Viale Somalia 33
HMKV im Dortmunder U
Werner Busch (ed.), Carolin Meister (ed.)
Carolin Meister (ed.), Dorothea von Hantelmann (ed.)
Beate Fricke (ed.), Urte Krass (ed.)
The Public in the Picture / Das Publikum im Bild
Claudia Blümle (ed.), Anne von der Heiden (ed.)
Blickzähmung und Augentäuschung
The theoretical validity of a global affective language means to cancel out any translation difficulties in the spoken word.
The tendency toward the globalization of the affect code compiled thus far is manifested as much in image atlases and catalogs of affect as in universal grammar and the language of popular images, since this code is precisely intended to be valid irrespective of space and time and thus also attain global reach in the service of a better understanding of facial expressions. If we assume that the above mentioned facial expressions may be traced to innate basic emotions, this neither forecloses the possibility that feelings may be simulated, nor implies that all humans are equally capable of recognizing emotions. Ekman certainly takes into account the potential contained in optical media such as television, which he treats as a training ground for facial recognition and which, therefore, may present a methodological challenge to intercultural studies: “Perhaps everyone learned their ‘universal’ expressions from watching Sesame Street on television!”
However, the discussions about Schlingensief’s film were sparked by the same, or similar, questions as in the case of Disabled Theater: have the performers been exposed? Have they been declared incompetent, or ridiculed?
Not all theatrical performances create a contemporaneity. To create a contemporaneity is temporarily, ephemerally, to construct stable relationships between different temporalities.
Theater as a live art has a peculiarly complicated relation to time, and to the present, especially because sometimes it proves to be a mimetic art, and sometimes not. Not only is it a matter of the temporality of the theater itself, and then of the time of the play, and of the performance but it is also – and this since the original Greek dispensation of theater – a question of the time of the city, of the polis, of the community, if such a thing exists.
The object of this paper is theater as the production of contemporaneity, a temporal phenomenon which also turns out to be corporeal and political. The material consists of two theatrical performances; one by Dario Fo, titled La Fame dello Zanni (The Servant’s Hunger) and performed in what appears to be a university lecture hall in 1977 for RAI Due, Italian state television, and the...
Facebook’s Open Graph protocol is the basis of a conglomerate in which the technical functionalities of addressing and distribution go hand in hand with categorization, staging, and user activity. A fundamental aspect to all of this is the fact that Open Graph can only be thought about in terms of crowds. An effective circulation of content requires an exceedingly large number of users; the semantic definition of content depends on the large-scale mobilization of website operators; and at the social level, the formation of “subsets” requires users to interact with online elements and with one another on a large scale. Open Graph produces a level of mediation between these crowds. It integrates organization and communication in such a way that crowds are rearranged; in the same way, it simultaneously organizes the classification of users in terms of content and thus gains, through the staging of its interfaces as well, its...