Toward a poetics of air: sequencing and surfacing breath

Engelmann, Sasha

doi:10.1111/tran.12084

Cited by 76 publications

(42 citation statements)

References 71 publications

(116 reference statements)

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Descriptions of being able to "hardly breathe" further embodied the stifling nature of pollution and the capacity of contaminated air to infiltrate the human body (Choy 2011;Engelmann 2015;Shapiro 2016). This corporeal engagement with petrochemicals also resembles what Valdivia (2018, 551) called the "embodied political ecology of oil flow."…”

Section: Toxic Infrastructure and Constricting Temporalitiesmentioning

confidence: 99%

Toxic Space and Time: Slow Violence, Necropolitics, and Petrochemical Pollution

Davies

2018

Annals of the American Association of Geographers

200

162

View full text Add to dashboard Cite

Section: Toxic Infrastructure and Constricting Temporalitiesmentioning

confidence: 99%

Toxic Space and Time: Slow Violence, Necropolitics, and Petrochemical Pollution

Davies

2018

Annals of the American Association of Geographers

200

162

View full text Add to dashboard Cite

“…The trapeze swing, slung on wire cables from the roof, was quickly introduced and served a pedagogic and sensorial function. In the case of the former, it enabled practical tuition without the interference of gravity; in the latter it produced conditions for the bodily sensation of motion in the air (see Engelmann, ). Once suspended, the paratrooper could practice control by gripping the lift webs (for damping oscillation; i.e., reducing sideways motion).…”

Section: The Central Landing Establishmentmentioning

confidence: 99%

The art of parachuting: Embodied geopolitics, aerial aesthetics and dance‐based combat training at Ringway Aerodrome, 1940–1946

Veal

2019

Trans Inst British Geog

View full text Add to dashboard Cite

The emergence of air power as the pre‐eminent method of warfare prompted a decision, made at the highest level, to form a new arm of the British military. The Central Landing Establishment was founded as parachuting headquarters in 1940, and tasked with developing and implementing the means for training and delivering airborne forces to the ground. With woeful shortfalls in aerial knowledge, experimentation proved crucial. The paper examines the recruitment and synthetic ground training of the British Parachute Regiment at Ringway Aerodrome (1940–1946), and their experimental exchanges with “specialists” in the art of falling. More specifically, in the absence of a recognised landing technique, and with associated high injury rates, Ringway turned to movement theorist Rudolf Laban to advance its embodied aerial practice. The paper will explore how militaries have long recognised the centrality of such embodied and aesthetic regimes to the doing of geopolitics. In particular, it foregrounds the multifaceted, micro‐bodily practices – operating through complex interconnected spatialities – that comprise the waging of war. In turn, it asserts the significance of the aesthetic in understanding how geopolitics takes place and is implemented in the world. In doing so, the paper unpacks the “art” within the art of war.

show abstract

“…"Closeness," as a term for high levels of humidity, is a possible for the collective nature of Cervenak's fugitive choreography as a collective and intimate coming together in the black pneumonic commons. My perspective is informed, in part, by my reading of Sasha Engelmann's (2015) discussion where she submits that humidity is among the qualities that comprise air's poetics: In artistic form, air evokes the sensation of "atmospheric experiences":…”

Section: Cultivating Humidity As Life Forcementioning

confidence: 99%

The Shape of Humidity: Performing Black Atlantic Theory Making

Hyacinthe

2019

Performance Philosophy

View full text Add to dashboard Cite

Following bell hooks’ submission that theory making is “a location for healing” (2017, 59) “The Shape of Humidity: Performing Black Atlantic Theory Making” riffs upon the historically critical and widely circulated subject of the black body politic and Atlantic waters informing but non-exclusive to performance, art history, and visual cultural discourses. The theory making performed here alternatively frames the black Atlantic body in relation to humidity, illustrating what Deleuze and Guattari might call the “possibles” evoked through “a contraction of earth and humidity” (Deleuze 1994, 76–78). The theory is shaped upon a discussion of Winslow Homer’s The Gulf Stream (1899), included in Kara Walker’s cultural-political opus, Kara Walker: After The Deluge (2006), mounted at the Metropolitan Museum of Art. Theory making confronts the painting’s adherence to the hegemonic tradition of rendering the black Atlantic body as a perennial form in peril, whose destiny in this instance is as matter consumed by the thermodynamic sublimity of the waters. Alternatively, the action of theory making here collapses space-time separations among black Atlantic flora, the healing processes of artists Lygia Clark and Wangechi Mutu, and modes of breath activation, to access states of limitlessness actualized through bodily openness to humidity’s grace.

show abstract

Toward a poetics of air: sequencing and surfacing breath

Cited by 76 publications

References 71 publications

Toxic Space and Time: Slow Violence, Necropolitics, and Petrochemical Pollution

Toxic Space and Time: Slow Violence, Necropolitics, and Petrochemical Pollution

The art of parachuting: Embodied geopolitics, aerial aesthetics and dance‐based combat training at Ringway Aerodrome, 1940–1946

The Shape of Humidity: Performing Black Atlantic Theory Making

Contact Info

Product

Resources

About