Recent technological and scientific developments have demonstrated a condition that has already long been upon us. We have entered a posthuman era, an assertion shared by an increasing number of thinkers such as N. Katherine Hayles, Rosi Braidotti, Donna Haraway, Bruno Latour, Richard Grusin, and Bernard Stiegler. The performing arts have reacted to these developments by increasingly opening up their traditionally 'human' domain to non-human others. Both philosophy and performing arts thus question what it means to be human from a posthumanist point of view and how the agency of non-humans - be they technology, objects, animals, or other forms of being - 'works' on both an ontological and performative level. The contributions in this volume brings together scholars, dramaturgs, and artists, uniting their reflections on the consequences of the posthuman condition for creative practices, spectatorship, and knowledge.

This interdisciplinary collection ofessays probes the impact of the market economy on art and science in the post-Berlin Wall era.

"Part One: Science for Sale," A Dollar Green Science Scene, focuses on new alliances of contemporary science and education with commercial funding, and the commodification of knowledge. Among the questions addressed here are: Does proximity to economic power eclipse freedom of knowledge? When science and education become businesses, what are the risks for a sell-out of patented knowledge, an abuse of research for business purposes or a commercialization of symbolic power?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

Part Two: Art for Sale, Buy Buy Art, elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

Part Two: Art for Sale, Buy Buy Art, elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but

This interdisciplinary collection ofessays probes the impact of the market economy on art and science in the post-Berlin Wall era.

"Part One: Science for Sale," A Dollar Green Science Scene, focuses on new alliances of contemporary science and education with commercial funding, and the commodification of knowledge. Among the questions addressed here are: Does proximity to economic power eclipse freedom of knowledge? When science and education become businesses, what are the risks for a sell-out of patented knowledge, an abuse of research for business purposes or a commercialization of symbolic power?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

Part Two: Art for Sale, Buy Buy Art, elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

Part Two: Art for Sale, Buy Buy Art, elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, 'This dance is for the world and the world is for everyone', reveals a deep social and political commitment. Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel's Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself. Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel's choreographic oeuvre.

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, 'This dance is for the world and the world is for everyone', reveals a deep social and political commitment. Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel's Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself. Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel's choreographic oeuvre.

Recent technological and scientific developments have demonstrated a condition that has already long been upon us. We have entered a posthuman era, an assertion shared by an increasing number of thinkers such as N. Katherine Hayles, Rosi Braidotti, Donna Haraway, Bruno Latour, Richard Grusin, and Bernard Stiegler. The performing arts have reacted to these developments by increasingly opening up their traditionally 'human' domain to non-human others. Both philosophy and performing arts thus question what it means to be human from a posthumanist point of view and how the agency of non-humans - be they technology, objects, animals, or other forms of being - 'works' on both an ontological and performative level. The contributions in this volume brings together scholars, dramaturgs, and artists, uniting their reflections on the consequences of the posthuman condition for creative practices, spectatorship, and knowledge.