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Ideas are for moving bodies and the magical incantation of the manifesto: Q&A with Laura Cull & Will Daddario

Manifesto Now! maps the current rebirth of the manifesto as it appears at the crossroads of philosophy, performance and politics. Intellect asks the co-editors why they believe this resurgence demands a renewed interrogation of the form...and is a call to action.

 
Intellect: What is a manifesto and why explore it as performance scholars?
WD: Manifestos dwell within the nexus of text, action, imagination, past, present, and future.They are written documents, usually drafted by people seeking to advance a system of beliefs or a plan of action. But looking closer, [the manifesto] defies typical categories of language. They do more than report on a situation; they are more of a direct address, as though they were scripts for a speech or live monologue. Manifestos mean nothing at all if the listener or reader takes no action after reading, and in this way the document launches into the terrain of performance.
 
Intellect: How does the manifesto engage performance studies?
WD: Manifestos are not simply “performative” texts because they don’t merely do what they say. Instead, they coax actions that seem downright impossible within  current political situations. Manifestos tend toward magical incantation insofar as they conjure imagined futures in which great change has already occurred, even though the socio-political conditions that make each individual manifesto possible reveal the fact that such magnitude of change seems highly unlikely.
 
LCÓM: Back in 2010, for Performance Studies international #16, Beth Hoffmann and Idevised "Public Philosophy: A Manifesto Workshop" in collaboration with six core participants: Franziska Bork Petersen, Shane Boyle, Will Daddario, Matthew Goulish, Lin Hixson, and Esa Kirkkopelto. This workshop explored manifestos as an act of self-situating and self-explicating; as a kind of writing towards an invisible public or a people-to- come; as both a genre and a highly contextualized act. We wondered whether the manifesto might help expose the kinds of publics that our own work as a “performance studies community” addresses but also fails to address. What has attracted many artists and scholars to the field of performance has been precisely this sense of openness, indefiniteness and inclusivity. But even ostensibly inclusive categories like performance have their exclusions and develop their habits and conventions at certain times. I came to performance from a background in the visual arts – but one where I’d always been interested in how nonhuman things perform or act, including materials like paint, light, fabric and so on. The sense of the “stuff” of visual art as having a life of its own and its own way of thinking – which was often resistant to or in excess of what I was trying to do with or to it – was always something that interested or attracted me practically as well as conceptually.
 
WD: I think Laura and I share the belief that artfulness has always been embedded within philosophical writing. When I read a particularly curmudgeonly chapter from Adorno, for example, I think, “But wait, he dictated an early draft of this sentence to his wife as he walked around his living room, and then he went back and took that record of his live speech and fiddled with it until it was sharp enough to cut through my mind.” How, then, am I to read Adorno if I truly recognize the live speech that sits at the center of all of his writing, writing that seems so writerly and erudite but must always be read as a spoken pronouncement? What happens if I re-read all of Adorno with this notion that he is performing his philosophy? I mean, if students were introduced to Foucault by watching videos of him speaking instead of reading some of his books, they would have a completely different understanding of this work. His body can’t keep still when he talks because his thought is animating his every limb. Thus, when I read Foucault, I have to comport myself to that particular energy and try to allow the BIG ideas to sit inside me until they move me-- in some way. None of this is metaphorical: ideas are for moving bodies.
 
Intellect: What launched Manifesto Now!?
LCÓM: It originated with that PSi #16 workshop, which focused on the idea of the
manifesto as explicitly concerned with an act of ‘making public’ – the word manifesto which comes from the Latin, manifestare: “to make public; to reveal”. The session combined people talking ‘about’ manifestos and people performing manifestos. Manifesto Now!, like the session, combines and expands upon this– and questions the extent to which all texts perform, even when they conceive themselves as description or explanation (of manifestos, or anything else).
 
Intellect: Is the manifesto experiencing a resurgence?
LCÓM: For my own part, I’d been writing and performing manifestos for a while – both as an individual, and as part of the artists collective SpRoUt which contributed to the Manifesto Marathon. In the book, we consider whether the manifesto is enjoying something of a revival – thinking, for instance, of such UK- based examples as Hans Ulrich Obrist’s 2008 Manifesto Marathon at the Serpentine Gallery, London; the international activist network, The Manifesto Club, founded in 2006; the comedian Mark Thomas’ project The People’s Manifesto; and the manifesto statement announcing Nicolas Bourriaud’s Altermodern exhibition as the 2009 Tate Triennial. The ongoing sense of crisis in contemporary politics – which, if anything, seems to have become even darker and more poisonous post-Trump– might support an ongoing concern with the manifesto, albeit not a naively optimistic or nostalgic, we hope.
 
WD: The art of protest has become more and more important in the last five years. There is a strong critique of academia that runs throughout the entire book, and as we know too well these critiques have proven prescient. As such, they all take the form of instructions for readers who seek methods of resisting and opposing the status quo. Due to the confluence of word and action in the manifesto, the critiques in Manifesto Now! are goads to performance, participation, and action.
 
Manifesto Now! features contributions from trailblazing artists, scholars and activists currently working in the United States, the United Kingdom and Finland, Manifesto Now! is indispensible to scholars across the disciplines. Filled with examples of manifestos and critical thinking about manifestos, it contains a wide variety of critical methodologies that students can analyse, deconstruct and emulate.
 
You can find out more about Manifesto Now! here
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Journal of Applied Journalism & Media Studies 6.3

Intellect is delighted to announce that the latest issue of the Journal of Applied Journalism & Media Studies is now available.


This special issue of JAJMS aims to open a critical dialogue about the concept of inclusive journalism and the practice that sheds light on voices traditionally left out in news coverage.


Articles within this issue include (partial list):


Inclusive journalism: How to shed light on voices traditionally left out in news coverage

Authors: Verica Rupar

Page Start: 417


This note introduces the concept of inclusive journalism in a bid to encourage a critical dialogue of the press’s ability to challenge hegemonic notions of inequality under the rubric of social diversity. Over the last century journalism’s authority in fast processing of information has moved from the privileged position of reporting life to the more privileged position of reporting life that matters. Its capacity to separate individual lives from the life of society has enabled it to turn persons into representative of the groups. By forming and un-forming groups and by constructing a sense of who we are in relation to others, the journalistic sector of the media participates in the larger process of inclusion and exclusion.


Translation in the newsroom: Losing voices in multilingual newsflows

Authors: Daniel Perrin, Maureen Ehrensberger-Dow and Marta Zampa

Page Start: 463


The information, events and voices that receive media attention are highly dependent on their linguistic form – when the language is accessible to journalists, the news is more likely to enter public discourse. If the voices are in languages other than that of the region the journalist is writing for, then translation strategies can influence not only the news style but also the selection and perspectivation of the information presented. In this article, the authors discuss how working between languages inside the newsroom can endanger the flow of accurate information. Among other stakeholders, we focus on journalists as key gatekeepers in global and local newsflows who need to cope with cross-linguistic communication in their processes of news production. Initial analyses show that translation matters in the newsroom, but it is far from being part of systematic professional socialization or subject to quality measures.


How diverse are Egypt’s media: A look at the post-revolution presidential elections

Authors: Rasha Abdulla

Page Start: 507


This article examines media diversity and inclusiveness of the coverage in Egypt through a content analysis of Egyptian media during the first Presidential elections following the 25 January revolution of 2011. Diversity is defined as the inclusiveness of different groups in terms of race, ethnicity, religion, nationality, age, income-based discrimination, gender and any other factors that make individuals or groups different from, but equal to, each other. The author used quantitative content analysis of four popular state and private newspapers and a critical analysis of the main television news bulletin and several talk shows. Overall, the coders analysed a total of 5308 stories that were published on the elections in the four newspapers. They also analysed the main news bulletin and three talk shows on state and private satellite channels. Analysis started a week before and ended a week after each round of the Presidential elections for a total of 32 monitoring days. The research addressed diversity both in terms of the agents featured in the media and the topics mentioned/discussed. The results indicate that, even though the journalistic standards were sometimes reasonable, coverage ignored important issues of substance and all issues related to inclusiveness and diversity as they relate to women, children, the elderly, religious minorities and ethnic minorities. The study concludes that diversity issues are still largely ignored in the Egyptian media.

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Art & the Public Sphere 6.1&2

We are delighted to announce the publication of a very special issue of Art & the Public Sphere, in collaboration with the Birmingham Big Art Project (BBAP), guest edited by Anna Santomauro with Mel Jordan. With six funded bursaries from BBAP, the journal has been able to support commentators actively engaged in public art now. Contributions utilize theories on the contemporary political and cultural condition (Robert Garnett, Joey Orr and Suzanne Lacy); consider new approaches to the function of art (Sabrina Deturk, Gemma Medina Estupiñán and Alessandra Saviotti, Kuba Szreder) and employ a more comprehensive concept of the public (Danielle Child, Janna Graham and Mel Jordan). Stuart Whipps provides a glorious visual essay on public art pieces in Birmingham. Through situating art and its publics in a broader critical framework, we hope that readers, scholars, viewers, artists, curators and commissioners will be able reassess the role and function of public art. To read more about BBAP click here.

 

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DRTP 3.1: Call for papers deadline extension

The deadline for the submission of papers for Drawing: Research, Theory, Practice 3.1 has been extended until 30th October 2017.


Call for Papers DRTP 3.1 ‘Drawing on Text’


This special guest-edited issue explores the relationship between writing and drawing. Topics for consideration concern writing, drawing, visual text, illustration, marginalia, illustrated letters, drawing with creative writing, writing with drawing, poetry as drawing, image based languages, and pictographs. We are inviting multi-cultural contributions with historical and/or contemporary emphasis, scholarly articles, critical essays, creative visual and textual research projectfs and profiles, and visual submissions of hybrid practices of drawing on text.

Drawing: Research, Theory, Practice (DRTP) promotes and disseminates contemporary drawing practice and research in its current cultural and disciplinary diversity. The journal encourages pluralist forms of discourse, addressing current issues of theory and practice. It is concerned with drawing as an interactive process and product, as a form of writing or visual narrative, as a model of representation; an investigative, descriptive or interpretive pursuit, a recording and communicative tool; an interactive and dynamic 'site of conception'; as performance, as support to critical thinking, an interpretative medium and as a site of production.

DRTP invites practitioners, researchers, educators and theorists in the disciplines of fine art, architecture, design, visual communication, technology, craft, animation, etc. to contribute articles, projects, essay and papers that deal with the various knowledges and representations of drawing.

We invite submissions for Vol 3, Issue 1 of the journal including:

Articles (5000 words, 1–6 images)

Research Projects (3000 words, 1–4 images)

Critical essays (3000 words, 1–4 images)

Profiles (1500 words, 1–2 images)

Featured Drawings (1–2 image and 1000 words)

Reviews (1500 words) on the latest books, media, museum and gallery exhibitions, conferences, performance, educational and research projects and events that relate to drawing.

Deadline: 30 October 2017

Submissions will be double-blind peer-reviewed and must be uploaded via the ‘Drawing: Research, Theory, Practice’ Intellect webpage: http://www.intellectbooks.co.uk/repository/index/


Please follow this link, scroll down to ‘submit article’ and generate a user account.


Please submit a PDF Document with 1–6 embedded images (72 dpi), captioned, as Name_Surname.doc. On acceptance, a Word Document with separate images (300dpi) will be required via www.wetransfer.com.

All contributions should be original and not exceed 20 Mb.

All contributors should submit the Metadata (see Notes for Contributors)

Authors are responsible for copyright permissions (article [author] and images [artist or institutional copyright / photographer's permission]). Only copyright forms supplied by Intellect are accepted (hand-signed, scanned and returned as PDF files).


Please refer to the DRTP Notes for Contributors and to the Intellect House Guidelines for Style. Authors should ensure guidelines are adhered to; failing to do so leads to delays, and may result in the editor having to return or withdraw the submission.

All enquiries should be addressed to the principal editor: Dr Adriana Ionascu, Ulster University, School of Architecture, a.ionascu@ulster.ac.uk.

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CFP: Journal of African Cinemas (Special Issue)

Call for papers: The Cinematic City: Desire, Form and the African Urban

(Special Issue​)​


Submission of abstracts: 30 September 2017

Submission of articles: 28 February 2018


This special issue of the Journal of African Cinemas seeks articles that address questions at the intersections of cinematic form and the African urban. We aim to examine the contribution of cinema and audiovisual media to our understanding and experience of contemporary cities from an African perspective. We also want to problematize the circulation of terms such as “Afropolitanism,” “Afro-polis” “Afro-modernity” and “Afro-urbanity”, which often define the kinds of sentiment invested in

or associated with the city in Africa. We are seeking articles that question whether these terms sufficiently evoke issues of specificity and materiality.


We also seek submissions that read the African city – and its diasporas – as form. The editors frame city and screenscapes as co-constitutive, foregrounding the diegetic and extra-diegetic elements that inform the “African urban” as a cinematic form. We are interested in articles situated within an interdisciplinary matrix that contribute to intellectual engagement with African cinemas through, among others,

affect theory and the city as a matrix of feeling; critical black geography and the racialized construction of city spaces; the urban as a temporal consciousness; and representations of social inequalities and urban geographies of exclusion.


This special issue aims to that unpack the broad affective, aesthetic and material dimensions of African visuality, spatiality and temporality in African and diasporic audiovisual media. We also welcome articles that engage with film manufacture, circulation and consumption. Papers may cover (but are not limited to) the following:


·      Genre and African film as visual and verbal narrative

·      Aesthetics and African cinema as an urban form

·      Space, place and the infrastructures of the African city

·      Black subjectivity and geographic boundedness of the African urban

·      Comparative analyses with other (visual) forms of representation

·      African cinema, social inequality and urban geographies of exclusion


All submissions should adhere to JAC guidelines: https://goo.gl/Mn1GhS


Submissions should not be more to 8,000 words and should include a 200 word abstract and five keywords. The 8,000 words includes references, graphics and photos equivalent to 250 words each. The document(s) should be sent as Microsoft Word and/ or JPEG attachment(s) respectively. Prospective contributors should send an abstract (300 words) and short bio to Danai Mupotsa: danai.mupotsa@wits.ac.za and Polo Moji: polo.moji@wits.ac.za by 30 September 2017.

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New issue of Journal of Contemporary Painting 4.1

Intellect is delighted to announce that the new issue of the Journal of Contemporary Painting (4.1) is now available.


This issue of JCP investigates painting within the context of the temporal.


Articles within this issue include (partial list):


Painting as event: An interview with Jacqueline Humphries

Authors: David Ryan

Page Start: 45


In this interview, New York-based painter Jacqueline Humphries talks about her recent practice in relation to the condition of time: this includes her own history as a practitioner, the role of gesture, the notion of the event, and contemporaneity. She addresses the appearance of ‘emojis’ in her recent work, and alludes to both literature and computer games as analogous modes of operation, each illuminating the inner workings of painterly process and its broader context within the contemporary.


The discursive array: Towards a politics of painting as time-space production

Authors: John Chilver

Page Start: 81


Modernist articulations of time in painting – based on phenomenological approaches – are not viable today. The adequate recipient of today’s accelerated information flows is more machinic than human: human perception is no longer adequate to technological temporalities. Painting ought now to approach time in registers other than the perceptual. Rejecting the terms of MoMA’s ‘The Forever Now’ exhibition, the argument turns to Buren’s notion of the in situ as a valuable attempt to re-think painting as time–space production. But Buren’s position is based on flaws in his ‘Function of the studio’ essay, and ends up supplying architectural decoration for urban redevelopment that is a far cry from his youthful ambitions. The text then considers conflations of in situ with discursive production in Gillick and Bourriaud. After a critical reading of Joselit’s ‘Painting beside itself’ essay, artworks by Merlin Carpenter, Jutta Koether and Lucy McKenzie are examined. McKenzie’s recent work devises fruitful tactics for interweaving affective opacities and discursive frames. McKenzie is able to play with rhetorics of in situ production without succumbing to reductive understandings of site and authenticity, and without conflating time–space production with discursive production. Such a discursive array can elaborate the dissonances between the discursive and the affective.


The viscosity of duration: Painterly surface and the phenomenology of time in the London paintings of Frank Auerbach

Authors: Anne Robinson

Page Start: 199


This article aims to examine our perceptions of temporality in painterly surface and investigate the relationship between subjective perceptions of temporality and emotional ‘affect’ in encounters with painting. Frank Auerbach’s London paintings are taken as examples of ‘painterly’ surface with which to consider the elastic temporality of painting. At the centre of this investigation are the engaged and embodied artist and the engaged spectator, encountering the ‘strangeness’ of painterly surface as an intense experience, offering an enhanced sense of lived temporality: both caught in a circuit defined by Merleau-Ponty: ‘For painters, the world will always be yet to be painted...’.

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Call for papers for the Journal of Dance & Somatic Practices 10.2

 

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CFP: JAWS 4.1

Call for Papers

JAWS: Journal of Arts Writing by Students Volume 4 Issue 1

JAWS is the only academic arts journal run by and dedicated to postgraduate students (and those who have recently graduated). We have published work by students from India, China, Australia, North America, Canada and the United Kingdom, and maintain an international peer-review network.


What We Want:
  • Theoretical and discursive essays up to 5000 words.
  • Critical reviews of events, exhibitions or performances up to 3000 words.
  • Visual essays about art practice (demonstrating a research approach, and if possible responding to the journal format), including images or stills, plus up to 1000 words
 

All work must be prefaced with a 100 word abstract and 6–8 keywords, and followed by a short contributor biography. Please include your university affiliation, full name, course and year of graduation.

All work must use Harvard referencing, following Intellect House Style. For full submission guidelines please refer to www.jawsjournal.com/submissions.

Deadline for submissions: Monday 20 November 2017.

Volume 1 Issue 1 is available for free at:
 
Our guest editorials from previous issues are also available for free, including those by Professor Arnold Aronson (Columbia University), Dr Sophie Hope (Birkbeck), Dr Inger Mewburn (the Thesis Whisperer) and Professor Joseph Heathcott (The New School of Design).
For all inquiries please email rob@jawsjournal.com  or babettescarlet@gmail.com.
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1st Edition of the Italian Film Festival!
 
 

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New issue of Dance, Movement and Spiritualities – out now!

Intellect is delighted to announce that the new issue of Dance, Movement & Spiritualities is now available.


The special issue of DMS focuses on ‘Global Journey’s of Sufi Whirling Sufism and Arts Practice.’


For more information about this issue, please click here or email katy@intellectbooks.com.


Articles within this issue include (partial list):


World as sacred stage for Sufi ritual: Performance, mobilization and making space with the act of whirling

Authors: Esra Cizmeci

Page Start: 199


This article examines the theoretical and applied relationship between Sufism and performance as embodied acts (including theatrical events comprising dance, theatre, music, praying and meditating and everyday life actions of semazens). I focus on how a Sufi devotee artist, Narin dede with his semazens have come to use performance as a medium for the mobilization of Sufi cultural beliefs and values. Performing their ritual movements as theatrical events outside of Sufi lodges, semazens seek to recognize and embrace world as a sacred stage in which every act is devotional and is embodied and practiced to move closer to God. The analysis of the connection between Sufism and performance shows how Sufism is more than a set of religious doctrines designed solely for Sufi devotion. The connection between Sufism and performance opens a lens through which devotees and non-devotees perceive Sufism’s relationship to different cultures, religions and art forms.


Transmodernity and the heart: The unique position of the semazen-artist

Authors: Hannah McClure

Page Start: 243


This article looks at Sufi whirling as both a sacred act and a purifying process that sorts, sifts and reconfigures the ego. The article highlights the necessity of our spiritual and religious practices to a transmodern effort. By a renegotiation of ritual, practice and doctrine, ingenious solutions for both personhood and collective thriving may arise. The semazen-artist, an initiate who walks in the worlds of both spiritual submission and commercial arts production, emerges at a moment in time to hold the past, literally within their body and living practice, while consciously engaging the present towards a reimagined universal reality.


A work of two registers: Mukabele, private and public

Authors: Mark James Hamilton

Page Start: 263


The Mevlevi sema, usually described as the dance of the whirling dervishes, can be understood to be both a private transformational passage and a public performance with theatrical dimensions. The exceptional commitment and effort that it requires evolves a participant’s deep focus towards one’s interior. At the same time, the commitment to welcoming guests as witnesses to the ceremony ensures that the practice remains connected to the wider world. What is created through the balance of these two dimensions? What is made possible by the ceremony’s dynamic relationship, in which the participants’ immersion in personal transformation contributes towards an aesthetic composition for onlookers? I explore these questions with reference to the propositions of Jerzy Grotowski, whose transcultural vision seeded my three decades of embodied practice as research and my arrival at participation in the Mevlevi sema in London.

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