Lucy Weir – författare

This edited collection gathers UK and international artists, academics, practitioners, and researchers in the fields of contemporary performance, dance, and live art to offer creative-critical responses to the impact of the COVID-19 pandemic on their work.

Themes addressed in these case studies include the ways in which liveness functions across digital platforms, the new demands on audiences and performance-makers, and the impact on international festivals as the digital removes geographical and locational restrictions. Brought together, these examples capture the creative activity and output that this unexpected cultural moment has provoked. Creative-critical responses interrogate what the global pandemic has taught us about what it is to make live work during lockdown and explore what the future of performance-making in a post-COVID world might look like.

For all scholars and performance-makers whose work brings them into the sphere of contemporary art and culture, this is an essential and stimulating account of practice at the beginning of the 2020s.

This edited collection gathers UK and international artists, academics, practitioners, and researchers in the fields of contemporary performance, dance, and live art to offer creative-critical responses to the impact of the COVID-19 pandemic on their work.

Themes addressed in these case studies include the ways in which liveness functions across digital platforms, the new demands on audiences and performance-makers, and the impact on international festivals as the digital removes geographical and locational restrictions. Brought together, these examples capture the creative activity and output that this unexpected cultural moment has provoked. Creative-critical responses interrogate what the global pandemic has taught us about what it is to make live work during lockdown and explore what the future of performance-making in a post-COVID world might look like.

For all scholars and performance-makers whose work brings them into the sphere of contemporary art and culture, this is an essential and stimulating account of practice at the beginning of the 2020s.

This book is an ambitious and expansive examination of the visual language of self-injury in performance art from the 1960s to the present.

Inspired by the gendered nature of discussion around self-harm, the book challenges established readings of risk-taking and self-injury in global performance practice. The interdisciplinary methodology draws from art history and sociology to provide a new critical analysis of the relationship between masculinity and self-inflicted injury. Based upon interviews with a range of artists around the world, it offers an innovative understanding of the diverse meanings behind self-injury in performance, and delves into the gendered coding of self-harming bodies. Individual chapters examine the work of Ron Athey, Günter Brus, Wafaa Bilal, Franko B, André Stitt, Pyotr Pavlensky, and Yang Zhichao, offering a new perspective on the forms and functions of self-injury in performance art.

The book will be of interest to scholars working in art history, performance studies, gender studies, and cultural studies.

This book is an ambitious and expansive examination of the visual language of self-injury in performance art from the 1960s to the present.

Inspired by the gendered nature of discussion around self-harm, the book challenges established readings of risk-taking and self-injury in global performance practice. The interdisciplinary methodology draws from art history and sociology to provide a new critical analysis of the relationship between masculinity and self-inflicted injury. Based upon interviews with a range of artists around the world, it offers an innovative understanding of the diverse meanings behind self-injury in performance, and delves into the gendered coding of self-harming bodies. Individual chapters examine the work of Ron Athey, Günter Brus, Wafaa Bilal, Franko B, André Stitt, Pyotr Pavlensky, and Yang Zhichao, offering a new perspective on the forms and functions of self-injury in performance art.

The book will be of interest to scholars working in art history, performance studies, gender studies, and cultural studies.

This book argues that philosophy is as practical as plumbing and what we need right now is what philosophers can offer as philosophers to help us all, our species, and beyond, through this ecological emergency, this climate change, this anthropocene.

This book is about the meaning and purpose of philosophy as a way of, a practice of, responding to the ecological emergency, which includes climate change, biodiversity loss, pollution, habitat destruction, and all the associated impacts that fragment, and threaten to create collapse, among the systems that created and sustain us. There are the related economic and social impacts, the fragmentation of communities and political ideologies through attitude polarisation, and the increasing threats to systems by those who seek to promote further exploitation at the expense of attempts to regain some system of cooperation and an attitude of compassion which is at the heart of our survival strategies as a species. 

Philosophy has always sought to address questions related both to our place in the universe, and to how to live, given our understanding of our place. Those of us committed to a philosophical life have used a range of metaphors and narratives to enlighten, and to exhort to action, those who would seek to understand what to do, how, and why. Philosophy has played a key role in helping us as a species to respond to the ecological emergency. What, then, is the practice of philosophy, given that we’re in an ecological emergency?

This question is the thread, and it forms the framework for the dialogue that runs through the book.