Social works Jackson, Shannon
2011., 2011, 20110228, 2011-02-28
eBook
‘a game-changer, a must-read for scholars, students and artists alike’ – Tom Finkelpearl
At a time when art world critics and curators heavily debate the social, and when community organizers and ...civic activists are reconsidering the role of aesthetics in social reform, this book makes explicit some of the contradictions and competing stakes of contemporary experimental art-making.
Social Works is an interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art. Shannon Jackson uses a range of case studies and contemporary methodologies to mediate between the fields of visual and performance studies. The result is a brilliant analysis that not only incorporates current political and aesthetic discourses but also provides a practical understanding of social practice.
1. Performance, Aesthetics, and Support 2. Quality Time: Social Practice Debates in Contemporary Art 3. High Maintenance: The Sanitation Aesthetics of Mierle Laderman Ukeles 4. Staged Management: Theatricality and Institutional Critique 5. Tech Support: Labor in the Global Theatres of The Builders Association and Rimini Protokoll 6. Welfare Melancholia: The Public Works of Michael Elmgreen and Ingar Dragset 7. Unfederated Theatre: Paul Chan Waiting in New Orleans
'Social Works takes an interdisciplinary look at the forms, goals, and histories of innovative social practice in contemporary performance and visual art. Shannon Jackson presents a range of case studies and contemporary methodologies to examine the fields for performative and visual art studies.' – Public Art Review, 2011, Issue 45
‘Shannon Jackson offers vivid close readings of art and performance … and she considers social issues relating to welfare, sanitation, urban planning, and globalisation, and how they coincide with class, gender, race, and – especially – labour…This will be a useful, enriching, and stimulating book for artists, students, and academics across art, performance, and social theory.’ – Jen Harvie, Contemporary Theatre Review
'Throughout the various studies that comprise Social Works , Jackson demonstrates the critical mobility across psychoanalysis, feminist, queer, and critical race theory needed to produce interpretations that trouble the very grounds of what constitutes art, life, and the public.' – Jennifer Cayer, e-misférica
'Jackson presents an informed and critical exploration of the 'social turn' in contemporary art, and overall, what is offered here is a thorough re-visioning of how the social phenomena of theatre and performance might be thought about and understood...This brilliant book asks us to think about art and performance as forms of human welfare, performatively creating and sustaining systems of social support, and working in ways that secure the maintenance of life.' – Jenny Hughes, New Theatre Quarterly
'Shannon Jackson's superb new book is, in a very challenging way, about vocabulary. Bypassing–even eschewing–language sometime dissed as "jargon," Jackson forces readers to think and think again about basic terms such as "performance," "social practice," "art," "politics," and "public"...Jackson's book is an invitation to consume art promiscuously but to choose words as if the future of the world depended upon them." – Dorothy Chansky, TDR: The Drama Review
'This is a subtle, nuanced and socially committed book that should be widely read.' – Stephen Bottoms, Theatre Research International
'Amidst the upheaval of the 'social turn', Social Works is a pivotal landmark. As we attempt to conceive of 'the aesthetic' and 'the social' together in performance and across the arts, Jackson's articulation of what she calls the "support" of a performance, that is, the real social, economic, and even logistical conditions that allow it to come to be, is a great contribution to the debate. In her distinctive voice, Jackson offers pertinent and noteworthy examples to unfold a sophisticated framework for understanding the political, ethical, and aesthetic implications of the social turn. She 'explores the social aspirations of socially engaged projects less as the extra-aesthetic milieu that legitimates or compromises the aesthetic act and more as the unraveling of the frame that would cast "the social" as "extra"' (16). This stance subtly rewrites the grounding of performance studies, and Jackson's far-reaching book is thus a vital reference at this moment of transition.' – James Andrew Wilson, PhD Candidate, University of Warwick
'Jackson's phenomenal book shifts the discussion from taste to ethnography in her critical examination of the intersection of social art, performance and theater. Not only a must read for those interested in the intersections of art and social change, but perhaps more importantly, for those searching for a calibrated compass in the age of vast interdisciplinary art production.' Nato Thompson, Chief Curator, Creative Time
' Social Works is a thrilling encounter: a politically important and intellectually innovative book. Shannon Jackson's exploration of the social work that underpins and enables the making of art is wonderfully judged. She draws out the ways in which art, politics and the public realm are intimately interwoven. The book is itself a vital and generous piece of social work.' John Clarke, Emeritus Professor, Faculty of Social Sciences, The Open University
' Social Works is essential reading for anyone interested in the past, present and future of art at the intersection of performance and social practice. Shannon Jackson combines impeccable research and rigorous critical thinking with a lucid, approachable writing style. I have found this book invaluable in my work as both a curator and a critic.' Andy Horowitz, Founder, Culturebot.org
Shannon Jackson is the director of the Arts Research Center at University of California at Berkeley where she is also Professor of Rhetoric and of Theater, Dance, and Performance Studies. Her award-winning previous publications include Professing Performance (2004) and Lines of Activity (2000).
This study delves into the phenomenon of audiences becoming storytellers within interactive films and its impact on role identification and emotional experience. By analyzing works such as Black ...Mirror: Bandersnatch, this paper reveals how interactive films provide a unique mode of narrative participation and, to some extent, redefine the relationship between audiences and films. The research finds that role identification and emotional experience in interactive films fundamentally differ from traditional films. The decision-making process in interactive films not only increases the sense of investment in the plot but also deepens identification with characters. However, this narrative form also presents challenges, including maintaining narrative coherence and balancing audience choice freedom with overall story quality. The study also discusses the complex impact of interactive films on audience emotional experience and offers suggestions for the future development of interactive films, including exploring new narrative techniques, targeted marketing strategies, technology integration, and the importance of personalized narratives. This paper provides new insights into understanding the impact and future development of interactive films and offers guidance for creators to produce more engaging and participatory interactive narrative works.
Feature films, television shows, homemade videos, tweets, blogs, and breaking news: digital media offer an always-accessible, apparently inexhaustible supply of entertainment and information. ...Although choices seems endless, public attention is not. How do digital media find the audiences they need in an era of infinite choice? InThe Marketplace of Attention, James Webster explains how audiences take shape in the digital age. Webster describes the factors that create audiences, including the preferences and habits of media users, the role of social networks, the resources and strategies of media providers, and the growing impact of media measures -- from ratings to user recommendations. He incorporates these factors into one comprehensive framework: the marketplace of attention. In doing so, he shows that the marketplace works in ways that belie our greatest hopes and fears about digital media. Some observers claim that digital media empower a new participatory culture; others fear that digital media encourage users to retreat to isolated enclaves. Webster shows that public attention is at once diverse and concentrated -- that users move across a variety of outlets, producing high levels of audience overlap. So although audiences are fragmented in ways that would astonish midcentury broadcasting executives, Webster argues that this doesn't signal polarization. He questions whether our preferences are immune from media influence, and he describes how our encounters with media might change our tastes. In the digital era's marketplace of attention, Webster claims, we typically encounter ideas that cut across our predispositions. In the process, we will remake the marketplace of ideas and reshape the twenty-first century public sphere.
This paper provides an accessible methodology for mapping audience-constructed genres using the online image-sharing platform Instagram. We apply the method to classify artists who utilize public ...space in relation to the categories ‘street art’ and ‘graffiti bombing’ based on correlations between an artist’s Instagram follower audience and general ‘street art’ and ‘graffiti bombing’ accounts. By measuring the artist’s audience at different times, we can map not only their specific audience composition but also project their demographic trajectory. Finally we provide a methodology to estimate the total online audience for a specific genre: how many total Instagram accounts might follow street art content? This methodology can function as a powerful analytical tool, but is also easy to use, even for a researcher with limited mathematical or programming experience.
L'article vise à apporter quelques éléments de réflexion sur l'ambiguïté référentielle comme source potentielle des problèmes d'interprétation des textes juridiques. La prévention des risques de ...confusion référentielle est strictement liée au fonctionnement des formes de reprises spécialisées dans le contrôle de tels risques (cf. Charolles : 1995). L'analyse du fonctionnement des formes anaphoriques, telles que ledit + N et (
le
) + (N) + susdit, nous permet d’aborder les questions qui occupent toujours une place marginale dans les recherches linguistiques.
Management of referential ambiguity risks in legal texts: said and aforesaid.
The article aims to provide some elements of reflection on referential ambiguity as a potential source of problems in the interpretation of legal texts. The prevention of the risks of referential confusion is strictly linked to the functioning of the forms of takeovers specialized in the control of such risks (cf. Charolles: 1995). The analysis of the functioning of anaphoric forms, such as said + N and (
the
) + (N) +
aforesaid
, allows us to propose a track to animate research on the questions which always occupy a marginal place in linguistic research.
Notes Bailey, J Todd; Strange, David
The Thomas Wolfe review,
01/2020, Letnik:
44/45, Številka:
1/2
Journal Article
Recenzirano
"Notes," a feature relating and recording information on Thomas Wolfe and Wolfe studies, includes history (cultural, literary, and otherwise), biography, criticism, and reference. THE ROARING ...TWENTIES For those of us living in Wolfe world, the first two years of the twenty-first century's third decade (which are covered in this installment of "Notes") weren't as auspicious as the corresponding years in the previous century In 1920 Thomas Wolfe graduated from the University of North Carolina and began his studies with George Pierce Baker at Harvard. (The Letters of Thomas Wolfe to His Mother 1968 46-47) In a follow-up postcard, Wolfe admitted that he had written the preceding letter while under the influence of a friend's "homemade wine," but he added that "I've read it over and I think I'll let it stand on the whole" (47). Beginning that spring, the COVID-19 pandemic pretty much shut down in-person gatherings, which resulted in the cancellation of the Thomas Wolfe Society's annual meeting for the first time in the organization's history.
Gertrude’s Tale Patrick, Patricia
Journal of the Wooden O Symposium,
01/2019, Letnik:
19
Journal Article
Ophelia’s death takes place decorously offstage. The audience learns about it only through Gertrude’s narrative about an innocent young woman who gathers flowers and sings, oblivious to her impending ...death. This account of Ophelia’s apparently benign death raises questions. Why does Gertrude tell this story? Why was she there, and why did no one help Ophelia? Scott Trudell articulates concerns shared by many audience members: “Ophelia’s drowning fascinates and disturbs us, especially given the onlookers’ perplexing failure to intervene. We wonder how much of Gertrude’s portrayal of Ophelia as a harmless aesthetic object ‘incapable of her own distress’ is calculated to subdue Laertes and the rebellious mob at his heels.”1 The questionable circumstances of this story about an event that the audience does not witness draw attention to the possibly fictionalized nature of this account, and thus to the teller and her motivation. This motivation for her fiction-making goes deeper than political expedience. Gertrude is the appropriate teller for a poetic protest against the vilification of women that she and Ophelia suffer in the fallen Eden of Denmark’s corrupted court.
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