activate

—volume 2, issue 1: figure of the sensible

Spring/Summer 2012
Special Issue: Performing Relations
Managing Editor: Mariella Greil

The contributions to the first issue of volume 2, Figure of the sensible, explore discursive and bodily practices and aims to make sense of the nature of these sensible differences in articulation. The interplay of exactly the relations between signs and bodies emerges as figure of the sensible. A figure indexes the sense through its relation and context and more often than not this makes the sensation intelligible. For that matter the ‘sensible’ refers to what is capable of being apprehended by the senses in its double meaning: as a relation of sensation, and of sense pertaining to the ethical, representational and aesthetic regimes (Rancière, 2000). This intricate reticulation of meaning eludes simple placement or anchoring. Instead, this issue is a versatile collection of traces that elaborate the complex process of sense-making, effecting a profound investigation of the sensible between the lines of practice and theory.

Vol. 2, Issue 1: Editorial Team: Annalaura Alifuoco, Mariella Greil (managing editor), Katerina Paramana, Flora Pitrolo, Emily Sweeney

IN THIS ISSUE:

NEW CRITICAL WORK:
Performing touch: Intersensoriality as creative practice in the body/instrument relation
Imogene Newland

On Being Audience: Modalities of Theatrical Speech and Listening
Rebecca Collins

Intervention of the “Sensible” in the Globalized Society: David Greig’s “Aesthethics” in The American Pilot (2005)
Verónica Rodríguez

The Oppositional Body
Eun Hi Kim

NEW CREATIVE WORK:
Emanuelle and Zimmy B
Anna Kinbom

SPECIAL ISSUE: PERFORMING RELATIONS

An assemblage of five approaches to the “figure of the sensible” is introduced in this first special issue of activate, which weaves together a fabric of relational choreographic movements. Hosting a get-together on unruled pages, this issue is written to be read between the lines of practice and theory. In this collection of various text(ure)s, the topology of the sensible is opened 
for fragile interrelations, prolific contaminations, unforeseen revelations, and perhaps at times gentle provocations, always exploring the interplay of signs and bodies.

CONTENTS:
Editor’s note: Of golden threads, exploded images and magpies
Mariella Greil

Performing relations in five performance projects in three years (2006-2009)
Lynn Lu

Draft in 6 parts
Fiona James & Jane Frances Dunlop

Trying to make more sense
 – an introduction, beginning and reflection of a dialogic performance
Steve Fossey

Exploded image

 – including fragments of explications, negotiations and personal conversation
Jennifer Jarman

How to explain a Field to a Dead Magpie (?)
Fabrizio Manco
 (and a handful of responses by two singular voices)

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Mariella would like to thank all the contributors, the editorial team, Simon Bayly, Adrian Heathfield, Justin R. Hunt, Emily Sweeney, Georg Wagenhuber, Fiona Wilkie, the Department of Drama, Theatre and Performance Studies, University of Roehampton, and everyone who has supported the work on this issue.

activate is a peer-reviewed electronic journal in the field of performance and creative research. Based in the Department of Drama, Theatre and Performance at University of Roehampton, London, it is run by postgraduates as a forum for postgraduate and postdoctoral scholars to publish their work. Each edition focuses on a specific theme and aims to include a range of new critical and performative practices in relation to it.

activate is a peer-reviewed e-journal in the field of performance and creative research, based in the Department of Drama, Theatre and Performance at University of Roehampton, London.