Poetic Witness in a Networked Age

When online videos mobilize protestors to occupy public spaces, and those protestors incorporate hashtags in their chants and markered placards, deliberative democratic theory must no longer dismiss technology and peoples historically excluded from the arena of politics. Specifically, political models must account for the role of repetition in paving the way for unheard and unseen messages and people to appear in the political arena. Drawing on Judith Butler’s theory of the Performative and Hannah Arendt’s Space of Appearance, this paper assesses that critical and generative role of iteration. Repeating unheeded acts performs the capacity for those acts to be entered into discourse. The World Wide Web evidently augments such performativity with features such as accessibility, potential for ‘viral’ proliferation, and an endurance unlike non-networked acts. This paper eventually grapples with the hazards and risks of networked repetition (e.g. desensitization, trivialization, etc.) in order to propose a poetics of repetition to mitigate those dangers. Such poetics ultimately distinguishes the witness from the spectator

‘Is that my score?’ : between literature and digital games

It is on the margins of what Katherine Hayles calls the ‘shifty’ boundaries between computer games and electronic literature as well as between digital art and electronic literature that I set the focus of this paper. I argue that electronic literature, with its cohabitation of strong elements of play and claims to ‘literariness’, allows for a discussion of the interface between literary theory and digital games by exposing points of contact as well as divergence through the respective claims of the two discourses.peer-reviewe

The Spanish Gitanos of Mexico City: Rhythmicity, Mimesis and Domestication of the Payos

This text addresses a tentative approach to groups in Mexico such as the Roma, who remain poorly known. The analysis focuses on problematizing the particular cultural and economic reproduction strategies of an urban group of Gitanos (Calós) in Mexico City. Greater attention is placed particularly onthe performance and the mimesis in economic exchange with the Payos (non-Gitanos). The idea is that the processes of cultural identification refer to the basic Caló social universe, which reveals epistemological beliefs and assumptions shared by the group in relation to the Payo universe. The idea is that the Calós construct idealized models of the real world during everyday experience in the ecological context within the community. Instead, it relates to the direct perceptual involvement of subjects in a relational context of shared patterns of daily activities in environments that are experienced. The effect is the domestication of the Payo’s world

WRITING UTOPIA NOW: Utopian Poetics In The Work Of Theresa Hak Kyung Cha

This thesis examines Theresa Hak Kyung Cha’s DICTEE (1982), Audience Distant Relative (1977) and Reveillé dans la Brume (Awakened in the Mist) (1977). The premise of the thesis is an exploration of the various ways in which these works both perform and gesture toward the possibility of a ‘utopian’ experience of nonalienation. In Cha’s vocabulary, this takes the form of ‘interfusion’ and is related to the role of the artist as alchemist. Cha employs formal and linguistic innovations in her text, mail art and performance works to invite active participation from her readers and audience in a gesture toward embodied intersubjectivity. Her grappling with the challenges relating to the articulation of subjectivity place her work at the centre of contemporary critical debates around subjectivity and innovative poetics. In particular, recent scholarship on race and the poetic avant-garde has called for cross-disciplinary approaches to reading DICTEE as a text that explores the intersections of subjectivity and its performance in contemporary innovative poetics. Developing a theory of Utopian Poetics from my reading of Ernst Bloch’s utopian philosophy, I explore the ways in which DICTEE and Cha’s other works perform a yearning for non-alienated subjectivity that remains necessarily open and incomplete. My reading of DICTEE, in particular, is primarily informed by my own practices of yoga and meditation, and these practices form the basis of both my scholarly and creative engagements with this research. This scholarly thesis comprises Part 1 of a two-part submission. Part 2 comprises my own creative experiments with UtopianPoetics

Rancière and the poetics of the social sciences

This article reviews the significance of Jacques Rancière’s work for methodological debates in the social sciences, and education specifically. It explores the implications of framing methodology as an aesthetic endeavour, rather than as the applied technique of research. What is at stake in this distinction is the means by which research intervenes in social order and how it assumes political significance, with Rancière arguing against a notion of science as the other of ideology. Rancière’s argument for a democratic research practice organised around a ‘method of equality’ is situated in relation to openly ideological’ feminist ethnography. The implications of Rancière’s work for investigating affect in academic discourse and subjectification in education are reviewed in the conclusion

Shakespeare and media ecology: beyond historicism and presentism

This article proposes media ecology-a combination of media studies and performance studies with literary and cultural history-as a research perspective for Shakespeare studies. In contrast to a hermeneutics of renewal-as evinced in both New Historicism and what has been called presentism-media ecology combines a sense of historical alterity with an awareness of the continuing transformations of Shakespeare in changing media settings: from manuscripts and printed texts to theatrical performances, music, opera, cinema, and new media. As an example, the article focuses on the masque in The Tempest, which poses obvious difficulties for a hermeneutics of renewal and is often cut from performance. Productions and adaptations frequently extend the spectacular qualities of the masque to The Tempest as a whole and ignore the skepticism about theatrical illusion that is voiced by Prospero in the play. In the case of The Tempest, cultural productions ranging from theatrical performances to the closing ceremony of the London Olympics of 20 12 are difficult to conceptualize in the framework of adaptation studies (which relies on the precedence of an original over its derivations). The article argues that media ecology can help scholars map out such connections and differences between performances and cultural phenomena relating to Shakespeare as cannot be fully grasped either in a historicist or presentist perspective

Poets in dialogue, dialogues in poets

Is there something noticeably peculiar about dialogues with poets when transformed into writing, be it in electronic or printed form? The pauses and hesitations, the thrust and parry, the slurrings and overlappings of ordinary speech by and large disappear. In their place is an artifice, a deliberate creation of a script, with questions and responses clearly marked for our attention. Might we be approaching a tidied duologue which, some might also cynically remark, largely reproduces a dual monologue? Moreover, when poets are in dialogue, with whom or what does the poet converse

Technology as the God-Command

Giorgio Agamben's Creation and Anarchy is comprised of five meditative essays compiled over the last few years and presented as an anthologized collection. The initial few chapters' survey postmodern art qua divinity, with particular interest to a contradictory dialectic: inspiration and critique. Drawing from an idiosyncratic amalgam of thinkers–ranging from bastion thinkers such as Kant and Heidegger to zoologist Jacob von Ueküll and prescient media philosopher Gilbert Simondon–Agamben carves a historiographic lineage between politics, animal studies, landscape painting, and religion

Exile, return, record : exploring historical narratives and community resistance through participatory filmmaking in 'post-conflict’ Guatemala

Following previous experiences of violence and forced displacement, ‘the returnees’ from the Guatemalan campesino community ‘Copal AA la Esperanza’ are now defending their territory against the construction of a hydroelectric dam. The returnees unexpectedly mobilized me as a Belgian historian to ‘make’ their ‘shared history’ and produce a documentary about their past and present struggle. The aim of this article is to reflect on how and why I developed a participatory, filmmaking-based methodology to tackle this challenge. I focus on filmmaking, participation and knowledge production to demonstrate the epistemological and ethical benefits of a dialogue between disciplines and methodologies as much as between academic and community practices and concepts. As such, I exemplify my visual participatory approach through its engagement with post-colonial histories and the co-creation of shared knowledge at the intersection of community and research interests. Moreover, I demonstrate how filmmaking can be developed as a grounded, visual, and narrative approach connecting media activism with ‘performative ethnography’. Combining insights from participatory action research (PAR) with Johannes Fabian’s notion of ‘performance’, I argue for ‘nonextractivist methodologies’; ‘knowing with’ instead of ‘knowing-about’. From being a side project and a matter of research ethics, participatory filmmaking turned for me into an investigative tool to explore the collective production and mobilization of historical narratives. I argue that participatory research should not be limited to communities participating in research projects; researchers can equally participate in community projects without this obstructing scientific research. In sum, participatory visual methods challenge us to reconsider the role of academics in (post-conflict) settings

Performative perspectives on short story collections

The first part of this paper offers a brief theoretical discussion of the short story collection and raises some concerns about the relevance of its historical roots. In a second part, the concepts of performance and performativity are introduced in order to investigate how these concepts can play a relevant role in the theoretical description of the peculiar functioning of the short story collection as a literary form