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Oblique Intimacies: The Scenographic Body's Ethics of Desire
No full textStriking parallels upsurge between events happening in white cube galleries and the emergent black-box theatre of 1960s Europe. This essay seeks to unveil an understanding of those parallels according to a renewal of spatial design beyond mere architectural precepts, breaching away from perspective and proposing instead a bodily space or 'bodied spatiality': a "phenomenal space, governed by the body and its spatial concerns, a non-Cartesian field of habitation which undermines the stance of objectivity and in which the categories of subject and object gives way to a relationship of mutual implication" (Garner 1994:4). This essay strives to articulate the continuing anticipatory position of scenography with respect to the constitution of a bodily space paradigmatically substantiated in the black-box environment. More importantly, the work intends to inquire philosophically into such a spatio-corporeal dimension of phenomenon as one that disentangles normative conceptions of 'perception and the constitution of meaning, objects and their appearances, subjectivity and otherness, presence and absence, body and world' (Garner 1994:3). In particular, it will argue that bodily spaces compel the sensory and cognitive renovation of the body into the formation of an environmental organism: a 'scenographic body' where space and body cannot be apprehended and conceived separately but as an orgasmic entity that propels unsettled, oblique, affects and an ethics of desire.
This essay considers historical and conceptual frameworks part of a contextual research in which I have engaged with the re-appraisal of twentieth century's scenography beyond theatre, within broader fields of spatial design such as visual arts and architecture. However, here I will focus on the intersection of scenography and visual arts to demonstrate a part of the contextual research that underlines on-going practical research I am conducting and will present at the end of the essay
From 'Domo de Eŭropa Historio en 'Ekzilo' to the 'Museum of Human-Hunting' : from scenography to scenographics in the work of Thomas Bellinck
No full textThis article explores how Belgian theatre maker Thomas Bellinck turns the scenography of an exhibition into a critical framework to examine the politics of memory and representation at play on the European continent. In his projects, Bellinck plays with conventional modes of displaying and exhibiting to challenge the current course of the European Union (as in Domo de Eŭropa Historio en Ekzilo) and question how the EU copes with migratory movements (as in his long-term and ongoing project Simple as ABC). By exhibiting fictive artefacts through conventional modes of displaying (pedestals, display cases), or bringing these modes of display to the stage, Bellinck highlights the agency and critical potential of these ‘mere’ instruments in an exhibition. Insisting on the performativity of the infrastructure of an exhibition becomes a scenographic strategy in Bellinck’s work to mark the role of scenography in the epistemological process that comes with visiting an exhibition and the discourses an exhibition tries to convey
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Acting out - illusion and representation in the wartime landscape
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Some Notes on Past and Future of the (Practice) PhD
Get PDFThis article traces the history of the PhD, the rise of the practice PhD and our experiences with implementing a practice-informed PhD programme between Vienna and Zurich, and it concludes with a reflection on some precarious parallels between the research , the methodology of a practice PhD and the decolonisation of research. Accompanying the article are images of our master’s and PhD candidates engaging globally in field research, archive research, creative practice and institutional and noninstitutional collaborations
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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