What of dance is welcomed in the museum, and what remains on the outside? Artist Tino Seghal's “constructed situations” redirect this question, reworking relations of inside and outside, participant and observer, subject and object through a collective bodily attending to the situation itself. This article explores the conspiratorial techniques activated by This Situation (2007) to consider how dance moves in and with the museum. These techniques, which are derived from or affiliated with those of performance (the intricate negotiation of bodies, movement, and time in relation), include repetition, remixing, distributed movement, conspiratorial breathing, the compliment, disjunctions between words and gestures, and more as part of the work's ecology of practices. As interpreters of the piece in Montréal (and, as such, embodied archivists), the three authors take up key issues such as tensions between ephemerality and preservation, dance's anarchival propensity, and the contagious corporeal techniques of the piece that pass between interpreters and visitors, human and object materialities, and which traverse heterochronicities of the event and its resonances. We propose that what is specific to Sehgal's work within the museum is a holding of movements and relations as a way of persistently making and unmaking its forms, contents, and relations—as a way of making art contemporary, so to speak, via dance's propensity to always begin again. This commitment to re-beginning is what we term Sehgal's impersonal ethics: how This Situation (re)activates and relies on the generation of intensive but ambiguous embodiments.

This article argues that various contemporary media articulate an aesthetic of stealth, that is, the staging of acts of becomingimperceptible. Furthermore, the article contends that the aesthetic of stealth resonates with a broader shift in the functioning of contemporary political culture, the requirements it formulates, and appropriate modes of action. The argument is presented in three case studies, each articulating one step in the argument: through Steyerl's video piece How Not to Be Seen, the author situates stealth aesthetics in the political context of a shift away from struggles for visibility to a withdrawal from representation and the preoccupation with becoming-imperceptible. In an engagement with the TV series The Americans, the author explains how exactly contemporary media, in this case television, produce an aesthetic of stealth, foregrounding the notion of ecological perception. Finally, an analysis of the changes in gameplay in the video game series Tomb Raider allows the author to elaborate, first, on how stealth gameplay fosters the embodied performance of ecological perception and, second, on how the media aesthetic of stealth infiltrates genres that traditionally rely on open confrontation and combat.

"Philosophy begins in wonder. And, at the end, when philosophic thought has done its best, the wonder remains" -A.N. WhiteheadThe aim of the Immediations book series is to prolong the wonder sustaining philosophic thought into transdisciplinary encounters. Its premise is that concepts are for the enacting: they must be experienced. Thought is lived, else it expires.It is most intensely lived at the crossroads of practices, and in the in-between of individuals and their singular endeavors: enlivened in the weave of a relational fabric. Co-composition. "The smile spreads over the face, as the face fits itself onto the smile" -A. N. Whitehead Which practices enter into co-composition will be left an open question, to be answered by the Series authors. Art practice, aesthetic theory, political theory, movement practice, media theory, maker culture, science studies, architecture, philosophy … the range is free. We invite you to roam it.

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This article explores recent uses of the tracking shot in various media. Examples drawn from television, video games and video art reveal that recent audiovisual media have frequently used a particular kind of tracking shot that follows an individual through a complex environment. This article argues that this tracking shot contributes to an aesthetic of stealth, that is, a perceptual attunement to notions of imperceptibility and secrecy. The stealth tracking shot can thus be seen as one of the aesthetic principles that articulate discourses of securitisation. The argument proceeds in three steps. First, the article shows that this specific use of the tracking shot takes inspiration from thirdperson video games. An analysis of the stealth game Splinter Cell: Blacklist (2013) shows how the mobile 'following camera' allows the viewer to perceive the avatar in his or her environment. Then, in an analysis of the unbroken tracking shot in True Detective (2014), it is demonstrated how this kind of tracking shot contributes to a reformulation of the notions of law enforcement underlying crime fiction. Specifically, the tracking shot is related to the notion of stealth democracy. Finally, the article considers Hito Steyerl's video 'Guards' to show that the aesthetic principles of stealth operate not only in individual media objects but more generally in public spaces and institutions such as museums and art galleries. To conclude, the article situates the stealth tracking shot in a more general consideration of the politicality of media aesthetics.