It is to the future that we look for redemption and progress; but it is also where we project our personal and apocalyptic anxieties. By questioning notions of certainty, truth, and totality, Augé finds ways to separate the future from our eternal, terrified present and liberates the mind to allow it to conceptualize our possible futures afresh.
Event writeup in publication of The Substation events, Jan – March 2012, as part of M1 Fringe Festival 2012.
Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).
Explores sites where the ideal of community relentlessly recurs, from debates over art and culture in the popular media, to the discourses and practices of nonprofit and nongovernmental organizations, to contemporary narratives of economic transformation or “globalization.”
In this wide-ranging collection of essays and articles, Lerman reflects on her life-long exploration of dance as a vehicle for human insight and understanding of the world around us.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Programme notes:The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.
PLEASE NOTE: this video is silentSEE ALSO: D1198
Features responses by members of the general public to 12 illustrated projects carried out by Industry of the Ordinary. Accompanying publication, REF. P1199
Responses by members of the general public to 12 illustrated projects carried out by Industry of the Ordinary. Accompanyed by DVD, REF. D1127
A gathering especially created for Performing Rights to celebrate a symbolic home coming to all those who can not return home; inspired by 14 months in late 1940s, when 369 Palestinian villages were eradicated.
From PSI 12.
Part of the Library of Performing Rights (LPR) (P3041).
This item is part of the Study Room Guide on One to One Performance by Rachel Zerihan (P1320)
This item is part of the Study Room Guide: The More You Ignore Me The Closer I Get by Robert Pacitti (P1100)