Situated Knowing aims to critically examine performance studies' ideological and socio-political underpinnings while also challenging the Anglo-centrism of the discipline. This book reworks the concept of situated knowledges put forward over thirty years ago by American biologist and philosopher Donna Haraway in order to challenge the Enlightenment paradigm of objectivity in sciences by emphasising the role of the embodied and partial socio-cultural perspective of the scholar in the production of knowledge. Through carefully selected case studies of contemporary natural, cultural and technological performances, contributors to this volume show that the proposed approach requires new genealogies of traditional concepts, emerges from encounters with contemporary performative arts or contact zones and may potentially go beyond the human in order to include non-human ways of being in the world. It will be of great interest to students and scholars of performance studies, cultural studies, media studies and theatre studies.

Situated Knowing aims to critically examine performance studies' ideological and socio-political underpinnings while also challenging the Anglo-centrism of the discipline. This book reworks the concept of situated knowledges put forward over thirty years ago by American biologist and philosopher Donna Haraway in order to challenge the Enlightenment paradigm of objectivity in sciences by emphasising the role of the embodied and partial socio-cultural perspective of the scholar in the production of knowledge. Through carefully selected case studies of contemporary natural, cultural and technological performances, contributors to this volume show that the proposed approach requires new genealogies of traditional concepts, emerges from encounters with contemporary performative arts or contact zones and may potentially go beyond the human in order to include non-human ways of being in the world. It will be of great interest to students and scholars of performance studies, cultural studies, media studies and theatre studies.

This volume is a response to the growing need for new methodological approaches to the rapidly changing landscape of new forms of performative practices. The authors address a host of contemporary phenomena situated at the crossroads between science and fiction which employ various media and merge live participation with mediated hybrid experiences at both affective and cognitive level. All essays collected here move across disciplinary divisions in order to provide an account of these new tendencies, thus providing food for thought for a wide readership ranging from performative studies to the social sciences, philosophy and cultural studies.