{"product_id":"an-introduction-to-the-phenomenology-of-performance-art-self-s-9781789385304","title":"An Introduction to the Phenomenology of","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThis original and unique new book takes an integrated approach to interrogating the experience and location of the self\/s within the context of performance art practice. In its framing and execution of practical exercises and focused snapshots of internationally recognized performance practice, Bacon situates their argument within the boundaries of specialism in the critical curation of performance art praxis as well as contemporary phenomenological scholarship.\u003c\/p\u003e  \u003cp\u003eIntroducing the study and application of performance art through phenomenology for radical artists, educators and practitioner-researchers; this exciting new book invites readers to take part, explore contemporary performance art and activate their own practices.\u003c\/p\u003e  \u003cp\u003eApplying a queer phenomenology to unpack the importance of a multiplicity of Self\/s, the book guides readers to be academically rigorous when capturing embodied experiences, featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’\u003c\/p\u003e  \u003cp\u003eThis is an important contribution to the field, and will be welcomed by performance artists and academics interested in performance. It may also appeal to those teaching concepts of phenomenology.\u003c\/p\u003e  \u003cp\u003eIt will be relevant to students of performance as well as to artists, audiences and museum goers. The approachable layout and clear authorial voice will add to the appeal for students, early career researchers and mean that it has strong potential for inclusion in undergraduate and postgraduate syllabi within the field. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eAcknowledgements\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eForeword:\u003c\/strong\u003e Enduring Reorientations: Self, Time, and Space in Performance\u003cbr\u003e \u003cstrong\u003eAuthor’s Note\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eIntroduction\u003c\/strong\u003e\u003cbr\u003e - \u003cem\u003ePhenomenology\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Eidetic Reduction \u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Self\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Dasein\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e \u003cstrong\u003eSection One: Embodied Experience\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003e- Exercise 1\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Flesh\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Gestalt\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Exercise 2\u003c\/em\u003e\u003cbr\u003e Identity, Sexuality, and Gender\u003cbr\u003e \u003cem\u003e- Exercise 3\u003c\/em\u003e\u003cbr\u003e Lori Baldwin\u003cbr\u003e Anne Bean\u003cbr\u003e \u003cem\u003e- Intersubjectivity\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Intercorporeality\u003c\/em\u003e\u003cbr\u003e Rosana Cade and Will Dickie \u003cbr\u003e \u003cem\u003e- Korper and Leib\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- World and Being\u003c\/em\u003e\u003cbr\u003e Esther Marveta Neff\u003cbr\u003e \u003cem\u003e- Reciprocity\u003c\/em\u003e\u003cbr\u003e Niko Wearden\u003cbr\u003e \u003cem\u003e- Mineness\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Exercise 4\u003c\/em\u003e\u003cbr\u003e Cultural Contexts\u003cbr\u003e \u003cem\u003e- Fundierung\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Exercise 5\u003c\/em\u003e\u003cbr\u003e Jamal Harewood\u003cbr\u003e \u003cem\u003e- Exercise 6\u003c\/em\u003e\u003cbr\u003e Regina José Galindo\u003cbr\u003e Health and Dis\/Ability\u003cbr\u003e \u003cem\u003e- Exercise 7\u003c\/em\u003e\u003cbr\u003e Katherine Araniello\u003cbr\u003e Kamil Guenatri\u003cbr\u003e \u003cem\u003e- Givenness\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e \u003cstrong\u003eSection Two: The Rapture and Rupture of the Lived Body\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003e- Cartesianism \u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Exercise 8\u003c\/em\u003e\u003cbr\u003e Rapture\u003cbr\u003e \u003cem\u003e- Exercise 9\u003c\/em\u003e\u003cbr\u003e Rocio Boliver\u003cbr\u003e Louis Fleischauer\u003cbr\u003e Weeks and Whitford\u003cbr\u003e \u003cem\u003e- Befindlichkeit\u003c\/em\u003e\u003cbr\u003e Rupture\u003cbr\u003e \u003cem\u003e- Alētheia\u003c\/em\u003e\u003cbr\u003e Hellen Burrough\u003cbr\u003e Arianna Ferrari\u003cbr\u003e \u003cem\u003e- Exercise 10\u003c\/em\u003e\u003cbr\u003e Ernst Fischer\u003cbr\u003e \u003cem\u003e- Exercise 11\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e \u003cstrong\u003eSection Three: The Intersubjectivity and Intercorporeality \u003c\/strong\u003e\u003cstrong\u003eof Noise and Sonic Arts\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003e- Exercise 12\u003c\/em\u003e\u003cbr\u003e Sound through the Body\u003cbr\u003e Sarah Glass\u003cbr\u003e Joke Lanz\u003cbr\u003e \u003cem\u003e- Punctum\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Mother Disorder\u003c\/em\u003e\u003cbr\u003e Sound through Collaboration\u003cbr\u003e FK Alexander\u003cbr\u003e Clive Henry and Yol\u003cbr\u003e \u003cem\u003e- Exercise 13\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e \u003cstrong\u003eSection Four: The Perception of Self\/s\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003e- Exercise 14\u003c\/em\u003e\u003cbr\u003e Vulnerability\u003cbr\u003e \u003cem\u003e- Exercise 15\u003c\/em\u003e\u003cbr\u003e Helena Goldwater\u003cbr\u003e Natalie Ramus\u003cbr\u003e Helen Spackman\u003cbr\u003e Failure\u003cbr\u003e \u003cem\u003e- Exercise 16 \u003c\/em\u003e\u003cbr\u003e Chelsea Coon \u003cbr\u003e Selina Bonelli\u003cbr\u003e Heather Sincavage\u003cbr\u003e \u003cem\u003e- Augenblick\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Exercise 17 (Part 1 of 2)\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e- Exercise 17 (Part 2 of 2)\u003c\/em\u003e\u003cbr\u003e Extremis\u003cbr\u003e \u003cem\u003e- Exercise 18\u003c\/em\u003e\u003cbr\u003e tjb\u003cbr\u003e Hancock and Kelly\u003cbr\u003e Niko Raes\u003cbr\u003e \u003cem\u003e- Exercise 19\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e \u003cstrong\u003ePostface: \u003c\/strong\u003eThe Argument for Queering ‘The Origin of the Work of Art’\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003cem\u003e- Manifesto for Performance Artist as Artwork \u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e \u003cstrong\u003eNotes\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eBibliography\u003c\/strong\u003e\u003c\/p\u003e","brand":"Intellect Books","offers":[{"title":"Default Title","offer_id":51042576695639,"sku":"9781789385304","price":76.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781789385304.jpg?v=1750954710","url":"https:\/\/bookcurl.com\/products\/an-introduction-to-the-phenomenology-of-performance-art-self-s-9781789385304","provider":"Book Curl","version":"1.0","type":"link"}