Suchergebnisse

Over the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration. Collecting work by artists, scholars, curators, and museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future. Its contributions discuss the mobilization of archives in the struggle for inclusiveness and cultural revisionism; the role of the body in the presentification and rehabilitation of past events and (impermanent) objects; the question of authenticity and originality in artistic practice, art history, as well as in museum collections and conservation practices. ; Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory , ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022)

In this article I explore some of the aspects of shared doxic principles between outdoor fields and how these contribute to agents becoming interested in 'high-consequence' climbing styles. I argue that people who come to be high-risk climbers do not become involved for the purpose of participating in risky activities, but instead move into climbing through 'overlapping fields' that share practices and dispositions of climbing. Becoming a climber is a process that occurs gradually and imperceptibly, with much of the groundwork for an appreciation of climbing laid prior to actually taking part in climbing practice. In this paper, based on 18 months of ethnographic fieldwork and 35 interviews with climbers, I demonstrate that participants typically have been members of easier to access and less risky outdoor sports prior to their involvement. These activities share some of the skills required to become a climber, or at least are complementary. Once this initial engagement with the practice has occurred, individuals become involved in less risky forms of climbing practice. These allow climbers-to-be an opportunity to form an appreciation of the basic safety systems of climbing. With this understanding, it then becomes possible to navigate through the trajectories of climbing practice, often bringing with them greater acceptances of risk and danger.

The director of Tunisia's biggest ever box-office success talks about breaking taboos in Arab cinema