In a 1934 lecture, Marcel Mauss said: "A kind of revelation came to me in hospital. I was ill in New York. I wondered where previously I had seen girls walking as my nurses walked. I had the time to think about it. At last I realised that it was at the cinema. Returning to France, I noticed how common this gait was, especially in Paris; the girls were French and they too were walking in this way. In fact, American walking fashions had begun to arrive over here, thanks to the cinema." Here are the roots of contemporary views of daily-life movement (including walking). We notice people who don't walk normally. We notice ourselves when we don't walk normally. There is, it seems, an intense, invisible pressure to walk normally. Straight is the gait. Call it ambulonormativity. For about 9 months, two walking-authors/artists - Alyson Hallett and Phil Smith - found themselves wrestling with not being able to walk normally. They wrote to one another about it and, amongst other things, reflected on: prostheses waddling Butoh built-up shoes walking in pain bad legs vertigo falling (and fallen) places hubris bad walks scores for falling down walking carefully disappointment. This is their conversation. From it, there emerges an 'Alphabet of Falling', a sustained reflection on the loss of normal capabilities, anecdotes and autobiographical stories, and the beginnings of a larger discussion about srumbling and falling: the pedestrian equivalent of blowing an uncertain trumpet. As the book concludes: "When you next fall, stay down for a while, see what comes. Then, when you get to your feet again, rather than relying on your body's natural approximations of space, choose your steps, not anxiously but in an excited kind of wariness; and, with each pace, a little more undo the 'grounds' that tripped you up."

Offering historical, social, and artistic context for some of the most influential artists and filmmakers from the 1960s to the present day, this timely book looks at three filmic techniques-appropriation, documentary film, and montage-and how they confront the viewer with pieces of reality within a particular "frame." Including previously unpublished material, Truth features a selection of interviews with and essays about twenty-four artists and filmmakers, among them Bruce Conner, Chick Strand, Jean-Marie Straub and Daniele Huillet, Pratibha Parmar, and Dara Birnbaum, whose work incorporates one or more of these techniques. Rather than proposing similarities among these artists' practices, the book explores the varied ways that their work examines truth, meaning, and form as a way of coming to terms with reality. Distributed for the Dallas Museum of Art Exhibition Schedule: Dallas Museum of Art (10/22/17-01/28/18)

Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff R. Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices.

Music, Dance, Affect, and Emotions in Latin America is a collection of essays that analyze different manifestations of Argentine music and dance taking advantage of the exciting new theoretical developments advanced by the current affective turn. Contributors deal with the relationship between music, dance, affects, feelings, and emotions in different scenarios and show how the embodiment of music shape the experiential in ways that may impact upon but nevertheless many times evade conscious knowing. This book is one of the first academic attempts (regardless of region or country of scope) to try to solve some of the most important problems the affective turn has identified regarding how music and dance have been researched so far, such as the tendency, in representational accounts of music, to ignore the sensory and sonic registers to the detriment of the embodied and lived registers of experience and feeling that unfold in the process of making or listening to music.

In 1829 Goethe famously described the string quartet as 'a conversation among four intelligent people'. Inspired by this metaphor, Edward Klorman's study draws on a wide variety of documentary and iconographic sources to explore Mozart's chamber works as 'the music of friends'. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer's sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.

Une nouvelle direction generale, une nouvelle politique, l'entreprise prend une forme que Mochon cadre experimente ne reconnait pas. Le nouveau directeur general use de methodes proches du harcelement moral. Le doute s'installe dans l'esprit de Mochon, rien ne fonctionne correctement. Il est accuse d'incompetence. Ils sont des milliers comme lui, a etre demolis, harceles, detruits puis licencies sous des motifs passe-partout.

In his writing on the 'mirror stage', the psychoanalytic theorist Jacques Lacan describes the female body as lacking: a mere symptom of man, an object constructed by male desire. However, what happens if the woman in art follows Jean Baudrillard's advice to 'swallow the mirror', and is made real? What if the beautiful is inverted and becomes ugly; and the ugly becomes beautiful? These are the fundamental questions Basia Sliwinska poses in this important new enquiry into gender identity and the politics of vision in contemporary women's art. Through an innovative discussion of the metaphor of the mirror, or looking-glass, Sliwinska reveals how the post-1989 practices of woman artists from both sides of the former Iron Curtain - such as Marina Abramovic, Joanna Rajkowska, Lora Hristova, Jess Dobkin, Natalia LL, Sedzia Glowny and SZ-ZS - go beyond gender binaries and instead embrace otherness and difference. She makes a refreshing, radical intervention into art theory and cultural studies by offering concepts such as 'the mirror' and 'genderland' (inspired by Alice's 'Wonderland') as critical tools with which we can analyse and explain recent developments in women's art.

Homosexualite feminine, tolerance, femmes, amour... Injustement condamnee, Laura en cavale, cagoulee et armee, fait irruption dans la bijouterie de Cindy, son ex complice qu'elle retient en otage. Dans un premier temps, elle ne lui montre pas son visage, et au fil de la conversation, elle decouvre que Cindy, non seulement la prend pour une idiote, mais qu'elle la voit aussi comme une homo, incapable d'etre mere. Laura, fait remarquer a Cindy, que celles qui ont plus de difficultes avec les gays refoulent leurs propres pulsions homosexuelles. Apres une nuit passee ensemble, Cindy se retrouve seule dans la bijouterie, en nuisette, menottee a un radiateur sur lequel, se trouve une boite de preservatif. Laura surgit, elle est allee chercher des croissants et des fleurs et elle l'appelle ma cherie. Pour Cindy, c'est insupportable.

In this Footbook, Phil Smith (Mytho, Crab Man) extends his critical account of the gentle walking arts to the predatory lurch of the living dead. A keen observer of the zombie mythos for the past 35 years, he draws on the multitude of plots, images and metaphors swarming from movies and comics to describe a groundbreaking way to have presence in everyday life. Invoking slowness, fragmentary consciousness, thickness and thingness, the author describes in strategic theory and a horde of tactics, how to walk from Night to Day and away from the old Dawn into a radical nothingness. Gorehounds will never see the zombie the same way again. Drawing examples from across the spectum of the living dead product, with plenty from its margins, Phil Smith celebrates and berates the zombie; then turns it into a meditation, a manifesto, a dance score and the herald of a social movement. Shambling around the three key principles of Interiority, Carnival and an End to Ends, the Footbook of Zombie Walking is a way back to a vital Life and an art of Living. It is the next step, beyond Mythogeography, to ending media predations, putting subjectivities back on the streets and coming to be present in everday life. The Footbook is a toolkit for anyone who wants to make their every gentle step or crawl an uprising against the apocalypse and a march to real life over the remains of a spectacle. 'When Humanity is fed up, then the living walk the Earth.'

Cabane Imaginaire est la premiere de trois pieces pour Enfants, Pre-ados et Grands adolescents, trois histoires qui peuvent se jouer individuellement, ou bien a la suite, sachant que l'enjeu etait d'ecrire pour trois niveaux de classe. Dans "Cabane imaginaire," les enfants imaginent leur cabane. Dans "Nous irons ensemble voir les ours," on est suppose retrouver les memes eleves plus grands, qui decident pour des motivations ecologiques de faire un voyage au Canada, ou ils veulent voir les ours. Dans "Retour du Canada," les ados reviennent et doivent faire part de ce qu'ils ont vu au Canada. Il y a des choses qu'ils vont devoir expliquer et il ne sera pas facile de mettre de mots sur ce qu'ils ont vecu. Landau dans la scene finale.

In 1829 Goethe famously described the string quartet as 'a conversation among four intelligent people'. Inspired by this metaphor, Edward Klorman's study draws on a wide variety of documentary and iconographic sources to explore Mozart's chamber works as 'the music of friends'. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer's sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.

Pourquoi Nue ? Quand la perversion devient une forme de communication ? Quand la perversion masque l'amour ... Comment lire et que lit-on chez l'autre, en l'autre, de l'autre ? Alors qu'il a rencontre de nombreuses vendeuses et qu'il lui suffirait d'invoquer l'absence de qualification pour le poste, Steve Carlton, bijoutier repute, ne parvient pas a decoder les raisons occultes qui lui interdisent d'ecarter la candidature d'Aline Deville jeune femme rustre, mal habillee et sans formation qui s'est presentee devant lui pour le poste de vendeuse qui vient de se liberer. Malgre l'intervention de son adjointe defavorable a la jeune femme, Steve laisse Aline aller au bout de ses arguments, ce qui ne tarde pas a lui attirer les foudres de la direction generale aupres de laquelle Annie, l'adjointe de Steve va se plaindre. Entre la nouvelle recrue et Steve s'installe une forme de connivence qui le meduse dans un premier temps et qui comme pour lutter contre une mort virtuelle, un jeu de miroirs figes, le pousse a devenir quelqu'un d'autre.

What does 'performance theory' really mean and why has it become so important across such a large number of disciplines, from art history to religious studies and architecture to geography? In this introduction Simon Shepherd explains the origins of performance theory, defines the terms and practices within the field and provides new insights into performance's wide range of definitions and uses. Offering an overview of the key figures, their theories and their impact, Shepherd provides a fresh approach to figures including Erving Goffman and Richard Schechner and ideas such as radical art practice, performance studies, radical scenarism and performativity. Essential reading for students, scholars and enthusiasts, this engaging account travels from universities into the streets and back again to examine performance in the context of political activists and teachers, countercultural experiments and feminist challenges, and ceremonies and demonstrations.

What does 'performance theory' really mean and why has it become so important across such a large number of disciplines, from art history to religious studies and architecture to geography? In this introduction Simon Shepherd explains the origins of performance theory, defines the terms and practices within the field and provides new insights into performance's wide range of definitions and uses. Offering an overview of the key figures, their theories and their impact, Shepherd provides a fresh approach to figures including Erving Goffman and Richard Schechner and ideas such as radical art practice, performance studies, radical scenarism and performativity. Essential reading for students, scholars and enthusiasts, this engaging account travels from universities into the streets and back again to examine performance in the context of political activists and teachers, countercultural experiments and feminist challenges, and ceremonies and demonstrations.