A Queer Curation of Audience Participation
DOI:
https://doi.org/10.7146/peri.v19i35.130634Referencer
Ahmed, S., 2006. Queer Phenomenology: Orientations, Objects, Others. Duke University Press, Durham and London.
Benjamin, J., 2018. Beyond Doer and Done to: Recognition Theory, Intersubjectivity and the Third. Routledge, Abingdon and New York.
Body Slam Improv Collective, Selinger, G., Simard, H., White, R., Laporte, X., MacKenzie, V., Chan Tak, C., 2019. Collective Creation and Improvised Curation: A Discussion with Body Slam. In: D. Davida, M. Pronovost, V. Hudon, J. Gabriels (eds.) Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice. Berghahn Books, New York, pp. 213–220.
Brandstetter, G., 2019. Proposing Intervals – Curating as Choreography. In: D. Davida, M. Pronovost, V. Hudon, J. Gabriels (eds.) Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice. Berghahn Books, New York, pp. 346–347.
Brigstocke, J., Noorani, T., 2016. Posthuman Attunements: Aesthetics, Authority and the Arts of Creative Listening. GeoHumanities 2, 1–7.
Burke, E., 2020. Intuition and Vulnerability: A Queer Approach to Museum Education. Journal of Museum Education 45, 403–413.
Churchill, S.D., 2012. Resoundings of the flesh: Caring for others by way of “second person” perspectivity. International Journal of Qualitative Studies on Health and Well-being 7, 8187.
Crois, E., 2020. Responsible Combodying: The Intelligence of Discomfort in Guiding Interactive Performance. Research in Drama Education 25, 405–421.
Crois, E., 2019. In Dissensus, We Trust: Prototyping Social Relationships in Participatory Theatre. In: Sharing Society. The Impact of Collaborative Collective Actions in the Transformation of Contemporary Societies. Presented at the Sharing Society. The Impact of Collaborative Collective Actions in the Transformation of Contemporary Societies. Servicio Editorial de la Universidad del País Vasco (UPV/EHU), Bilbao, pp. 320–331.
Crois, E., 2015. Een leven pellen als een artisjok. Sensitief theater en presence. Documenta 33, 53–75.
Eckersall, P., Ferdman, B., 2021. Curating Dramaturgies: How Dramaturgy and Curating are Intersecting in the Contemporary Arts. Routledge, Abingdon & New York.
Heddon, D., Johnson, D. (eds.), 2016. It’s All Allowed: The Performances of Adrian Howells. Intellect Live. Intellect, London.
Kirshenblatt-Gimblett, B., 1998. Destination Culture: Tourism, Museums, and Heritage. University of California Press, Berkeley.
Kirshenblatt-Gimblett, B., 1991. Objects of Ethnography. In: I. Karp, S. Lavine (eds.) Exhibiting Cultures: The Poetics and Politics of Museum Display. Smithsonian Institution Press, Washington, pp. 386–443.
Klich, R., 2019. Visceral Dramaturgies: Curating Sensation in Immersive Art. Body, Space & Technology 18, 175–197.
Levine, S., Levine, O., 1995. An Experiment in Mystical Union. Yoga Journal 86–92.
Machon, J., 2013. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. Palgrave Macmillan, London.
McCurdy, E.J., 2019. Exhibiting Dance, Performing Objects: Cultural Mediation in the Museum. In: D. Davida, M. Pronovost, V. Hudon, J. Gabriels (eds.) Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice. Berghahn Books, New York, pp. 251–261.
Mintzberg, H., Waters, J.A., 1985. Of Strategies, Deliberate and Emergent. Strategic Management Journal 6, 257–272.
Muñoz, J.E., 2019. Cruising Utopia: The Then and There of Queer Futurity. New York University Press, New York.
Nibbelink, L.G., 2015. Nomadic Theatre. Staging Movement and Mobility in Contemporary Performance (PhD thesis). Universiteit Utrecht, Utrecht.
Pineda, R., 2019. Framing a Network, Charting Dis/Courses: Performance Curation, Community Work, and the Logic/Anxieties of an Emerging Field. In: In: D. Davida, M. Pronovost, V. Hudon, J. Gabriels (eds.) Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice. Berghahn Books, New York, pp. 275–281.
Rogoff, I., von Bismarck, B., 2012. Curating / Curatorial. In: B. von Bismarck, J. Schafaff, T. Weski (eds.) Cultures of the Curatorial. Sternberg Press, Berlin, pp. 23–25.
Tronto, J., 2013. Caring Democracy: Markets, Equality and Justice. New York University Press, New York.
Tronto, J., 2010. Creating Caring Institutions: Politics, Plurality, and Purpose. Ethics and Social Welfare 4, 158–171.
Tyburczy, J., 2016. Sex Museums: The Politics and Performance of Display. University of Chicago Press, Chicago.
Tyburczy, J., 2013. Queer curatorship: Performing the history of race, sex, and power in museums. Women & Performance: a journal of feminist theory 23, 107–124.
von Bismarck, B., 2010. Relations in Motion: The curatorial condition in visual art – and its possibilities for the neighbouring disciplines. Frackcija: Performing Arts Journal 50–57.
Walsh, F., 2016. Queer Performance and the Drama of Disorientation. In: A. Campbell, S. Farrier (eds). Queer Dramaturgies: International Perspectives on Where Performance Leads Queer. Palgrave Macmillan, Basingstoke and New York, pp. 313–329.
Zerihan, R., 2006. Intimate Inter-actions: Returning to the Body in One to One Performance. Body, Space & Technology 6.
Downloads
Publiceret
Citation/Eksport
Nummer
Sektion
Licens
Det følgende vedrører alle Peripeti-udgivelser fra 2024, nr. 39, og senere:
Peripeti er et Diamond Open Access-tidsskrift, der giver direkte open acces til publiceret indhold ud fra princippet om, at det at gøre forskning frit tilgængelig for offentligheden understøtter en større global udveksling af viden.
Forfattere skal ikke betale for indsendelse, redigering eller offentliggørelse af artikler.
Forfattere, der bidrager til Peripeti, bevarer ophavsretten til deres artikler.
Forfattere accepterer at udgive artikler under en Creative Commons CC-BY-NC 4.0-licens. Vilkårene for denne licens tillader brugere frit at kopiere og videredistribuere materialet i ethvert medie eller format og at tilpasse, transformere og bygge videre på materialet, så længe der gives passende kreditering, et link til licensen gives, og eventuelle ændringer angives. Brugere må ikke dele eller tilpasse materialet til kommercielle formål uden samtykke fra licensgiveren. Brugen af licensen må ikke på nogen måde antyde, at licensgiveren støtter tredjeparten eller dennes brug. Licensen kan ikke tilbagekaldes.
Forfattere opfordres til at lægge deres artikler ud på personlige og/eller institutionelle hjemmesider for at sikre endnu større offentlig adgang efter udgivelsen. Forfattere har ret til at arkivere deres artikler i fondes og offentlige institutioners arkiver, men Peripeti anmoder om, at forfattere bruger et direkte link til den publicerede artikel på tidsskriftets hjemmeside, når det er muligt, da Peripeti som en ikke-kommerciel, offentligt finansieret udgiver er afhængig af niveauet af brugeraktivitet på tidsskriftets hjemmeside.
Vedrørende tidligere udgivelser, indtil 2024, herunder nr. 38:
Ophavsretten deles mellem Peripeti og forfatteren/forfatterne. Tidsskriftet er et open access-tidsskrift, der giver direkte adgang til alt indhold baseret på princippet om, at det at gøre forskning frit tilgængelig for offentligheden understøtter en større global udveksling af viden. Brugere kan frit kopiere og dele materiale i ethvert medie eller format, så længe der gives passende kreditering. Enhver anden brug kræver skriftligt samtykke fra indehaverne af ophavsretten.
