Performance Philosophy2024-03-29T15:54:50ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembohttp://storage.ning.com/topology/rest/1.0/file/get/986088113?profile=original&width=48&height=48&crop=1%3A1http://performancephilosophy.ning.com/forum/topic/listForContributor?user=3rz6zqwgcay7a&feed=yes&xn_auth=noPerforming Viral Pandemics?tag:performancephilosophy.ning.com,2020-05-02:6528949:Topic:602622020-05-02T10:12:34.693ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
<p>Hi.</p>
<p>Hopefully all is well!</p>
<p>The shorty is a suggestion to start an online conversation group to elaborate questions from the</p>
<p>Covid-19 oriented period and Performance Philosophy?</p>
<p>eg. Intra-Active Virome? (covid-19 and a few karen barad linked questions, is something i thought may be cool to begin with.)</p>
<p>However, before the When/How questions -</p>
<p>anyone here consider this possibly interesting and relevant???</p>
<p>Perhaps some meetings with altering…</p>
<p>Hi.</p>
<p>Hopefully all is well!</p>
<p>The shorty is a suggestion to start an online conversation group to elaborate questions from the</p>
<p>Covid-19 oriented period and Performance Philosophy?</p>
<p>eg. Intra-Active Virome? (covid-19 and a few karen barad linked questions, is something i thought may be cool to begin with.)</p>
<p>However, before the When/How questions -</p>
<p>anyone here consider this possibly interesting and relevant???</p>
<p>Perhaps some meetings with altering over-all topics? (Viromatic meetings, one may say..?)</p>
<p>Any ideas?</p>
<p>Cheers!</p>
<p>aha</p>
<p>x</p>
<p> </p> We all have the same dream?tag:performancephilosophy.ning.com,2020-04-02:6528949:Topic:603152020-04-02T12:15:19.617ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
<p>Hello, "We all have the same dream" is my project that aims to create an archive from the dreams of our era and reinterpret Jung's "collective unconscious" concepts with performance and performing arts. You can also contribute by writing your dreams. You can also contribute by writing your dreams on my blog. You can share your criticism and opinions with me.</p>
<p><a href="https://weallhavethesamedream.blogspot.com/p/fggfddffh.html" rel="noopener" target="_blank">We all have the same…</a></p>
<p>Hello, "We all have the same dream" is my project that aims to create an archive from the dreams of our era and reinterpret Jung's "collective unconscious" concepts with performance and performing arts. You can also contribute by writing your dreams. You can also contribute by writing your dreams on my blog. You can share your criticism and opinions with me.</p>
<p><a href="https://weallhavethesamedream.blogspot.com/p/fggfddffh.html" target="_blank" rel="noopener">We all have the same dream?</a></p>
<p><a href="https://weallhavethesamedream.blogspot.com/">https://weallhavethesamedream.blogspot.com/</a></p> Circus and Its Others 2020, UC Davis CFPtag:performancephilosophy.ning.com,2020-03-15:6528949:Topic:596882020-03-15T20:30:29.673ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
<p style="text-align: center;"><strong>Circus and its Others 2020</strong><br></br><strong>November 12-15</strong><br></br><strong>University of California, Davis</strong><br></br><strong>Revised Proposal Deadline: April 15, 2020</strong><br></br>Launched in 2014, the Circus and its Others research project explores the ways in which contemporary circus artists and companies relate to difference in their practice. The third Circus and its Others conference will be held at the University of California, Davis, on…</p>
<p style="text-align: center;"><strong>Circus and its Others 2020</strong><br/><strong>November 12-15</strong><br/><strong>University of California, Davis</strong><br/><strong>Revised Proposal Deadline: April 15, 2020</strong><br/>Launched in 2014, the Circus and its Others research project explores the ways in which contemporary circus artists and companies relate to difference in their practice. The third Circus and its Others conference will be held at the University of California, Davis, on November 12-15, 2020. As with the previous two conferences (Montréal 2016, Prague 2018), the conference will run alongside a contemporary circus festival, involving both indoor, ticketed programming and a free outdoor activities. <br/>A particular focus of CaiO 2020 is the interdisciplinarity of circus research and practice, putting into play foci of openness and inclusion. How can our ongoing inquiry be enriched by engaging directly with scholars and practitioners working in a wide range of fields? To that end, confirmed keynote speakers include Bojana Kunst, Professor at the Institute for Applied Theatre Studies at the Justus-Liebig University in Gießen, Germany; André Lepecki, chair of New York University’s Department of Performance Studies; Jane Nicholas, associate professor of history at St. Jerome’s University, University of Waterloo; and Susan Nance, professor of history at the University of Guelph. For the 2020 conference, possible areas of inquiry might include, but need not be limited to: Circus and Subjectivity, Circus and Embodiment, Circus and Race, Circus and Animal Studies, Circus and Native American Studies/Circus and Indigeneity, Circus and Feminism, Circus and Queer Studies, Circus and Utopia, Circus and Science and Technology Studies, and Social Circus. <br/>We invite 300- to 400-word proposals for 20-minute presentations. Please send proposals by April 15, 2020 to CircusOthersDavis2020@gmail.com. Please articulate clearly in your proposal if you plan to make a formal paper presentation or if as a practitioner/<br/>creator/researcher you wish to engage in a hybrid practice/talk/research/creation exploration. <br/>Please see our website for more information: circusanditsothers.org</p> Call for Paper Submissions: Line.Bridge.Bodytag:performancephilosophy.ning.com,2019-11-27:6528949:Topic:592122019-11-27T19:19:56.513ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
<p><a href="https://linebridgebody.wixsite.com/website?fbclid=IwAR1kIBytZxvCoTYshOjB4rBFGE_NzytugPUlg1pYyU2horwDr_rdRohmtE0">https://linebridgebody.wixsite.com/website?fbclid=IwAR1kIBytZxvCoTYshOjB4rBFGE_NzytugPUlg1pYyU2horwDr_rdRohmtE0</a></p>
<p></p>
<p class="font_9"><span class="color_15"><span>Line. Bridge. Body is inviting 3-5-page submissions for a publication on somatic praxis (images included) by December 2nd, 2019…</span></span></p>
<p class="font_9"></p>
<p><a href="https://linebridgebody.wixsite.com/website?fbclid=IwAR1kIBytZxvCoTYshOjB4rBFGE_NzytugPUlg1pYyU2horwDr_rdRohmtE0">https://linebridgebody.wixsite.com/website?fbclid=IwAR1kIBytZxvCoTYshOjB4rBFGE_NzytugPUlg1pYyU2horwDr_rdRohmtE0</a></p>
<p></p>
<p class="font_9"><span class="color_15"><span>Line. Bridge. Body is inviting 3-5-page submissions for a publication on somatic praxis (images included) by December 2nd, 2019</span></span></p>
<p class="font_9"><span class="color_15"><span> </span></span></p>
<p class="font_9"><span class="color_15"><span>The project was initiated in the summer when more than a dozen writers, performers, and artists, held workshops at Majlis Art Garden.</span></span></p>
<p class="font_9"><span class="color_15"><span> </span></span></p>
<p class="font_9"><span class="color_15"><span>We are extending the invite to others in the publication phase and would like to hear from you. </span></span></p>
<p class="font_9"><span class="color_15"><span></span></span></p>
<p class="font_9"><span class="color_15"><span>The project focuses, but is not limited to, four areas of exploration: psychosomatic themes, including disability, sound and the listening body, eco-performance, and sensoria. All deal with embodiment, movement, relationality, sense of place, and ecological connection, from a variety of perspectives. Such explorations engage multiple media and are practice oriented. </span></span></p>
<p class="font_9"><span class="color_15"><span></span></span></p>
<p class="font_9"><span class="color_15"><span>Confirmed contributors include Shannon Bell, Miggy Esteban, Mitchell Akiyama, Csenge Kolozsvari, Lo Bil, Teresa Ascencao, Heather Sincavage, DENISPÉ.</span></span></p>
<p class="font_9"><span class="color_15"><span></span></span></p>
<p class="font_9"><span class="color_15"><span>You are invited to submit a piece on the mentioned or other themes touching on the subject:</span></span></p>
<p class="font_9"><span class="color_15"><span></span></span></p>
<p class="font_9"><span class="color_15"><span>-relational somatics, movement, explorations of space-time, duration, memory, process, the life of lines, experience of place, nomadicity, (im)migration</span></span></p>
<p class="font_9"><span class="color_15"><span>-embodied senses (i.e. touch), synesthesia, sensoria, sensation, non-linguistic communication, and sense (i.e. felt-sense)</span></span></p>
<p class="font_9"><span class="color_15"><span>-somatics and identity,</span></span></p>
<p class="font_9"><span class="color_15"><span>performance art, improvisation and experimentation in the arts (i.e. music, listening, and movement)</span></span></p>
<p class="font_9"><span class="color_15"><span>-ecological mourning, eco-performance, relationship with nature and/or nonhuman life</span></span></p>
<p class="font_9"><span class="color_15"><span>-bodies and surface, skin, without organs, technology, augmentation</span></span></p>
<p class="font_9"><span class="color_15"><span>-bodies as sites of transgression, in revolt, resistance, decolonization of the senses and sensoria</span></span></p>
<p class="font_9"><span class="color_15"><span>-psychosomatic considerations, trauma, critical disability</span></span></p>
<p class="font_9"><span class="color_15"><span>-critical and culturally diverse approaches to embodiment</span></span></p>
<p class="font_9"><span class="color_15"><span> </span></span></p>
<p class="font_9"><span class="color_15"><span>We invite artists to submit work done with a variety of media, including, music, dance, performance art, theatre, film and photography. The submission should be single spaced, Times New Roman, Chicago style, and include a Bibliography within the page count. You may submit entries in English or French.</span></span></p>
<p class="font_9"><span class="color_15"><span></span></span></p>
<p class="font_9"><span class="color_15"><span>Your submission will be reviewed by our editorial team consisting of Sanja Dejanovic (Ja), Jonathan Adjemian, Christine Bellerose, and A.T. Kingsmith.</span></span></p>
<p class="font_9"><span class="color_15"><span></span></span></p>
<p class="font_9"><span class="color_15"><span>The initial call can be found at <object height="0"><a class="auto-generated-link" href="https://www.facebook.com/events/596192417545015/" target="_blank" rel="noopener">https://www.facebook.com/events/596192417545015/</a><param name="allowscriptaccess" value="never"></param><param name="wmode" value="opaque"></param></object>
</span></span></p>
<p class="font_9"><span class="color_15"><span></span></span></p>
<p class="font_9"><span class="color_15"><span>Write to us at <object height="0"><a class="auto-generated-link" href="mailto:linebridgebody@gmail.com">linebridgebody@gmail.com</a><param name="allowscriptaccess" value="never"></param><param name="wmode" value="opaque"></param></object>
if you have any questions, and to submit your piece.</span></span></p>
<p class="font_9"><span class="color_15"><span> </span></span></p>
<p class="font_9"><span class="color_15"><span>The editorial team thanks you for your submission! Those successful will be contacted by December 15th or shortly after.</span></span></p>
<p class="font_9"></p> CFP - Dossier: ANTONIN ARTAUD AND REVERBERATIONStag:performancephilosophy.ning.com,2019-08-21:6528949:Topic:560042019-08-21T14:14:19.290ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
<p><strong><a href="https://storage.ning.com/topology/rest/1.0/file/get/3439611664?profile=original" rel="noopener" target="_blank"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/3439611664?profile=RESIZE_710x"></img></a> CALL FOR PAPERS</strong> <br></br> <strong>Dossier: ANTONIN ARTAUD AND REVERBERATIONS</strong></p>
<p>The Ephemera Journal, a Journal of Theatre and Performance Studies edited by Federal University of Ouro Preto, Brazil (PPGAC / UFOP), is a new, open access, peer-reviewed, online journal that does not charge any submission or publication fees. It is…</p>
<p><strong><a href="https://storage.ning.com/topology/rest/1.0/file/get/3439611664?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/3439611664?profile=RESIZE_710x" class="align-center"/></a>CALL FOR PAPERS</strong> <br/> <strong>Dossier: ANTONIN ARTAUD AND REVERBERATIONS</strong></p>
<p>The Ephemera Journal, a Journal of Theatre and Performance Studies edited by Federal University of Ouro Preto, Brazil (PPGAC / UFOP), is a new, open access, peer-reviewed, online journal that does not charge any submission or publication fees. It is accepting submissions of unpublished articles for the Antonin Artaud and Reverberations Dossier. Papers should be submitted until October 04, 2019, for peer review. Accepted papers should be published in its third issue, by December 2019.</p>
<p>Born from the 1st Artaudian Journey: Antonin Artaud and Reverberations, a seminar that took place in May 2019 at PPGAC/UFOP (Federal University of Ouro Preto, Brazil), this dossier intends to gather and report practices on reviewing Artaudian writings and thought in its interface with the contemporary stage and Performative scene.</p>
<p>Antonin Artaud (1896-1948) needs no introductions. His name stands out among the great creators and thinkers of the Performing Arts in the 20th Century, especially when it comes to the search for a theatrical language other than drama, but body-based in its expressiveness and movement – he discusses not only the body as a hieroglyph, matrix of meanings in his Theatre of Cruelty, but lately the body of the performer as a free, anarchic body as well: the famous – and many times misunderstood – body-without-organs. Artaud’s contributions to construct the contemporary theatre are striking in their innovative and experimenting character, in all the multiplicity, untamedness, physics and intensity of the contemporary scene. In Artaud, there is room for the “non-western”, in that he sought for a path out of the West, just as there are elements in his work that point to the future performativity paradigm (as discussed by Josette Feral).</p>
<p>Artaud's life is embedded in his writings. His pathos is his path and his madness: the profound criticism of modernity misleadings and his attempt to establish new possibilities for making theatre. His seminal work proposed to radically transform theatre making in the 20th Century. Artaud took a stand for building a scene whose poetics do not depend on words. This and the crisis of reason, discourse and subject led to a turning point which would prove dominant throughout the 20th Century. Such perception will be echoed by several artists and thinkers decades later, in and outside Theatre. From Artaud’s work, later strengthened by others such Jerzy Grotowski and Eugenio Barba, rises a radical transformation of the actor’s work and of Performing Arts research. Its influences will also be strong to directors like Peter Brooke and to lots of theatre groups in Brazil and worldwide. In addition, philosophers such as Jacques Derrida and Gilles Deleuze will be deeply influenced by their writings.</p>
<p>In this sense, in light of the numerous possible reverberations of Artaud's work, the next issue of Ephemera Journal, edited by the Graduate Program in Performing Arts of the Federal University of <br/> Ouro Preto, invite scholars to submit works resulting from research related to the proposed theme, exploring it in different perspectives and variations. Articles may deal with issues such as (but are not limited to):</p>
<ul>
<li>Antonin Artaud and the Surrealistic Movement;</li>
<li>Theatre of Cruelty: its limits and possibilities;</li>
<li>Antonin Artaud and its influence on the contemporary stage: performers, groups and spectacles;</li>
<li>Antonin Artaud and the Performance Art;</li>
<li>Artaud’s influence on philosophers such as Derrida, Deleuze and others;</li>
<li>Artaud and the Performance Studies: Possible relations;</li>
<li>Artaud’s influence on Jerzy Grotowski (and others);</li>
<li>The ‘Body without organs’: between utopia and reality;</li>
<li>Artaud and the Performance Philosophy.</li>
</ul>
<p></p>
<p><strong>Important!</strong> The Ephemera Journal also accepts, as in a continuous flow, articles of various themes (Fluxo Section) linked to the central scope of the journal, provided they are unpublished and result from bibliographic reviews, reports of investigations and experiments, academic researches and creative reflections on contemporary creation processes and important historical landmarks in the performing arts, accepting contributions from national and foreign authors. In addition, Section Happens also accepts streaming contributions in a variety of formats: interviews, book review and review of spectacles, festivals, etc. The researchers, Brazilian and foreign, can submit their texts for evaluation at any time, and it is not necessary to wait for the call to submit articles.</p>
<p>Any questions? Our email is: <a href="http://ephemera.revista@gmail.com" target="_blank" rel="noopener">ephemera.revista@gmail.com</a></p>
<p>More information can be found on our website:<br/><a href="https://www.periodicos.ufop.br/pp/index.php/ephemera" target="_blank" rel="noopener">https://www.periodicos.ufop.br/pp/index.php/ephemera</a><br/> Our guidelines for acceptance and publication can be viewed in "Guidelines for Authors": <a href="https://www.periodicos.ufop.br/pp/index.php/ephemera/about/submissions#authorGuidelines." target="_blank" rel="noopener">https://www.periodicos.ufop.br/pp/index.php/ephemera/about/submissions#authorGuidelines.</a></p>
<p><strong>Languages accepted: Portuguese, English and Spanish.</strong></p> Available Online IMAGINED THEATRES issue #03tag:performancephilosophy.ning.com,2019-08-13:6528949:Topic:555012019-08-13T10:48:53.037ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
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<tbody><tr><td class="mcnTextContent" valign="top"><span>We are pleased to announce the launch of issue #03 of …</span></td>
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<tbody><tr><td valign="top" class="mcnTextContent"><span>We are pleased to announce the launch of issue #03 of <a href="https://imaginedtheatres.us16.list-manage.com/track/click?u=e3ade1e496937f9420a575076&id=c94a08d670&e=d2b7b293a5">ImaginedTheatres.com</a>, the first issue of the open access online journal comprised of unsolicited submissions. <em>Imagined Theatres</em> is an international, peer-reviewed, open access journal and archive, dedicated to imagining what might be possible and impossible in the theatre. The journal supports creative criticism, meaning creative work that acts critically and criticism that acts creatively. This issue's selections were peer-reviewed by our editorial board and include a range of imaginary performances from 31 artists and thinkers of the stage. <br/><br/>Contributors include: Patrick Anderson, Kate Attwell, Broderick D.V. Chow, William Condee, Alison D’Amato, Joy Brooke Fairfield, Miriam Felton-Dansky, Holly Gabelmann, Kyle Gillette, Duriel E. Harris, Michael Hunter, Abigail Levine, Eric Marlin, Edie Meidav, Elizabeth Mikesch, Karie Miller, Nevena Mrdjenovic, Dakota Parobek, Tina Post, Jaclyn I. Pryor, Ben Richter, Barry Rountree, Bess Rowen, Diego Cristian Saldaña, Annie Sansonetti, Katie Schaag, Caridad Svich, John Thornberry, Danny Turek, Lisa Woynarski, and Keren Zaiontz.<br/><br/>Visit <a href="https://imaginedtheatres.us16.list-manage.com/track/click?u=e3ade1e496937f9420a575076&id=8f0d576821&e=d2b7b293a5">http://imaginedtheatres.com/open/</a> to read the new issue and to peruse the archive of our previous issues (#00—Selections from the Book; #01—South Africa; and #02—Australia). We occasionally release additional glosses on previously published theatres, so invite further responses from our readers. For inquiries, email <a href="mailto:info.imaginedtheatres@gmail.com">info.imaginedtheatres@gmail.com</a>.<br/><br/><br/><strong>Founding Editor</strong><br/>Daniel Sack, University of Massachusetts Amherst, USA</span><br/><br/> </td>
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<tbody><tr><td valign="top" class="mcnTextContent"><br/><span><strong>Editorial Board Members</strong><br/><br/>Joshua Abrams, The Royal Central School of Speech and Drama, University of London, UK<br/>Natalie Alvarez, Ryerson University, Canada<br/>Patrick Anderson, University of California-San Diego, USA<br/>Joseph Cermatori, Skidmore College, USA<br/>Broderick Chow, Brunel University London, UK<br/>Augusto Corrieri, University of Sussex, UK<br/>Ricardo Dominguez, University of California-San Diego, USA<br/>Peter Eckersall, City University of New York, USA<br/>Kyle Gillette, Trinity University, USA<br/>Helena Grehan, Murdoch University, Australia<br/>Matthew Goulish, School of the Art Institute of Chicago, USA<br/>Nicola Gunn, Performance maker, Australia<br/>Carla Harryman, Eastern Michigan University, USA<br/>Jen Harvie, Queen Mary University of London, UK<br/>Lin Hixson, School of the Art Institute of Chicago, USA<br/>Rachel Joseph, Trinity University, USA<br/>Petra Kuppers, University of Michigan, USA<br/>Claudia La Rocco, Poet and Critic, USA<br/>Megan Lewis, University of Massachusetts Amherst, USA<br/>Michael McMillan, London College of Fashion, UK<br/>John Muse, University of Chicago, USA<br/>Jennifer Parker-Starbuck, Royal Holloway University of London, UK<br/>VK Preston, University of Toronto, Canada<br/>Rebecca Schneider, Brown University, USA<br/>Aaron C. Thomas, Florida State University, USA<br/>Caroline Wake, University of New South Wales, Australia<br/>Fintan Walsh, Birkbeck University of London, UK </span></td>
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</table> Workshop CFP: The Mimetic Condition: A Transdisciplinary Approachtag:performancephilosophy.ning.com,2019-06-03:6528949:Topic:549332019-06-03T13:44:48.617ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
<h1 class="entry-title"><strong style="font-size: 13px;">Workshop CFP: The Mimetic Condition: A Transdisciplinary Approach</strong></h1>
<br />
<div class="entry-content"><p>Institute of Philosophy, KU Leuven (Belgium)</p>
<p>December 5-6, 2019</p>
<p><strong>Keynote</strong>: Prof. Gunter Gebauer (Free University of Berlin)</p>
<p>Since the publication of Gunter Gebauer and Christoph Wulf’s seminal book, <em>Mimesis: Culture-Art-Society</em> in 1992, the realization that mimesis is constitutive of…</p>
</div>
<h1 class="entry-title"><strong style="font-size: 13px;">Workshop CFP: The Mimetic Condition: A Transdisciplinary Approach</strong></h1>
<br />
<div class="entry-content"><p>Institute of Philosophy, KU Leuven (Belgium)</p>
<p>December 5-6, 2019</p>
<p><strong>Keynote</strong>: Prof. Gunter Gebauer (Free University of Berlin)</p>
<p>Since the publication of Gunter Gebauer and Christoph Wulf’s seminal book, <em>Mimesis: Culture-Art-Society</em> in 1992, the realization that mimesis is constitutive of the <em>human condition</em> has become central to the humanities, the arts, the social sciences, stretching to inform the hard sciences as well. Furthering Gebauer and Wulf’s call to examining the productive aspect of mimesis as a “human condition,” the ERC-funded <em>Homo Mimeticus</em> (HOM) project convokes a two-day transdisciplinary workshop at the Institute of Philosophy, KU Leuven, to explore the afterlives of the <em>mimetic condition</em> in the twenty-first century. Careful not to impose a unitary perspective to a protean concept, we will be attending to the heterogeneous connections that have been forged since the publication of <em>Mimesis</em>, those that remained unexplored by the authors, and those still to be discovered.</p>
<p><a href="http://www.homomimeticus.eu/wp-content/uploads/2019/05/6182pTVmEzL._SX339_BO1204203200_.jpg" target="_blank" rel="noopener"><img src="http://www.homomimeticus.eu/wp-content/uploads/2019/05/6182pTVmEzL._SX339_BO1204203200_.jpg?profile=RESIZE_710x" width="118" class="align-left"/></a></p>
<p>We invite contributions in the form of 20-minute papers that engage with the complexity and richness of the concept. We welcome papers that address the urgency of placing mimesis at the crossroads between the human sciences, the arts, and the political, with an ear to the new mimetic patho-<em>logies</em> (critical accounts of mimetic pathos) that are currently emerging.</p>
<p> </p>
<p></p>
<p></p>
<p></p>
<p><strong>Submissions:</strong></p>
<p>Please submit a bio and a 200-word abstract to <a href="mailto:nidesh.lawtoo@kuleuven.be">nidesh.lawtoo@kuleuven.be</a> by <strong>June 30, 2019</strong></p>
<p><strong>Possible topics include but are not limited to:</strong></p>
<ul>
<li>Mimesis as a transdisciplinary, impure, or paradoxical concept</li>
<li>Mimesis beyond representation: performativity, imitation, influence, music, pathos</li>
<li>Mimesis and society: habit, ethos, imitative learning, exemplars, fashion, reproducibility value</li>
<li>Mimesis and gender: insubordination, drag, masquerade, desire</li>
<li>Mimesis and the postcolonial: alterity, camouflage, mockery, mimicry</li>
<li>Mimesis and politics: power, (new) fascisms, myth, contagion, swarming</li>
<li>Mimesis and the unconscious: hypnosis, identification, suggestion, mimetic unconscious</li>
<li>The bio-ontology of mimesis: new materialisms, affect theory, non-human turn</li>
<li>Mimesis, and virtual reality: simulation, AI, new media, bio-technology, hypermimesis</li>
<li>Mimesis and anthropology: magic, shamanism, and the ontological turn</li>
<li>Mimesis and phenomenology: imagination, intersubjectivity, embodied cognition, fiction and the body, phantom, fantasy</li>
<li>Mimesis and violence: rivalry, sacrifice, transgression, and mimetic excess</li>
<li>Mimesis and performance: theater, music, performance, art</li>
<li>Alternative genealogies of traditional mimetic concepts (<em>imitatio</em>, representation, realism, naturalism)</li>
<li>Mimesis in the Anthropocene: human/non-human imitation, catastrophe, environmental contagion,</li>
<li>Mimesis and neuroscience: mirror neurons, neuroplasticity and beyond.</li>
</ul>
<p>This workshop is organized by the HOM Team. For more information, visit us at <a href="http://www.homomimeticus.eu" target="_blank" rel="noopener">http://www.homomimeticus.eu</a> and follow us on <a href="https://twitter.com/hom_project" target="_blank" rel="noopener">twitter</a> and <a href="https://www.facebook.com/HOMprojectERC/" target="_blank" rel="noopener">facebook</a>.</p>
<p>This project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement n°716181)</p>
<p><a href="http://www.homomimeticus.eu/wp-content/uploads/2018/04/EUERC.jpg" target="_blank" rel="noopener"><img src="http://www.homomimeticus.eu/wp-content/uploads/2018/04/EUERC.jpg?profile=RESIZE_710x" width="282" class="align-left"/></a></p>
<p><a href="http://www.homomimeticus.eu/wp-content/uploads/2017/12/HOM-Logo-final.jpg" target="_blank" rel="noopener"><img src="http://www.homomimeticus.eu/wp-content/uploads/2017/12/HOM-Logo-final.jpg?profile=RESIZE_710x" width="108" class="align-left"/></a></p>
</div> Announcing the Performance Philosophy Crowdfunding Campaign!tag:performancephilosophy.ning.com,2019-04-07:6528949:Topic:546222019-04-07T21:36:07.596ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><span><a href="https://storage.ning.com/topology/rest/1.0/file/get/1792945811?profile=original" rel="noopener" target="_blank"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/1792945811?profile=RESIZE_710x"></img></a></span></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><span>Performance Philosophy is launching our first…</span></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><span><a href="https://storage.ning.com/topology/rest/1.0/file/get/1792945811?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/1792945811?profile=RESIZE_710x" class="align-center"/></a></span></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><span>Performance Philosophy is launching our first</span> <a href="https://eur02.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.crowdfunder.co.uk%2Fperformance-philosophy&data=02%7C01%7Cl.cull%40gsa.surrey.ac.uk%7Cdc4fbdbf9ba140bf0cb808d6b6307119%7C6b902693107440aa9e21d89446a2ebb5%7C0%7C0%7C636896716513064278&sdata=V%2FBI5zWagrPnYfcpwb0W6s2Cnfnkk0h%2BaFVsyWVCuqI%3D&reserved=0" rel="noopener noreferrer" title="Original URL: http://www.crowdfunder.co.uk/performance-philosophy Click or tap if you trust this link." target="_blank"><span>crowd-funding campaign</span></a><span>,</span> <span>to ensure the continued running of the Performance Philosophy Journal (now in its fourth year) and the online network, and most importantly, to keep open a space for creative, experimental thinking through publications, events, and community (you!)</span></p>
<p><span> </span></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><span><strong>WE NEED YOUR HELP.</strong></span> <span>Performance Philosophy does not make a profit from its events, requires no membership fee to join, and relies almost entirely on volunteer labour. Publishing, translation, accessibility, and supporting innovative forms of knowledge production take time and money. We are currently in need of</span> <span>£5000</span> <span>to cover the costs of running the journal for the upcoming year. </span></p>
<p><span> </span></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><span>As a network with a membership of almost 3000 scholars and practitioners, practically this means that</span> <span>if each person donated £2 / €2.30 / $2.50 right now, we’d reach our goal.</span></p>
<p><span> </span></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><span>If you believe in new forms of thinking, philosophizing, performing and doing, in and beyond the academic, aesthetic, and artistic sphere: please consider supporting us with any amount that you deem appropriate.</span></p>
<p><span> </span></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><a href="https://eur02.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.crowdfunder.co.uk%2Fperformance-philosophy&data=02%7C01%7Cl.cull%40gsa.surrey.ac.uk%7Cdc4fbdbf9ba140bf0cb808d6b6307119%7C6b902693107440aa9e21d89446a2ebb5%7C0%7C0%7C636896716513074287&sdata=Tgb2bOAda96sZW%2BnauWzrX7uKZ0MbCl6UneS34dSBvk%3D&reserved=0" rel="noopener noreferrer" title="Original URL: http://www.crowdfunder.co.uk/performance-philosophy Click or tap if you trust this link." target="_blank"><span>www.crowdfunder.co.uk/performance-philosophy</span></a></p>
<p><span> </span></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><span>Yours,</span></p>
<p><span> </span></p>
<p dir="ltr" style="margin-bottom: 1em; margin-top: 0;"><span>The Performance Philosophy Conveners<br/></span></p> BRAZILIAN JOURNAL ON PRESENCE STUDIES (Revista Brasileira de Estudos da Presença): PERFORMANCE PHILOSOPHY CALL FOR PAPERStag:performancephilosophy.ning.com,2019-02-20:6528949:Topic:536392019-02-20T00:59:21.555ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
<p><span>The Brazilian Journal on Presence Studies [Revista Brasileira de Estudos da</span><br></br><span>Presença], an open access, peer-reviewed, online journal that does not</span><br></br><span>charge any submission or publication fees, invites submissions of</span><br></br><span>unpublished papers within the scope of the general topic PERFORMANCE</span><br></br><span>PHILOSOPHY before the deadline of April 30, 2019. </span><br></br><br></br><span>In recent years, Performance Studies scholars have moved beyond…</span></p>
<p><span>The Brazilian Journal on Presence Studies [Revista Brasileira de Estudos da</span><br/><span>Presença], an open access, peer-reviewed, online journal that does not</span><br/><span>charge any submission or publication fees, invites submissions of</span><br/><span>unpublished papers within the scope of the general topic PERFORMANCE</span><br/><span>PHILOSOPHY before the deadline of April 30, 2019. </span><br/><br/><span>In recent years, Performance Studies scholars have moved beyond philosophy</span><br/><span>as a method to be analytically employed to study performance. Rather,</span><br/><span>performance and philosophy – or performing and philosophizing – are seen</span><br/><span>as inextricably linked. In both disciplines, the question of the</span><br/><span>relationship to the real or to presence remains contested. This connection</span><br/><span>led not only to a major reconfiguration of the Performing Arts as a field of</span><br/><span>study, but also to the rise of a new paradigm. New perspectives are still</span><br/><span>taking hold, in which thought is necessarily “embodied”, that is,</span><br/><span>profoundly rooted in both the body and the world, and construed as</span><br/><span>inseparable from them. Thus, questions like 'What is Performance?' And 'How</span><br/><span>does Performance think?', and so forth, have emerged and defy us to think</span><br/><span>beyond the dichotomies and structures built in Modernity. These questions</span><br/><span>imply the birth of a brand-new field, not a new “philosophy of</span><br/><span>performance”, but rather something radically different; not a simple turn</span><br/><span>inside Performance Studies, but a new field of scholarship, artistic</span><br/><span>practice and investigation: Performance Philosophy; Philosophy as</span><br/><span>Performance; Performance as Philosophy.</span><br/><br/><span>Arts-based researchers are engaging with philosophy inside a new perspective</span><br/><span>that characterizes a broader interdisciplinary phenomenon, coming from</span><br/><span>Philosophy but also from other disciplines. What seemed to be a</span><br/><span>“philosophical turn” inside the Performance Studies, grew into a new</span><br/><span>field, due to a myriad of new publications on the subject. On the other</span><br/><span>hand, this update took place through a shift towards the corporeal presence</span><br/><span>of the performer, insofar as Performance as a paradigm has also replaced the</span><br/><span>mise-en-scène of representation as a key metaphor. Theatre ceases to be a</span><br/><span>mirror of reality, just as the world can no longer be considered a</span><br/><span>metaphysical reflection of another order of reality. The change is, in fact,</span><br/><span>radical. And if it seems that a philosophical turn took place in Theatre and</span><br/><span>Performance Studies, then it is also that a performative turn is underway in</span><br/><span>Philosophy and in the Humanities in general. In 2008, the Performance and</span><br/><span>Philosophy Working Group was created within Performance Studies</span><br/><span>International to reflect and cultivate this growing dialogue, culminating in</span><br/><span>2012 with the creation of the professional association, Performance</span><br/><span>Philosophy: today an international network of almost 3000 researchers and</span><br/><span>artists from over 56 different countries, which produces biennial meetings</span><br/><span>and edits numerous publications. Although many issues remain (deliberately)</span><br/><span>open, addressed by different and contradictory traditions, there is a</span><br/><span>growing bibliography on the subject. Within this context, modern dichotomies</span><br/><span>between thought and body, language and action, word and gesture, lost their</span><br/><span>meaning insofar as the epistemological field of Theatre and Performance (and</span><br/><span>the Humanities in general) is being radically questioned. Over the last few</span><br/><span>years, we have been focussing this perspective with the rise of a new field</span><br/><span>of studies, Performance Philosophy, an interdisciplinary field of thought,</span><br/><span>creative processes and research, which addresses the relationship between</span><br/><span>Performance and Philosophy within a wide range of philosophical traditions</span><br/><span>and performance practices, including aspects of theatre, performing arts,</span><br/><span>dance, art and music. Indeed, it also includes studies of the performative</span><br/><span>aspects of life and human existence and of philosophy itself – seen as a</span><br/><span>specific "performance of thought". </span><br/><br/><span>The terms "Performance" and "Philosophy" establish a zone of friction within</span><br/><span>which each term needs to be repositioned. To think of the possible</span><br/><span>intersections between Philosophy and Performance is to go far beyond the</span><br/><span>restricted definitions of each of these terms, for a whole new</span><br/><span>interdisciplinary field has been strengthened by the writings of forerunners</span><br/><span>such as Friedrich Nietzsche (who thinks the body as the place of the</span><br/><span>philosophical event) or Antonin Artaud (in suggesting that there are</span><br/><span>thoughts that cannot be expressed in words, and presenting us with the</span><br/><span>"still radical" idea that there is a type of language capable of finding</span><br/><span>expression only through gesture, not words). More recently, authors such as</span><br/><span>Gilles Deleuze (and his view of the "Theatre of Philosophy"), as well as</span><br/><span>Alain Badiou, who defends the independence of art as thought and language,</span><br/><span>and even François Laruelle’s non-standard philosophy, have helped us to</span><br/><span>think beyond the limits of what tradition has established for each term. In</span><br/><span>order to promote the problematization of relations between Performance &</span><br/><span>Philosophy, this thematic session – the first one related to this emerging</span><br/><span>field to be published in Latin America – intends to offer an opportunity</span><br/><span>to explore this friction zone from different perspectives, through assorted</span><br/><span>articles from national and foreign authors. Theoretical essays, articles</span><br/><span>from empirical and / or historical research on the relations between</span><br/><span>Performance and Philosophy can be submitted, in relation to one or more of</span><br/><span>the following topics:</span><br/><br/><span>- The history of the relationship between Philosophy and Performance –</span><br/><span>including Theatre, Music, Dance, Performance Art etc.</span><br/><span>- The turn towards Philosophy within Performance Studies.</span><br/><span>- The emergence of Performance Philosophy as a new field.</span><br/><span>- The ‘pre-history’ of Performance Philosophy / performance philosophy</span><br/><span>avant la lettre.</span><br/><span>- A Performative Philosophy or a Philosophical Performance?</span><br/><span>- Performance as a device / image of thought.</span><br/><span>- Global understandings of the performance-philosophy relationship.</span><br/><span>- How does Performance "think" or “philosophize”?</span><br/><span>- Performance as "embodied thought".</span><br/><span>- The artist-philosopher and the research in arts.</span><br/><span>- Performing as a way of philosophizing.</span><br/><span>- Performance philosophy as method for art-based-research.</span><br/><span>- Limits, specificities and the future of Performance Philosophy as a zone</span><br/><span>of friction and emerging paradigm.</span><br/><span>- Non-standard philosophies.</span><br/><span>- The artist as a philosopher or the philosopher as an artist?</span><br/><span>- Performance events as the philosophical engagement of bodies.</span><br/><span>- Performance, Phenomenology and the hermeneutic circle.</span><br/><span>- The role of performance in emerging theories such as affect, new</span><br/><span>materialism, posthumanism and non-representation.</span><br/><span>- The Theatre of Philosophy and the Metaphysics of theatre.</span><br/><span>- Theatre, the crisis of representation and of metaphysics.</span><br/><span>- Performance Philosophy and the Contemporary Scene.</span><br/><span>- Performance Philosophy, subjectivity and formation.</span><br/><span>- Performance Philosophy and the contemporary challenges in the art field.</span><br/><br/><span>The Brazilian Journal on Presence Studies accepts articles resulting from</span><br/><span>research conceptually linked to the fields of philosophy, performance,</span><br/><span>Theatre, dance and other similar languages, paying special attention to</span><br/><span>those using images and videos to develop their reflections. It also accepts</span><br/><span>articles from interconnected, related fields, which establish a dialogue</span><br/><span>with the Presence terms. Submissions should conform to the journal's</span><br/><span>standards and be posted directly into our submission system, where they will</span><br/><span>go through our general evaluation process. In order to submit a paper for</span><br/><span>this call, it is essential to select the proper section (Performance</span><br/><span>Philosophy). We remind you that the journal does not charge for the</span><br/><span>submission or the publication and uses the double-blind peer-review system.</span><br/><span>The text can be sent in Portuguese, Spanish, English or French and will be</span><br/><span>published in two languages. Authors who send texts in Portuguese and Spanish</span><br/><span>(and those who are Portuguese speaking) will be asked to send a translation</span><br/><span>in English. The journal will provide the translation to Portuguese of those</span><br/><span>papers sent in English or French whose authors are native in these</span><br/><span>languages. Additional information can be found in our website,</span><br/><a href="http://www.seer.ufrgs.br/presenca" rel="noopener noreferrer" target="_blank">www.seer.ufrgs.br/presenca</a><span>; our guidelines can be found in “Author</span><br/><span>Guidelines”.</span><br/><br/> </p> Material related to Tempting Failure, or “Learniing From Mistakes”tag:performancephilosophy.ning.com,2018-07-17:6528949:Topic:517242018-07-17T18:46:22.732ZValeria Lembohttp://performancephilosophy.ning.com/profile/ValeriaLembo
<p></p>
<p>A symposium on learning from mistakes in settings of city planning, drawing in part on Frank Barrett’s work on jazz in his striking <u>Yes to the Mess:</u> See </p>
<p><span><a href="https://www.tandfonline.com/doi/full/10.1080/14649357.2018.1486985">https://www.tandfonline.com/doi/full/10.1080/14649357.2018.1486985</a></span></p>
<p></p>
<p><span>john forester, cornell</span></p>
<p></p>
<p>A symposium on learning from mistakes in settings of city planning, drawing in part on Frank Barrett’s work on jazz in his striking <u>Yes to the Mess:</u> See </p>
<p><span><a href="https://www.tandfonline.com/doi/full/10.1080/14649357.2018.1486985">https://www.tandfonline.com/doi/full/10.1080/14649357.2018.1486985</a></span></p>
<p></p>
<p><span>john forester, cornell</span></p>