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While currently identitarian ideologies and essentialist notions of identity that tend to simplify and reduce life experience to simple factors are globally regaining massive attention, it becomes inevitable to recollect the thorough discussions of identity concepts of the past three decades. It also calls for an ever keener awareness of and capacity to deal with the complexity and diversity of the world we live in. Artists play a major role in the potential reflection and transformation of perceptions and conceptions of the world – musicians, dancers, choreographers, spoken word artists, performance artists, actors, also fine art, installation, media artists or photographers alike. “Performing critical identity” points to performative practices of artists that bring to the fore a critical (self-)awareness and (self-)positioning concerning identification and belonging. Social identities such as gender, sexuality, race, class, dis/ability, age or non/religiosity are closely linked to the historical, social, regional and political dimensions of their formation. From this perspective, identities are hardly one-dimensional but complex and intersectional, and are rather to be thought of as a process of identification and belonging than as a consistent essence.As different, maybe contradictory among themselves, as they are, the performative works of artists such as Lerato Shadi, Liad Hussein Kantorowicz, Nora Chipaumire, Shu Lea Cheang, Zanele Muholi, Ohno Kazuo, Anohni Hegarty, Neo Hülcker, “We’re Muslim. Don’t Panic” or of theatre collectives such as RambaZamba and Thikwa Theater in Berlin or Theater Hora in Zurich, to name but a very small quite random selection of artists, share a critical approach towards hegemonic norms or stereotyping of identities and their representations, and empower diversity.This edition puts a specific focus on the performativity of the aesthetic practices, and wants to explore different artistic approaches, strategies, tactics and perspectives of artists when they address identity issues, when they target power relations and structures of oppression and inequality, when they empower concepts of diversity. This Call for Papers invites academic as well as artistic contributions that delve into case studies of artists performing critical identity or into more general theoretical reflections on the subject. Contributions can relate to, but are not limited to following topics: - intersectionality - subversion - (self-)empowerment - resistance - subalternity - exploitation - manipulation - (anti-)feminism - appropriation - cultural globalisation - transculturality - hybrid identities - collectives - body - stage - audience - de-/construction of the difference of aesthetic genres and of high/popular culture - capitalism - colonialism - (re-)production of exclusion

Performative Practices --- Critical Identity --- Diversity --- Intersectionality --- Performativity of aesthetics

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Die künstlerische Hinwendung zu Phänomenen des täglichen Lebens in Verbindung mit der aufkommenden Ästhetisierung des Alltagslebens hat seit den 1960er Jahren zu einer Neubetrachtung des Verhältnisses zwischen Kunst und Nicht-Kunst geführt. In diesem Zusammenhang kommt dem spezifischen Einsatz des Musikerkörpers eine Schlüsselfunktion zu. Karolin Schmitt-Weidmann leitet aus ihm Distanzauslotungen zwischen Kunst und Nicht-Kunst ab und eruiert diese anhand von konkreten Werkbeispielen. Dafür greift sie zurück auf hier erstmalig veröffentlichte Interviews mit Annesley Black, Cathy van Eck, Dieter Schnebel, Vinko Globokar, Hans-Joachim Hespos, Robin Hoffmann und Heinz Holliger zum Verhältnis von Kunst und Lebenswelt.

Neue Musik; Körper; Performativität; Ästhetik; Kunstbegriff; Musik; Klang; Musikwissenschaft; New Music; Body; Performativity; Aesthetics; Concept of Art; Music; Sound; Musicology --- Aesthetics. --- Body. --- Concept of Art. --- Music. --- Musicology. --- Performativity. --- Sound.

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"This volume, edited by Lucilla Guidi and Thomas Rentsch, establishes the first systematic connection between phenomenology and performativity. On the one hand, it outlines the performativity of phenomenology by exploring its enactment and the transformation of attitude it effects; this exploration is conducted through a number of parallels between phenomenology and the ancient understanding of philosophy as an exercise and a way of life. On the other hand, the volume examines different notions of performativity from a phenomenological perspective, so as to show that a phenomenological understanding of embodied experience complements a linguistic account of performativity and can also offer a ground for bodily practices of resistance, critique, and self-transformation in our own day and age".

Theory of knowledge --- Phenomenology --- Performative (Philosophy) --- Phenomenology. --- Performativity (Philosophy) --- Language and languages --- Methodology --- Philosophy --- Semantics (Philosophy) --- Philosophy, Modern

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Arts --- Arts. --- Spain --- contemporary art --- artistic processes --- performativity --- media art --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Arte --- Arts, Daghestan --- Arts, Primitive

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On any given day in Jordan, more than nine million residents eat approximately ten million loaves of khubz 'arabi—the slightly leavened flatbread known to many as pita. Some rely on this bread to avoid starvation; for others it is a customary pleasure. Yet despite its ubiquity in accounts of Middle East politics and society, rarely do we consider how bread is prepared, consumed, discussed, and circulated—and what this all represents. With this book, José Ciro Martínez examines khubz 'arabi to unpack the effects of the welfare program that ensures its widespread availability. Drawing on more than a year working as a baker in Amman, Martínez probes the practices that underpin subsidized bread. Following bakers and bureaucrats, he offers an immersive examination of social welfare provision. Martínez argues that the state is best understood as the product of routine practices and actions, through which it becomes a stable truth in the lives of citizens. States of Subsistence not only describes logics of rule in contemporary Jordan—and the place of bread within them—but also unpacks how the state endures through forms, sensations, and practices amid the seemingly unglamorous and unspectacular day-to-day.

Bread industry --- Bread --- Public welfare --- Political aspects --- Subsidies --- Government policy --- Jordan --- Politics and government. --- Jordan. --- bread. --- craft. --- everyday. --- food politics. --- performativity. --- sensation. --- state. --- welfare. --- Public welfare.