Tags: disser


"Эстетика отсутсвия" Геббельса.

Пока книжка не найдена (в Костроме ее не так просто, думаю, найти), найдена статья, в которой очень доступно и кратко об "Эстетике отсутствия":

"One of the inspirations for this proposal is landscape art, where the spectator can trace the path of his own gaze through a mosaic of fragments and situations. The absence of the human figure in Stifters Dinge frees the imagination of the public and establishes a poetic founded in perceptual relations of the stage to the scene, leaning on what Goebbels called the “aesthetics of absence,” which can be achieved by the radical action of eliminating the actor from the stage or by strat- egies that reduce his role as protagonist, as a way of destabilizing or minimalizing the importance of a relationship between human presence and scenic elements, among other operating procedures. Goebbels engenders a “drama of perception”: an artistic view in which “the spectator is involved in a drama of experience, rather than looking at drama in which psychologically motivated relationships are repre- sented by figures on stage” (2010, p 05)."

перевод повешу попозже.
"Views on Absence/Presence: Theater and Technology"
Felisberto Sabino da Costa, Ipojucan Pereira da Silva
ARJ | Brazil | V. 3, n. 1 | p. 80-91 | Jan. / June 2016


Each morning i drink a most feared view: I let in EVERY VIEW. My body fills, absorbs, distills. Is Still. I'm going ot be an uncontained container, a transparent vessel, an invisible mist. Everyman. I'm going to dance a new, fuller-bodied Dissappearences - Douglas Dunn, choreographer.

паоло вирно: грамматика множества:

В «Никомаховой этике» Аристотель разделяет работу, или пойезис, и политическое действие, или праксис, пользуясь именно понятием виртуозности: труд существует, когда создается объект, произведение, которое можно отделить от действия. Праксис существует, когда действие имеет свою цель в самом себе. Аристотель пишет: «Цель творчества (poiesis) отлична от него [самого], а цель поступка (praxis) [понимаемого как этическое поведение и как политическое действие. – П.В.], видимо, нет, ибо здесь целью является само благо-получение в поступке». #disser #otvetredaktoru

approaching critical dance studies

"The fantasy of the modern kinetic subject is that the spectacle of modernity as movement happens in innocence. The kinetic spectacle of modernity erases from the picture of movement all the ecological catastrophes, personal tragedies, and comunual disruption brought about by the colonial plundering of resources, bodies, and subjectivities that are in order to keep modernity's "most real" reality in place: its kinetic being." A.Lepecki