{"id":5569,"date":"2020-02-07T13:02:30","date_gmt":"2020-02-07T13:02:30","guid":{"rendered":"https:\/\/thecpr.org.uk\/?post_type=product&p=5569"},"modified":"2020-02-07T13:02:30","modified_gmt":"2020-02-07T13:02:30","slug":"24-6-on-animism","status":"publish","type":"product","link":"https:\/\/thecpr.org.uk\/product\/24-6-on-animism\/","title":{"rendered":"24.6 On Animism"},"content":{"rendered":"
As the concept of \u2018performance\u2019 crosses over between the mechanistic and the creative, between serving \u2018time and motion\u2019 studies and their suspension in \u2018duration\u2019, between the \u2018frictionless\u2019 and its interruption, such distinctions themselves seem to delineate fields of research. But it is precisely these distinctions that prove to be in question when invoking the concept of \u2018animism\u2019. Although defined historically in terms of these familiar oppositions, what has come to be called the \u2018new animism\u2019 concerns what cannot be accommodated by them\u2014inviting a sense of the \u2018re-enchantment\u2019 of the world, even as a self-styled modernity appears intent on destroying it. Not the least of what performance research explores in the name of animism, then, are \u2018alternatives\u2019 to modes of globalized practice, affirming a pluralism of understanding relations in and to the world, which are not limited to those of human \u2018actors\u2019. Participating in the work of cosmopolitics, animism implies fundamental questions about the very \u2018life\u2019 of social relations\u2014many varied examples of which are addressed in the essays of this issue of Performance Research<\/em>.<\/p>\n <\/p>\n CONTENTS:<\/p>\n On Animism\u2009: Introduction<\/strong> \u2018This Artwork Is Having a Rest\u2019<\/strong> Complicating the Implication\u2009: Animism and spectrality in performances without humans<\/strong> There As Here\u2009: Living ecologies of film in Le Quattro Volte<\/strong> Animating Tangible Futures\u2009: Returning (again) to Battleship Island<\/strong> Dirt in the Lens\u2009: On matter and memory in photographic performance<\/strong> The Miniature Object and the Living World<\/strong> When I Grow Up I Want to Be an Indian<\/strong> Entangled Animisms\u2009: Whakaaro and dialogue in the artwork of Shannon Te Ao<\/strong> Burning the Bull\u2009: The changing meanings of a harvest ritual in the Anthropocene<\/strong> I Want It to Go to a Good Home\u2009: Animism in Western relationships with personal possessions<\/strong> Becoming Doll\u2009: Radical objectification in the performance of Freddie Mercado<\/strong> Addressing Residues and Relics\u2009: Puerto Rico, 2015\u201318<\/strong> The Animation of Contemporary Subjectivity in Tino Sehgal\u2019s Ann Lee<\/strong> <\/p>\n <\/p>\n <\/p>\n <\/p>\n\n\n
\nMischa Twitchin, Carl Lavery<\/p>\n
\nMischa Twitchin<\/p>\n
\nPedro Manuel<\/p>\n
\nAugusto Corrieri<\/p>\n
\nCarl Lavery<\/p>\n
\nSimon Bowes<\/p>\n
\nEleanor Margolies<\/p>\n
\nNicol\u00e1s Salazar Sutil<\/p>\n
\nChristopher Braddock<\/p>\n
\nTamara Searle<\/p>\n
\nAmelia Mathews-Pett<\/p>\n
\nMarina Barsy Janer<\/p>\n
\nAravind Enrique Adyanthaya<\/p>\n
\nKaterina Paramana<\/p>\n