Trapped in mirror-images: The rhetoric of maps in Israel/Palestine

The map of Israel/Palestine has long been used by both Israelis and Palestinians, from their unequal power positions, as a celebrated national symbol. It is virtually the same map, depicting a sliver-shaped land between River Jordan and the Mediterranean, two overlapping homelands in one territory. Thus, a single geo-body appears to contain two antagonistic and asymmetrical nations, locked in a bitter struggle. The article interprets the uncanny mirror-maps of Israel/Palestine by drawing on recent work in critical cartography. One approach has read maps as rhetorical claims for power and over territory; indeed, the mirror-maps of Israel/Palestine are often read as indications of maximalist territorial ambitions and hidden wishes to “wipe the other off the map”. However, this article suggests an alter- native, de-territorialised reading of political maps as “empty signifiers” of multiple meanings. Following analysis of maps as objects of performance, whose meaning depends on users and contexts, the article emphasises the ritualistic sacralisation of the Israel/Palestine map. Embedded within discourses of memory and history, maps are tools of narrating the nation, often in diasporic contexts, carrying with them vast emotional significance to both peoples. These issues were largely left unaddressed by the territorial paradigm which has dominated scholarship and political negotiations. Moving the discussion of geography beyond narrow territorial claims towards an appreciation of the richness and heterogeneity of space is crucial, yet faces formidable challenges both politically and conceptually

Performance and …

In titling our chapter 'Performance and...' our intention is not to privilege performance studies over theatre studies or drama but rather to call to attention the longstanding proposition that performance (studies) 'resists or rejects definition' (Schechner, Richard, 1998, 'What Is 'Performance Studies' Anyway?' in: P. Phelan and J. Lane (eds.), The Ends of Performance, NYU Press, p. 360) and as such highlight the potential it holds for interdisciplinary scholarship and the way in which the idea of performance has been conceived fluidly and expansively, both key concerns of all the volumes reviewed here. We are, we hope, at a point in the development of performance and theatre studies where there is an understanding, acceptance and exploration of the mutually constructive and beneficial interweaving of these two 'traditions' of scholarship within the broader field of drama. In the books we look at, both 'theatre' and 'performance' are brought to bear on the matters at hand almost interchangeably, with established text-based dramas taking their place alongside works in the performance art tradition to further arguments pertaining to a variety of disciplines. Such plurality of approach is a defining feature of the works we have chosen to discuss and binds them to a common purpose: the exploration of drama/theatre/performance in, with and between other disciplines and discourses in the pursuit of illuminating the world around us in more meaningful ways

Reclaiming Female Relational Space: In Her Own Image by Eavan Bolan

Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej nauk

LESSONS

I am learning through these lessons. The following document includes my convoluted musings about my work, making process, and body leading up to my thesis exhibition, Avoidance Kitchen. My struggle with my reflected image comes from my struggle with my self-perceived physical image. What does it mean for a piece to disappear, only to find the reflection of someone else\u27s work or body in its place? Is my craft rendered obsolete if all you want to do is take a funny selfie? Is my work unacknowledged if all you see is the sculpture across the room, in reverse? What happens when an object or installation is elevated and ignored within the same space

Re-enacting Early Video Art as a Research Tool for Media Art Histories

This paper will discuss re-enactment as a relevant tool for practice-based research to investigate pioneering video performances and video artworks from the 1970s and 1980s from a theoretical, art-historical and curatorial point of view. Since the early 2000s, the re-enactment of artists’ performance has been growing as an art practice internationally and has been investigated in several studies and exhibitions. In this paper, I will pro- pose that the re-enactment of early video artworks can open up critical analysis on the original work—its nature, form and content—as well as on collective and personal memory and mediation. Re-enactment becomes a research tool that investigates the nature of video which was at the time a relatively new medium. Re-enactment informs the research into the original piece, its documentation, the relationships between the artist and the body, the work and the viewer. It investigates the effects of analogue video on the viewer and the artist in comparison with the digital video employed in the re-enactment and its documentation. The paper will analyse case studies from the research projects REWIND, REWINDItalia and EWVA (European Women’s Video Art in the 70s and 80s)

Interruption Ashley

Rather than reading the work of Richard K. Ashley as iconic as some dead, stable image used to signify the whole of post-modern or post-structural International Relations (IR) in a single swoop this article considers Ashley's work as an interruption to the discipline of IR (mainstream and critical). In so doing, the article suggests that what is important about Ashley's work is how it creates a thinking space where it is possible to think again about international politics, about international theory, about what Ashley's interruption itself permits and limits and about how this interruption unfolds and sometimes folds back on itself

KEMNAD: A Knowledge Engineering Methodology for Negotiating Agent Development

Automated negotiation is widely applied in various domains. However, the development of such systems is a complex knowledge and software engineering task. So, a methodology there will be helpful. Unfortunately, none of existing methodologies can offer sufficient, detailed support for such system development. To remove this limitation, this paper develops a new methodology made up of: (1) a generic framework (architectural pattern) for the main task, and (2) a library of modular and reusable design pattern (templates) of subtasks. Thus, it is much easier to build a negotiating agent by assembling these standardised components rather than reinventing the wheel each time. Moreover, since these patterns are identified from a wide variety of existing negotiating agents(especially high impact ones), they can also improve the quality of the final systems developed. In addition, our methodology reveals what types of domain knowledge need to be input into the negotiating agents. This in turn provides a basis for developing techniques to acquire the domain knowledge from human users. This is important because negotiation agents act faithfully on the behalf of their human users and thus the relevant domain knowledge must be acquired from the human users. Finally, our methodology is validated with one high impact system

Dancing the Pluriverse: Indigenous Performance as Ontological Praxis

This article discusses ways that Indigenous dance is an ontological praxis that is embodied and telluric, meaning “of the earth.” It looks at how dancing bodies perform in relationship to ecosystems and entities within them, producing ontological distinctions and hierarchies that are often imbued with power. This makes dance a site of ontological struggle that potentially challenges the delusional ontological universality undergirding imperialism, genocide, and ecocide. The author explores these theoretical propositions through her participation in Oxlaval Q'anil, an emerging Ixil Maya dance project in Guatemala, and Dancing Earth, an itinerant and inter-tribal U.S.-based company founded by Rulan Tangen eleven years ago

PERFORMATIVITY, SOCIAL ONTOLOGY, AND THE USES OF NARRATIVES IN LATIN AMERICA

ABSTRACT: This article explains the relationship between performativity and social ontology in the case of Latin American narratives of resistance and liberation. In particular, it shows how these narratives construct social facts and provide social reality to experiences of oppression and to efforts of resistance and liberation, by means of performative functions tied to the creation and maintenance of social ontologies and to the struggle for identity, social recognition, sources of legitimacy, and hegemony. Latin America is not singular in the use of these kinds of narratives but it is special in the centrality that it gives to them and in its awareness of it. By way of example, the article touches upon four narratives that displa