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Jasmina Tumbas

sexually charged performance works that confronted and exposed the roots of patriarchal violence in the Yugoslav state and its dangerous vitality in the nationalist rhetoric of Yugoslavia as a whole and in its republics. Women continued to be marginalized as they had been in the 1970s, despite their extensive and generative resistance work in the alternative scenes throughout the 1980s. This chapter hones in on women's explorations of their gender power in music, avant-garde art circles, and performance art. Focusing on performance, video, and

in “I am Jugoslovenka!”
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Marcos P. Dias

digitally mediated performance art as a form of aesthetic machine that can generate spaces of deliberation on our role as an actant within the assemblage that constitutes the machinic city. Mediated performance art overlays artistic narratives onto urban space, which are mediated through innovative technological assemblages and that demand participation and reflection. This unusual assemblage generates performative events in urban space where stage and audience are combined. Other aesthetic machines also have the ability to generate spaces for deliberation on

in The machinic city
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Amy Bryzgel

and social circumstances surrounding it. 8 Her analysis of performance art in Eastern Europe echoes arguments made by Amelia Jones around that same time: that body art ‘insistently pose[s] the subject as intersubjective (contingent on the other) rather than complete within itself (the Cartesian subject who is centered and fully self-knowing in his cognition)’. 9 Consequently, interpreting these performing bodies in their context yields insights into the sociopolitical factors underlying their actions. In other words, by examining the various uses and expressions

in Performance art in Eastern Europe since 1960
Dominic Johnson

, at 43 Shelton Street, Covent Garden. From 25 October to 1 November 1977, the gallery remained open 24 hours a day for the uninterrupted eight-day action (Figure 1.1). In its pursuit of a task-based 1.1  Kerry Trengove, An Eight Day Passage, photographs from a durational performance, The Acme Gallery, London, 25 October to 1 November 1977 32 Unlimited action activity over an alien duration, the Passage is an exemplary performance art action of the 1970s. It captured the imagination of contemporary audiences, local and national broadcast media and typifies a

in Unlimited action
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Communication studies
Catherine Spencer

politics of communication as they played out in performance art from the mid-1960s onward. Minujín presented her two-part Happening at the audio-visual theatre belonging to the art centres established by the Torcuato Di Tella Institute (Instituto Torcuato Di Tella) in the ‘microcentre’ of Buenos Aires. On 13 October 1966, Minujín welcomed approximately sixty people – mainly journalists and celebrities, but also academics, a novelist and the psychoanalyst Enrique Pichon-Rivière – into a futuristic environment. 4 Television sets crowded the space, each positioned in

in Beyond the Happening
Rethinking art, media, and the audio-visual contract

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Open Access (free)
Gill Rye
Michael Worton

out close readings of the aesthetics, the form and the workings of the text. A remarkable feature is that these very close readings lead the various critics to draw on a range of different theoretical and interpretative frameworks from within literary criticism and, importantly, beyond – from psychoanalysis to linguistics, through trauma and post-colonial studies and performance art. The critical discourse generated by these interdisciplinary forays produces fruitful and thought-provoking analyses of contemporary writing and confirms its relevance to contemporary

in Women’s writing in contemporary France
Steven Earnshaw

, refusing to expand on the hinterland of Ben’s life, and in implicit opposition to most novels where such experiences are regarded as primary encounters (for example in Ironweed when Francis is in the attic and goes through objects from his personal history). Ben is ‘empty’, and this is replicated in the novel’s treatment of Ben’s meeting with his past life. A more salient correlation between art and Ben’s life than this encounter is perhaps his description of his life as a piece of performance art, which would also have the effect of diminishing the importance of an

in The Existential drinker
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Sruti Bala

as differences in taste or aesthetic judgement, or liberally mediated through mid-way positions, as if it were only a matter of the right dosages of participation; they need to be contextualized and examined across diverse domains. I attempt a cross-disciplinary discussion of participation, bringing together examples from the field of applied and community theatre, performance art and participatory visual arts, investigating points of intersection with existing discussions in the social sciences on participation. Being a contextual question, the appraisal of the

in The gestures of participatory art
Margery Kempe meets Marina Abramović
Sarah Salih

my argument diverges from Hopenwasser's identification of Margery as a ‘naïve’ ‘comic figure’ written with ‘irony’ by the ‘more sophisticated’ writer Kempe, I continue her deliberately anachronistic comparison of Margery to contemporary performance artists, and her interest in audience response. 11 Such contemporary artists often distinguish their work from that of the theatre, yet the dividing line between theatre and performance art is contestable in the contemporary world and was probably never operative in

in Encountering The Book of Margery Kempe