One of the effects of the 1990s on performance and choreography in Europe is the end of post-structuralist criticism, which avoided modern concepts such as authorship, spectatorship and modes of production. From a global standpoint, power mechanisms no longer work as ideologies but rather in the sense of affective processes that are the condition of the late capitalist system, writes Brian Massumi. In other words: the politics of aesthetics no longer consists in the fact that cunning concepts aim at deconstructing dominant social fictions, but rather in the artistic power to reshape the order of sensation and perception. This workshop offers the opportunity to reconceive performance and choreography with regard to aesthetics and politics - to be more precise, perception and affect - and their relation to control within artistic production and reception. herbst-academy: Nothing but control |
One of the effects of the 1990s on performance and choreography in Europe is the end of post-structuralist criticism, which avoided modern concepts such as authorship, spectatorship and modes of production. From a global standpoint, power mechanisms no longer work as ideologies but rather in the sense of affective processes that are the condition of the late capitalist system, writes Brian Massumi. In other words: the politics of aesthetics no longer consists in the fact that cunning concepts aim at deconstructing dominant social fictions, but rather in the artistic power to reshape the order of sensation and perception. This workshop offers the opportunity to reconceive performance and choreography with regard to aesthetics and politics - to be more precise, perception and affect - and their relation to control within artistic production and reception. herbst-academy: Nothing but control |