tero Nauha Annette Arlander Pilvi Porkola and Leena Kela in their essays.
A/r/tography
The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature this volume addresses relationality and renderings ethics and embodiment movement and materiality and propositions and potentials.
In doing so it advances concepts that have permeated a/r/tographic literature to date. More specifically the volume simultaneously offers a site where key historical works can easily be found and at the same time offer new scholarship that is in conversation with these historical ideas as they are discussed expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve.
Thus this edited book affords an opportunity for all those working in and through a/r/tography to offer refined revised revisited or new conceptual understandings for contemporary scholarship and practice.
Part of the Artwork Scholarship: International Perspectives in Education series.
A/r/tography
The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature this volume addresses relationality and renderings ethics and embodiment movement and materiality and propositions and potentials.
In doing so it advances concepts that have permeated a/r/tographic literature to date. More specifically the volume simultaneously offers a site where key historical works can easily be found and at the same time offer new scholarship that is in conversation with these historical ideas as they are discussed expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve.
Thus this edited book affords an opportunity for all those working in and through a/r/tography to offer refined revised revisited or new conceptual understandings for contemporary scholarship and practice.
Part of the Artwork Scholarship: International Perspectives in Education series.
The Making of Modern Muslim Selves through Architecture
This collection seeks to explore alternative definitions of bounded identities facilitating new approaches to spatial and architectural forms. Taking as its starting point the emergence of a new sense of ‘boundary’ emerged from the post-19th century dissolution of large heterogeneous empires into a mosaic of nation-states in the Islamic world. This new sense of boundaries has not only determined the ways in which we imagine and construct the idea of modern citizenship but also redefines relationships between the nation citizenship cities and architecture.
It brings critical perspectives to our understanding of the interrelation between the accumulated flows and the evolving concepts of boundary in predominantly Muslim societies and within the global Muslim diaspora. Essays in this book seeks to investigate how architecture mediates the creation and deployment of boundaries and boundedness that have been devised to define enable obstruct accumulate and/or control flows able to disrupt bounded territories or identities.
More generally the book explores how architecture might be considered as a means to understand the relationship between flows and boundaries and its implication of defining modern self. The essays in this volume collectively address how the construction of self is primarily a spatial event and operated within the crucial nexus of power-knowledge-space.
Contributors investigate how architecture mediates the creation and deployment of boundaries and boundedness how architecture might be considered as a means to understand the relationship between flows and boundaries and its implications for how we define the modern self.
Part of the Critical Studies in Architecture of the Middle East series.
Fighting for the Soul of General Practice
This collection of stories from two practising GPs describes the reality of working within a failing and highly bureaucratic system where there is a balancing act: regulation versus relationships; autonomy versus standard practice; algorithm versus individual attention.
We aren’t suggesting a return to a ‘better’ time. We don’t object to being bureaucrats embedded within and accountable to the systems we are in. But we do want to consider how and with what the gap left by the old-fashioned GP has been filled. We use stories based on our experience to describe the effect of different facets of bureaucracy on our ability to maintain a nuanced individualised approach to each patient and encounter; and to question the prominence and effect of protocol. We are interested in the way professional relationships are influenced by protocol: between and within organisations; and most importantly with patients/clients/service users..
We are accustomed nowadays to automated telephone lines chatbots website FAQs- the frustration of being unable to connect with another human being who will listen to our particular question and give us something other than a generic answer. The same issues that are facing society at large have changed the way in which we work as GPs and the care we give.
Drawing, Well-being and the Exploration of Everyday Place
Over 200 observational drawings created every day from the same window reveal life in an ordinary English street in extraordinary times.
This visual record and accompanying prose is a unique meditation on place nature community time and mental well-being. Through this qualitative work we gain insight into the individual and collective experience and place-specific impacts of the pandemic as opposed to the quantitative statistics of mortality and infection rates that characterise daily media soundbites and scientific discourse surrounding lockdown.
Five themes are central to the drawings highlighting the environmental and social factors influencing daily life and how these can be perceived and recorded via observational drawing: ‘framing space’ foregrounds the importance of widows as an interface between interior and exterior worlds; ‘observing nature and the built environment’ celebrates the street and garden as sites of human-nature relations that support well-being; ‘watching people’ focusses on the activities typify living under lockdown including isolation socially distanced interactions and working from home; ‘drawing’ reflects on the multiple professional and personal benefits of drawing; and mindful awareness is discussed throughout affirming the value of appreciating everyday life through drawing practice.
Throbbing Gristle
In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press civic and arts dignitaries extravagant followers of the nascent punk scene and music journalists the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’ providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television.
The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes amateurism and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records and a sporadic string of live performances the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds samples of disconcerting narrative and conversation and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene many of their followers and fans formed bands in later years.
Drawing on works such as Andy Bennett’s When the Lights Went Out this book looks at late 1970s Britain before during and immediately after the Winter of Discontent to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value as Throbbing Gristle emerged with punk in late 1976 seemingly grappled with it through 1977 and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time both ‘mainstream’ and fringe (subcultural avant-garde art counter-culture taboo subjects extremes) such that Throbbing Gristle events had an impact and affect and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.
Throbbing Gristle
In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press civic and arts dignitaries extravagant followers of the nascent punk scene and music journalists the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’ providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television.
The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes amateurism and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records and a sporadic string of live performances the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds samples of disconcerting narrative and conversation and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene many of their followers and fans formed bands in later years.
Drawing on works such as Andy Bennett’s When the Lights Went Out this book looks at late 1970s Britain before during and immediately after the Winter of Discontent to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value as Throbbing Gristle emerged with punk in late 1976 seemingly grappled with it through 1977 and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time both ‘mainstream’ and fringe (subcultural avant-garde art counter-culture taboo subjects extremes) such that Throbbing Gristle events had an impact and affect and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.
Media Materialities
Provides new perspectives on the increasingly complex relationships between media forms and formats materiality and meaning. Drawing on a range of qualitative methodologies our consideration of the materiality of media is structured around three overarching concepts: form – the physical qualities of objects and the meanings which extend from them; format – objects considered in relation to the protocols which govern their use and the meanings and practices which stem from them; and ephemeral meaning – the ways in which media artefacts are captured transformed and redefined through changing social cultural and technological values.
Each section includes empirical chapters which provide expansive discussions of perspectives on media and materiality. It considers a range of media artefacts such as 8mm film board games maps videogames cassette tapes transistor radios and Twitter amongst others. These are punctuated with a number of short takes – less formal often personal takes exploring the meanings of media in context.
We seek to consider the materialities which emerge across the broad and variegated range of the term’s use and to create spaces for conversation and debate about the implications that this plurality of material meanings might have for the study of study of media culture and society.
Pattern and Chaos in Art, Science and Everyday Life
This collection explores critical and visual practices through the lens of interactions and intersections between pattern and chaos. The dynamic of the inter-relationship between pattern and chaos is such as to challenge disciplinary boundaries critical frameworks and modes of understanding perception and communication often referencing the in-between territory of art and science through experimentation and visual scrutiny. A territory of 'pattern-chaos' or 'chaos-pattern' begins to unfold.
Drawing upon fields such as visual culture sociology physics neurobiology linguistics or critical theory for example contributors have experimented with pattern and/or chaos-related forms processes materials sounds and language or have reflected on the work of other artists scientists and scholars. Diagrams tessellations dust knots mazes folds creases flux virus fire and flow are indicative of processes through which pattern and chaos are addressed.
The contributions are organized into clusters of subjects which reflect the interdisciplinary terrain through a robust yet also experimental arrangement. These are 'Pattern Dynamics' 'Morph Flux Mutate' 'Decompose Recompose' 'Virus; Social Imaginary' and 'Nothings in Particular'.
Pattern and Chaos in Art, Science and Everyday Life
This collection explores critical and visual practices through the lens of interactions and intersections between pattern and chaos. The dynamic of the inter-relationship between pattern and chaos is such as to challenge disciplinary boundaries critical frameworks and modes of understanding perception and communication often referencing the in-between territory of art and science through experimentation and visual scrutiny. A territory of 'pattern-chaos' or 'chaos-pattern' begins to unfold.
Drawing upon fields such as visual culture sociology physics neurobiology linguistics or critical theory for example contributors have experimented with pattern and/or chaos-related forms processes materials sounds and language or have reflected on the work of other artists scientists and scholars. Diagrams tessellations dust knots mazes folds creases flux virus fire and flow are indicative of processes through which pattern and chaos are addressed.
The contributions are organized into clusters of subjects which reflect the interdisciplinary terrain through a robust yet also experimental arrangement. These are 'Pattern Dynamics' 'Morph Flux Mutate' 'Decompose Recompose' 'Virus; Social Imaginary' and 'Nothings in Particular'.
Women's Work in Post-war Italy
Italy’s 1948 constitution states that Italy is a ‘republic founded upon work’. This book explores women’s labour following World War Two and Italy’s new republic. It focuses its enquiry on three sectors: agriculture (rice weeders) fashion (seamstresses) and religious work (nuns). It studies original oral history interviews and compares women’s own words with their representation in film.
In Italy both war and national reconstruction have typically been framed as masculine undertakings. This book shifts that frame to investigate the labour that Italian women were doing at this critical time of political social and ideological change. By examining (filmed) oral history interviews and postwar fiction films the book brings a vivid engaging and cross-disciplinary account of women’s work.
Historical studies of Italian women’s work in this period are scarce short and almost never in English; this work addresses that critical gap. Film histories almost invariably study women for their beauty and on-screen sexuality; this work critiques and moves beyond this bias. Oral history studies aim to give voice to the under-represented; this book shares that goal.
The book is interested in how women’s work was viewed by society and by women workers themselves. Critical analysis of films produced between 1945 and 1965 reveals tensions around women workers’ financial sexual intellectual and spatial independence. Oral histories reveal little-discussed professions and women’s experiences in the workplace. These interviews expose the profound difference work made to women’s lives and the joys and dilemmas of this difference.
A Cultural History of The Punisher
If the Punisher became a valuable piece of intellectual property during the closing decades of the twentieth century he has become a global icon in the twenty-first. In this pathbreaking study Kent Worcester explores the sometimes ridiculous and often socially resonate storyverse of the most famous rageaholic in popular culture: Frank Castle aka the Punisher.
Worcester pays particular attention to nearly five decades' worth of punishment-themed comics and graphic novels published between the 1970s and the present day. These texts provide the material resources for a close reading of the Punisher's distinctive and extreme form of justice discourse. Punishment after all is a political and social construct. Violence does not imply or claim legitimacy. Punishment does. To talk about punishment is to ask who deserves to be punished who decides who deserves to be punished and what form the punishment should take. All costumed heroes have their political moments; the Punisher is political.
Frank Castle inhabits the most politically engaged corner of the entire Marvel Universe. His adventures should attract our interest for precisely this reason.
Popular Music in Leeds
This first academic collection dedicated to popular music in Leeds - developed from the work of interdisciplinary scholars drawn from a major public museum exhibition “Sounds of Our City” and built upon contemporary research. Leeds has rich musical histories and heritage a long tradition of vibrant music venues nightclubs dance halls pubs and other sites of musical entertainment.
The city has spawned crooners folk singers punks post- punks Goths DJs popstars rappers and indie rockers yet – with a few exceptions - Leeds has not been studied for its scenes in ways that other UK cities have. In ways that the chapters explore Leeds’ popular music exemplifies and informs understandings of broader cultural and urban changes – both in Britain and across wider global contexts – of the social and historical significance of music as mass media; music and migration; music racialisation and social equity; industrial decline de-industrialisation neoliberalism and the rise of the 24-hour city. Charting moments of stark musical politicisation and de-politicisation while concomitantly tracing arguments about “heritagising” popular music within discussions about music’s “place” in museums and in the urban economy this book contributes to debates about why music matters has mattered and continues to matter in Leeds and beyond.
Contemporary Design Education in Australia
This book offers a range of approaches to teaching higher education design students to learn to design collaboratively and creatively through transdisciplinary multidisciplinary cross-disciplinary and interdisciplinary learning experiences.
It highlights that the premise of traditional disciplinary silos does little to advance the competencies needed for contemporary design and non-linear career paths. It makes the point that higher education should respond to the impacts of a changing society including fluctuating market demands economic variations uncertainties and globalization.
Chapters highlight approaches that address this changing landscape to meet student industry and societal needs and reflect a range of design education contexts in which the authors have taught with a focus on experiences at the Queensland University of Technology Australia but also including collaborations and comparative discussions elsewhere in Australia and globally spanning Europe Asia the Middle East and the United States.
The book is positioned not as a definitive theoretical model for transdisciplinary design education but instead as a collective of chapters in which many forms of learning are explored through overarching themes of curriculum design and experiential and authentic learning and collaboration transforming professional identities and design cultures.
Architecture, Film, and the In-between
The long-established dialogue between architecture and film offers an interdisciplinary platform for a critical examination of spaces of in-between.
Apart from architecture informing scenography and cities serving as backdrops to the moving image films have actively participated in shaping the public opinion about architecture and its allied disciplines. While architecture and design may not necessarily be central themes in a film their spatial contextualization of the narrative informs cinematic productions. Screen Space and the In-Between looks at both the filmic imagination/representation of architectural in-betweenness as well as the in-between spaces within the inherent architectural structure of filmic expression.
On the one hand cinematic production serves as a site to project utopian fantasies of the built environment and on the other hand the processes tools and methods involved in both architecture and film function as mediators between abstract ideation and its materialized manifestation.
The book interrogates the filmic creation of spatial imaginaries through the anthropological lens especially as the disciplines in the built environment react to the liminal spaces of the cinematic. It adopts cinematic experiences of the built environment as a vantage point to reframe ongoing theoretical debates about liminal spaces.
Foreword by Mark Foster Gage
Contributors: Giuliana Bruno Beatriz Colomina James F. Kerestes Graham Harman Ferda Kolatan Juhani Pallasmaa Eva Perez De Vega Mehmet Sahinler Patrik Schumacher Maria Sieira Alican Taylan Vahid Vahdat Jason Vigneri-Beane Jon Yoder Michael Young
Hip-Hop Archives
This book focuses on the culture and politics involved in building hip-hop archives. It addresses practical aspects including methods of accumulation curation preservation and digitization and critically analyzes institutional power community engagement urban economics public access and the ideological implications associated with hip-hop culture’s enduring tensions with dominant social values.
The collection of essays are divided into four sections; Doing the Knowledge Challenging Archival Forms Beyond the Nation and Institutional Alignments: Interviews and Reflections. The book covers a range of official unofficial DIY and community archives and collections and features chapters by scholar practitioners educators and curators.
A wide swath of hip-hop culture is featured in the book including a focus on dance graffiti clothing and battle rap. The range of authors and their topics span countries in Asia Europe the Caribbean and North America.
Spectacle, Entertainment, and Recreation in Late Ottoman and Early Turkish Republican Cities
The short lived Tulip Era breathed a new life into Ottoman social life and novel elements of art architecture and new spaces of leisure and entertainment that both men and women could participate and enjoy emerged during the early 18th century. Later during the 19th century triggered by the state policies to establish closer relationship with European states as well as by the royal urge to be seen and felt by their subjects more intensively and more interactively these novelties in social life were predominantly adopted and instrumentalized by the ruling elite and found their reflection in major urban centers of the empire. With the emulation of the ruling elite by various classes and due to an increasing social mobility among classes the new forms of entertainment and recreation gradually permeated into the rest of the society and ended up having a long-term impact on the Ottoman society.
Hence during the 19th century a modern urban life in Ottoman cities has emerged shaped by these new forms of recreation and entertainment and by new regimes of visibility. Ripping open of their traditional nuclei in the second half of the 19th century these urban centers accommodated –along with new trade financial industrial and residential facilities– different types of entertainment and recreation ranging from opera to cinema and from concerts to sports. Thus the late-Ottoman cities witnessed the emergence of new architectural and urban facilities such as theatres opera houses clubs performance halls sports fields and public parks. These spaces of entertainment and spectacle represented the modernizing face of the empire and also embraced by the Republican elite after the foundation of the young Turkish Republic. These public/social spaces were utilized for the making of the modern Turkish nation.
This edited volume offers an analysis of the forms and spaces of spectacle entertainment and recreation during the late Ottoman and early Republican eras. Each article focuses on different forms on spectacle entertainment or recreation in varied cities of Ottoman Empire or Republican Turkey. The edited volume aims not only to shed light on how such urban or architectural spaces were developed and shaped but also to scrutinize their impact on social cultural urban life in the modernizing Ottoman Empire and Republican Turkey.
Part of the Critical Studies in Architecture of the Middle East series.
A Holocaust Cabaret
Two scripts were created in 2017 from the same source materials: preserved song lyrics from a performance created in 1943 in the Terezin Ghetto called Prince Bettliegend (the Bedridden Prince) the popular 1930s jazz melodies to which those lyrics were set and fragments of testimony by survivors who performed in or witnessed that production.
The development processes took place under the auspices of the £1.8 million AHRC-funded project Performing the Jewish Archive. PtJA co-investigator Lisa Peschel has spent the past two decades researching theatrical performance in Terezin and the project’s planned performance festivals in Australia and South African in the summer of 2017 afforded a unique opportunity to allow Prince Bettliegend to speak to our present. Peschel synthesized the existing materials into a rough plot outline then collaborated with local production teams at the University of Sydney (produced by Joseph Toltz directed by Ian Maxwell) and Stellenbosch University (directed by Amelda Brand) to reconstruct/recreate/re-imagine the play.
Both teams were extraordinarily sensitive to questions of trauma and pleasure in the original performance and those questions manifested themselves in different underlying themes that emerged with each production. During the first month-long development process at the University of Sydney (July 2017) Peschel Maxwell and Toltz worked together to refine the plot outline Toltz and musical director Kevin Hunt explored the 1930s music with the entire production team then the actors recruited from Sydney’s alternative theatre scene developed the performance through improvisation. Due to fortuitous accidents of casting a theme soon emerged that dovetailed with the historical reality of the ghetto: the desire of the older prisoners to protect the youth.
While the Australian production was still in development the South African team at Stellenbosch University led by Amelda Brand began creating their own version. Their performance was based on the same plot outline and to some extent the same text developed by the Sydney performers but their production diverged radically due to their interest in addressing issues of more immediate interest to the multi-racial student case: race and power. Their musical approach also diverged: music director Leonore Bredekamp created a hybrid of 1930s jazz and klezmer music.
Part I of the book is composed of a series of essays about the original material and about each production. The essays written by Peschel and key collaborators on each development team explore the Terezin production and both reconstructions. Part II comprises the scripts. Although the texts themselves are similar detailed stage directions and illustrations make clear how each manifested its own themes.
Part of Intellect's Playtext series.
Music Making and Civic Imagination
In a world facing multiple existential crises music might be seen as little more than a distraction. However in this synthesis of ideas developed over a decade a timely re-appraisal of the potential of musicing for human flourishing is presented emphasising its role in the history of human evolution alongside its potential as a resource for sustainable development.
A holistic philosophy of music is outlined which recognises the complex web of meaning which spreads across complementary musical dimensions of performance and participation whilst emphasising the ‘paramusical’ benefits which arise from both. Highlighting the notion that the social bonds which arise from musicing share much of the neurobiological underpinnings of attachment and love musicing is presented as a resource with the potential for facilitating ethical human connection.
The humanistic values which are thereby materialised during musicing – love reciprocity and justice – form the experiential grounds for inhabiting alternative social realities. The book addresses how such a holistic philosophy of music might be implemented in practice drawing on the author’s professional praxis as a performer educator community musician composer and researcher in particular their experience of musician education at Sage Gateshead Royal College of Music and Trinity-Laban Conservatoire in the UK.
Community Arts Education
This edited collection offers global perspectives on the transverse boundary-blurring possibilities of community arts education.
Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure 55 contributors – community professionals scholars artists educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels.
Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations.
Chapters are grouped into four thematic clusters – Connections Practices Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.
Interpreting and Experiencing Disney
Ever since the premiere for the first Mickey Mouse cartoon in 1928 Disney has played a central role in American popular culture which has progressively expanded to include a global market. The company positioned itself to be a central role in family entertainment and many of its offerings – from films to consumable products – have deeply embedded themselves into not only the imaginations of children and adults but also into the threads of one’s life experience. It is difficult to go through life without encountering one Disney product. Because of this fans of Disney build connections with their favourite characters and franchises some of which are fuelled further by Disney’s own marketing practices.
Similarly Disney responds to the cultural values of the era through its films and other media offerings. In this volume scholars from varying backgrounds take a close look at facets of the Disney canon as more than agents of entertainment or consumption and into underlying messages at the very heart of the Disney phenomenon: the cultural response that drives the corporation’s massive production and marketing machine. The relationship between Disney and its fans is one of loyalty and love shaping cultural behaviours and values through the brand and its products. Disney responds in kind with a synergistic approach that makes it possible to experience Disney in any format at any given time.
Primary readership will be academics researchers educators scholars and students working in the fields of media and cultural studies especially those interested in marketing and branding and in the Disney Company in general. The accessible writing style and the range of topics covered make it suitable for postgraduate students and academics working in these fields as well as third-year undergraduate students.
The book will also appeal to academics working in the related fields of tourism studies film and television studies and given the focus of some of the chapters in gender studies.
Although academic in focus the accessible writing style does mean that it may also have appeal to the non-academic reader and fans of Disney.
The Architect's Dream
Sean Pickersgill demonstrates that the goal of creating meaningful architecture can take a variety of critical and philosophical paths. The importance of architecture as an expression of broad complex social drivers is complemented by the equally popular idea that architecture as an intellectual pursuit retains its own autonomy as a self-referential culture. This book uniquely places the emphasis for innovation in architecture within the domain of critical thinking generally and a specific understanding of the semantics of built form.
The book draws on a broad range of subject areas from film to philosophy to anthropology to mathematics and economics to show that the path to meaningful creative practice is always based in an understanding of the principal drivers for change and meaning in society.
It is not a simple recipe book or workshop manual for others to reproduce. It requires the engaged reader to employ their own creative abilities to find what potential lies in each of the propositions and it will encourage the scholastic architect to continue to mine the rich veins of intellectual culture to demonstrate the latent purposiveness inherent in all meaningful architecture.
Drawing Processes of Life
Drawing Processes of Life is the product of biologists philosophers and artists working together to formulate new ways of representing our new approach to life. It is a mutualistic symbiosis where identities are transformed information and nutritive substances shared and where new organisms emerge.
Originating from an AHRC-funded interdisciplinary project it derives from Gemma Andersons’ work on the methodological and epistemological value of drawing as a technique in biological research and from her collaborative work on visualising living – biological – processes through artistic processes. It also draws on John Dupré’s recent work on biology as process and the need to develop representations of biological systems that more adequately capture their processual nature. Hence the book has intertwined aims: to show how better to represent biological process through drawing and to demonstrate the scientific value of drawing as a method.
The book presents this work and locates it in a broader historical and contemporary perspective on the relations between art and science. The project outcomes are interwoven with the work of leading scholars in the field. Many of these contributions also stress the problems presented by the processual nature of biological phenomena a central focus of Anderson and Dupré’s own work.
Contributors include Chiara Ambrosio Heather Barnett Alessio Corti Katharina Lee Chichester Johannes Jaeger Wahida Khandker Jonathan Phillips Berta Verd James Wakefield and Janina Wellmann. Foreword from Scott F. Gilbert and Afterword from Sarah Gilbert and Scott F. Gilbert.
The perspectives presented here constitute a powerfully integrated and vital set of themes of interest to artists scientists philosophers students and post-doctoral researchers.
Media Pluralism and Online News
The book arises from an international research project that explores the future of media pluralism policies for online news. It investigates the latest European policies and techniques for regulatory intervention and examines the consequences of innovative news practices asking ‘How will automation of news affect public opinion in the age of social media platforms and what are the consequences?’
In Media Pluralism and Online News the authors make the argument that there is an urgent need for revitalised thinking for a media policy agenda to deal with the trends to platform power and concentrated media power which is an ongoing global risk to public interest journalism.
In the transition to a media landscape increasingly dominated by broadband internet distribution and the dominance of US-centric new media behemoths Google Facebook Apple Amazon and Netflix the book investigates measures that can be taken to reduce this ongoing march of concentration and the attenuation of media voices.
Securing the public interest in a vibrant and sustainable news media sector will require that merger decisions assess whether there is a ‘reduction in diversity’ -- calling for a new public interest test and a more expansive policy focus than in the past. This would include consideration of the sustainability of local businesses; the encouragement of original and local news content; quality of content in terms of the promotion of news standards; and new modes of delivery and consumption including the ‘automated curation’ of news content by digital platforms.
Media Pluralism and Online News
The book arises from an international research project that explores the future of media pluralism policies for online news. It investigates the latest European policies and techniques for regulatory intervention and examines the consequences of innovative news practices asking ‘How will automation of news affect public opinion in the age of social media platforms and what are the consequences?’
In Media Pluralism and Online News the authors make the argument that there is an urgent need for revitalised thinking for a media policy agenda to deal with the trends to platform power and concentrated media power which is an ongoing global risk to public interest journalism.
In the transition to a media landscape increasingly dominated by broadband internet distribution and the dominance of US-centric new media behemoths Google Facebook Apple Amazon and Netflix the book investigates measures that can be taken to reduce this ongoing march of concentration and the attenuation of media voices.
Securing the public interest in a vibrant and sustainable news media sector will require that merger decisions assess whether there is a ‘reduction in diversity’ -- calling for a new public interest test and a more expansive policy focus than in the past. This would include consideration of the sustainability of local businesses; the encouragement of original and local news content; quality of content in terms of the promotion of news standards; and new modes of delivery and consumption including the ‘automated curation’ of news content by digital platforms.
Studio Seeing
Opens with several first-person anecdotes about the author’s life as a practicing artist and a discussion of the intellectual lineage of his vision-based pedagogy. Many more anecdotes from the author’s teaching appear in most chapters.
The author discusses perception as it benefits the artist in the studio. Perceptual laws govern both our experience of seeing and the artist’s process of creating. The book presents a proven process developed by the author over many decades of teaching and studio practice that the artist can apply to their own painting/drawing and/or teaching. The painting and drawing principles in the book are essential and yet not generally taught or understood. They will benefit anyone learning how to draw/paint or advance their practice. The book will also help practitioners to make rapid progress and to avoid clichéd overused solutions. It also offers insights and discussions of interest to art lovers and “Sunday painters.” It is for everyone who enjoys viewing and thinking about art.
Integrated into the text are more than one hundred images—works of art by well-known historical and contemporary artists and students photographs and diagrams—to reinforce the concepts presented. A recap section ends each chapter followed by an exercise or group of related exercises to encourage and guide the practitioner in immediate application of the concepts.