Material Traces: Performativity, Artistic “Work,” and New Concepts of Agency

Jones, Amelia

doi:10.1162/dram_a_00494

Cited by 28 publications

(12 citation statements)

References 6 publications

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“…Such an approach raises questions about how to archive knowledge that is generated collaboratively and that requires understanding bodies as archives of experience. Artists working with performance have similarly experimented with how to document artwork (Jones 2015). Indeed, Hal Foster (2004) describes the "anarchival" in relation to art as that which emerges in the tension between documentation and event.…”

Section: Fiona Siegenthalermentioning

confidence: 99%

Bodies of Archives / Archival Bodies: An Introduction

Battaglia¹,

Clarke²,

Siegenthaler³

2020

Visual Anthropology Review

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Compared to other disciplines and despite its central role in research practices, the concept of the “archive” has received insufficient critical attention in anthropology until recently. Anthropologists working in collaboration with artists and curators have experimented with forms of archive/archiving, raising important questions about both the collaborative and processual nature of archives. They thereby challenge ideas about the “archive” as a static repository of history. This special section begins with the premise that archives, prone to decay, dissolution, and rearrangement, are permanently in process. This perspective enables us to engage with cleavages and links between past knowledge and future imagination, as well as the role of representation and the anarchive. Our interest is not limited to objects, but also addresses the idea of the body (or collective bodies) as archives of experience, and the archive’s potential for collaborative artistic and ethnographic practices. We ask: What forms of collaborative work does the archive offer? In what ways can the collective sensibility of the archive be explored? What can we gain from a process‐based notion of the archive? What implications does this have on the role of the archive in art and anthropology, and for the practices related to it in particular?

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Section: Fiona Siegenthalermentioning

confidence: 99%

Bodies of Archives / Archival Bodies: An Introduction

Battaglia¹,

Clarke²,

Siegenthaler³

2020

Visual Anthropology Review

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“…Nevertheless, in considering the reformulation of the idea of agency that these works actualize, I am especially drawn to how this reframing unfolds in the works through their dramaturgies (of performance and/or reception), rather than necessarily through the use of technology. In this respect, my contribution is prefigured by Amelia Jones's new materialist–informed analysis of hybrid and performative art practices which draws attention to the material processes through which they come to be what they are—to the workings of the work of art, or as Jones puts it, to its “ having been made ” (2015, 23; original emphasis). Tracing the emergence of new concepts of agency in these practices, Jones focuses on how the artworks “ indicat [ e ] previous processes of making ” rather than offering themselves “as static and immutable” (2015, 23; original emphasis).…”

Section: Diffraction Difference and Dancementioning

confidence: 99%

“…They watch and study each other: little by little, the girls’ growing sense of curiosity and the men's unhurried demeanor and approachable attitude lead to the staging of moments of encounter. In all likelihood, these configurations draw on the phases of the journey of mutual discovery the performers experienced during the research and development phase, thus gesturing toward the project's processes of making—what Jones (2015, 32) calls “the work of its having been made.” The first contact is channeled through the large newspaper sheet, which is held on all sides and gently shaken in the air; this soon becomes the pretext for a game of hide and seek and the stage is quickly filled with dynamic, nimble movement and laughter. More newspaper makes up the setting: there are pages crumpled up on the floor upstage or neatly arranged in overlapping pattern on a vertical panel to form a backdrop.…”

Section: Reclaiming Closeness: Men and Girls Dance By Fevered Sleepmentioning

confidence: 99%

“…In this respect, my contribution is prefigured by Amelia Jones's new materialist–informed analysis of hybrid and performative art practices which draws attention to the material processes through which they come to be what they are—to the workings of the work of art, or as Jones puts it, to its “ having been made ” (2015, 23; original emphasis). Tracing the emergence of new concepts of agency in these practices, Jones focuses on how the artworks “ indicat [ e ] previous processes of making ” rather than offering themselves “as static and immutable” (2015, 23; original emphasis). In a similar way, I engage with how Spencer's and Fevered Sleep's choreographic practices make their own processes of making visible.…”

Section: Diffraction Difference and Dancementioning

confidence: 99%

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Im/possible Choreographies: Diffractive Processes and Ethical Entanglements in Current British Dance Practices

Domm¹

2019

Dance Res. J.

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Introduction: Choreography and Im/possibilities in the PresentOver the last decade, governmental instability and widespread financial crises both in Britain and in continental Europe have been the background of bewildering events through which problematic political and ethical conjunctures have become day-to-day realities: the refugee crisis, exacerbated by the Syrian civil war and by the measures and legislation implemented in a number of countries to control the flow of migrants; the 2016 British referendum and the civic turmoil and protest marches provoked by the vote to leave the European Union vis-à-vis the xenophobic sentiment it unleashed; London's Grenfell Tower fire on 24 June 2017, which killed over seventy people and injured an equal number among the occupants of this working-class housing complex, leading to public outrage and to demands for independent investigations into building regulations and fire safety. These are but few of the most emblematic events that have brought the question of borders and the issue of difference and discrimination to the forefront of political discourse in the United Kingdom; events that speak of the dangerous unpredictability of contemporary politics and of its increasingly uneasy relationship to ethics. I propose to consider these events as im/possible realities1insofar as they materialize as situations that are ethically and politically precariouswhich demand positioning, and ultimately also action. This article aims to address the question of what choreographic forms such positioning and such action might take, beyond and/or alongside direct political engagement.September 2019 version, before final copyediting 2 How might choreography attend to the ongoing differentiation and increasing complexity of today's socio-political environment in ways that escape the dominant logic of fear and envision new spaces of commonality? How might dance practices intervene in how causality and agency are conceived of, mobilizing a response as well as a sense of responsibility to the specific configurations that are produced in each spatio-temporal conjuncture? How might choreodramaturgical processes engage with the paradoxical tensions between doing and undoing inscribed in the world's becoming, and grapple with the entanglement of the possible with the impossible? This article approaches the choreographic as a mode of relationality that acknowledges the shifting nature of boundaries and the exclusions implied in any particular encounter, in any specific configuration; it interrogates dance as a site for reorienting horizons of possibility and materializing the workings of the world's ongoing historicity. I propose to think of the precariousness and ambiguity of the events that I sketched above from the perspective of new materialist thought, and specifically through the lens of Karen Barad's notions of indeterminacy and intra-action, which, in dialogue with Donna Haraway's (2004) concept of diffraction, compose an onto-epistemology that is inextricably linked to ethical discourse...

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“…Since the discovery of reinforced concrete (RC), it has proven to be a material suitable for new needs and new construction forms [1,2]. In the beginning, it was used only to build large buildings, then it was used to build works of artistic, monumental, and historical importance [3,4] and large structures such as bridges and motorway viaducts [5][6][7]. The decisive turning point for the success of this modern material came when it was realized that by providing concrete with a grid of steel bars, the strength characteristics of the concrete were amplified.…”

Section: Introductionmentioning

confidence: 99%

Case study on the mineralogical and petrophysical analysis of reinforced concrete slabs of a highway viaduct of the S.G.C. Orte-Ravenna

et al. 2021

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For the maintenance of the safety and security of people traveling on the road, renovation of the reinforced concrete is necessary, especially for bridge or viaduct slabs. Being able to quantify the degradation of slabs and propose methodologies for its retrofit or maintenance is crucial not only in the mineralogical-engineering field but also for socio-economic implications. In this study, samples of deck slabs of a viaduct from the highway E45 near the locality of Bagno di Romagna (Emilia Romagna, north of Italy) were subjected to a testing program to evaluate mechanical and mineralogical parameters through thermographic analyses, compression, and Ultrasonic Pulse Velocity tests and morphological observation. The analyses allow to better recognize the damage of the reinforced concrete samples and they have shown that the cause of the detachment of the asphalt has mainly a natural origin, due to temperature variations and precipitation, with a secondary cause in the anthropogenic impact. The work aims to understand the relationships between the structure of the aggregates and the characteristics of concrete to understand the development of degradation. This knowledge could be used to prevent future damages to the highways. Article Highlights• Concrete slabs analysed provided information about the relation between damage level, mechanical behaviour, size and distribution of aggregates.• Thermographic analyses were useful to understand how deep the damage was in the slabs and to detect any detachment of the asphalt. • Compressive tests, through the failure load value, shown that the ultimate strength level decreased due to formation of microcracks.

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Material Traces: Performativity, Artistic “Work,” and New Concepts of Agency

Cited by 28 publications

References 6 publications

Bodies of Archives / Archival Bodies: An Introduction

Bodies of Archives / Archival Bodies: An Introduction

Im/possible Choreographies: Diffractive Processes and Ethical Entanglements in Current British Dance Practices

Case study on the mineralogical and petrophysical analysis of reinforced concrete slabs of a highway viaduct of the S.G.C. Orte-Ravenna

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