Warwick 2b Presentation

We chose to make a presentation on ‘scenario’ as we thought that this term is worth discussing more from various points of view. When we did the mind map, we took the term in its first meaning as in films, and developed branches some of which are physical location, position, and embodiment- all equally necessary and applicable elements to other meanings of the term, including the type that we are going to focus on here: scenario in everyday life.

We have scenarios in daily life at interpersonal level as well as in broader contexts such as at the governmental and intergovernmental level. Governments sometimes make use of stories and use them in order to justify any of their enactments and policies, such as an invasion, a defeat, and a change in the constitution. In this sense, we question whether human beings are witnessing the same scenario throughout the history. Does history consist of repetitions which are indeed scenarios of the powerful?

Warwick 1B Presentation Prompt

“Culture is not simply a static set of shared beliefs and customs inherited by people of the same ethnic descent. Culture rather references contested practices and processes, modes of behavior and consciousness through which communities are defined and differentiated” (Elan, 95). 

 

Amsterdam 2 - Who When What Why

WHO WHEN WHAT WHY:

Diana, as we are children growing up in small towns in Indonesia, Croatia, Brazil and Germany, we share two hemispheres. Going global, based in local representations.

Scenarios of our times: mapping our minds out. Posting our brains out.

There are too many voices in the room. Whose voice is it anyway? Vital acts of transfer. Transmission as a part of the paradigms of meaning-making. Meaning no harm to the episteme of performance.

Missing deadlines. Resisting definitions. In constant threat of oversimplification. In battle with appropriation. Lost identities in the realm of creation. Trapped in cultural imagination. Yeast-erday once more. While making choices:

Ephemerality slides in between conclusion.

Amsterdam 1- Censorship and the City!

Warwick 2b annotation on "Mapping Landscapes for Performance as Research" (by Riley&Hunter)

The reading we were assigned is an introduction to an edited book, therefore it mainly defines the basic terms in performance studies and discusses the differences between them, such as PaR (practice as research) and PAR (performance as research). The authors argue that these two terms overlap in many areas and yet their differences are significant. First of all, PAR is a US-originated term just like the field itself whereas PaR is used in the UK and other countries which are becoming significant contributors to the field in recent years.

Moreover, Riley and Hunter draw our attention to the fact that there is not a consensus in the terminology in contributing countries: diverse terms might be used in various countries or even if the terms used are identical, they differ in meaning and scope. Emphasizing the complexity even at the level of basic terms, the authors mainly point out the necessity for a conversation between different geographies (particularly a dialogue between the US and the rest) in performance studies.

The ambiguity results from the fact that the performance studies is a relatively new discipline. Nevertheless, this new discipline is inspiring enough to lead a paradigm shift which can be considered as a part of an epistemological revolution. That is, considering creative activity (performance) as a source of knowledge has changed how we look at knowledge today.

B1 annotation on Oncurating.org (by G.E. Morland and H.B. Amudson) and Performance Studies: An Introduction (by R. Schechner)

ONCURATING.org Issue 04/10 (interviews conducted by G.E. Morland and H.B. Amudson)

This issue of ONCURATING.org, entitled The Political Potential of Curatorial Practice, is a collection of interviews with four curators based in Turin, London, Berlin and New York. The underlying theme of each of the interviews is politics and curation as the role of curator moves from the marginal to the central. The significance of this change has political potential in that it has become the one type of media that contributes to both public discourses and public domain. The task of the curator now overpasses the exhibit space and reframes cultural practice through community engagement. This period of transition has left the role of the curator as somewhat undefined. Keeping that in mind, these interviews serve us as an incentive to engage with, and possibly shape, what will emerge as the new curatorial role. 

Performance studies: an introduction (by Richard Schechner)

In Richard Schechner’s Performance Studies: An Introduction, Schechner argues that all framed, highlighted, and displayed actions are performances. In support of his argument, he supplies eight kinds of performances: in everyday life- cooking, socializing, just living; in the arts; in sports and other popular entertainments; in business; in technology; in sex; in ritual- sacred and secular; and in play.  Schechner further supports his text with input from other experts in the field; including Barbara Kirschenblatt-Gimblett, Peggy Phelan, and Erving Goffman. As a practice, Schechner stresses that Performance Studies does not incorporate any canonical texts or practices in an attempt to avoid limitations or fixed definitions in the field. However, the field does draw from texts and practices related to cultural studies, sociology, anthropology, queer studies, Post-Colonial studies, etc. While the lack of specificity is freeing, it can be also be limiting in that there are no constant points of references in the dynamic field.

MAIPR 2011: Warwick 1B response to B1 Glocal mindmap

MAIPR 2011: Warwick 1B response to B1 Glocal mindmap: The mindmap response by B1 to our keyword, ‘Glocal’, brought our attention to the possible transactions that takes place in cultural inter...