The most striking moment in the production was the ‘To be or not to be’-soliloquy, which was removed from its dramatic context in the third act and given as the culmination of the performance. The soliloquy was staged not as Hamlet’s private contemplation of suicide, but three actors in the production delivered the speech simultaneously and directed it outwards, towards the audience.
Prof. Rita Felski (University of Virginia) is visiting the Re- Network as part of the ‘Canons vs. Icons’ series on Monday, December 2nd (Audit Room, King’s College, 5-7pm), prior to delivering the Annual Tagore Lecture in Comparative Literature at UCL. Prof. Felski will be in conversation with Re- convenor Dr. Francesco Giusti (Bard College Berlin/ICI […]
But how does recognisable repetition operate as a unique kind of site for invention, and for speech? And how might we see a Global South engagement with the tragic canon as a de-stabilizing gesture – an un-working, rather than a re-working?
Lucy Jolin interviewed Re- Network founder Clare Foster about the popularity of social forms of re-enactment for the latest issue of CAM magazine. CRASSH reports on it here. “Emily Zhang is loitering with intent in Grantchester Meadows. She is on a mission: to overthrow a mysterious artificial intelligence that has been terrifying her people. Eventually, […]
Recent developments in image-making techniques have resulted in a drastic blurring of the threshold between the world of the image and the real world. Immersive and interactive virtual environments (VEs) have enabled the production of pictures that elicit an unprecedented reality effect, creating in the perceiver a strong feeling of ‘being there’, namely of being incorporated into a quasi-real world. In doing so, they conceal their material mediateness (by simulating immediateness), their separateness (by aiming at unframedness), and their referentiality (by emphasizing presentness), paradoxically challenging their status as images, i.e. as icons: they are veritable ‘an-icons’.
What gives rise to a canon, or makes something iconic? How are those processes similar, and different?
Author Sophie Seita discusses her new book Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital, Stanford University Press, 2019 For a long time now I’ve been fascinated by ‘little magazines’; that is, magazines that generally have a small budget, a small print-run, a short-ish life span, and a small audience due to their publication […]
Mischa Twitchin’s essay films engage with philosophical ideas through a carefully calibrated and playful combination of sound, pace, image, duration and text.
This essay-film performs the paradoxical simultaneities it addresses. As film-philosophy, its meaning depends on being watched several times. Or as Twitchin puts it, ‘we have to practice Brechtian watching of the other watchers’.
What happens in performance, above all to the characters, when an actor transforms them from their fictional existence on the page to their physical enactment on the stage?
Asked by an academic friend to name one book I would save if the world were to collapse in an apocalyptic climate change scenario, I thought: ‘it’s too hard’, but then started going though my mental library. ‘You wouldn’t want to save an academic book, would you,’ said my friend, ‘surely a novel, an artist’s book…’. But in those few seconds I had already settled in my head for Salvatore Settis’ The Future of the ‘Classical’ (Polity, 2006, translated by Allan Cameron). Why?
The ‘Re-‘ network asks what repetition does. Why do we repeat, revive, re-enact, restage, reframe, remember, represent, and refer – to whom, when, where and why – and why is this a topical question in a digital era?
The most striking moment in the production was the ‘To be or not to be’-soliloquy, which was removed from its dramatic context in the third act and given as the culmination of the performance. The soliloquy was staged not as Hamlet’s private contemplation of suicide, but three actors in the production delivered the speech simultaneously and directed it outwards, towards the audience.
Prof. Rita Felski (University of Virginia) is visiting the Re- Network as part of the ‘Canons vs. Icons’ series on Monday, December 2nd (Audit Room, King’s College, 5-7pm), prior to delivering the Annual Tagore Lecture in Comparative Literature at UCL. Prof. Felski will be in conversation with Re- convenor Dr. Francesco Giusti (Bard College Berlin/ICI […]
Lynn Hershman Leeson, Roberta Breitmore, 1974-1978. External Transformations: Roberta’s Construction Chart, No. 1, Dye transfer print, 40″ x 30″, 1975. Courtesy of the artist. How has the rendering of the concept of the ‘self’ in art changed from the early 1400s to the digital present? To explore self-representation in self-portraiture, a number of paintings, photographs, […]
But how does recognisable repetition operate as a unique kind of site for invention, and for speech? And how might we see a Global South engagement with the tragic canon as a de-stabilizing gesture – an un-working, rather than a re-working?
Lucy Jolin interviewed Re- Network founder Clare Foster about the popularity of social forms of re-enactment for the latest issue of CAM magazine. CRASSH reports on it here. “Emily Zhang is loitering with intent in Grantchester Meadows. She is on a mission: to overthrow a mysterious artificial intelligence that has been terrifying her people. Eventually, […]
