We are pleased to announce the release of Issue 4.1, a special expanded-length issue on the theme of “The City,” guest-edited by Daniel Makagon of DePaul University. This issue includes critical essays, ethnographies, videos, and performance texts.

Table of Contents:
I Love Livin’ in the City
by Daniel Makagon

Places and Stages: Narrating and Performing the City in Milan, Italy
by Cristina Moretti

“Finders Keepers”: Performing the Street, the Gallery and the Spaces In-between
by Luke Dickens

Making Sense of the City: Place, Space, and Rhetoric in Portland’s Pioneer Courthouse Square
by erin daina mcclellan

Unsafe Houses: The Narrative Inversion of Suburban Morality in Popular Film
by Joan Faber McAlister

Space Wars & Walking through a Liquid Forest of Symbols
by Anders Lund Hansen

Staging and Enforcing Consumerism in the City: The Performance of Othering on the 16th Street Mall
by Richard G. Jones, Jr. & Christina R. Foust

“Full of Proud Memories of the Past, on which Irishmen Love to Dwell”: Irish Nationalist Performance and the Orange Riots of 1871
by Stephen Rohs

A Taste of Buffalo: Staging the Lives of U.S. Cities
by David J. Eshelman

Flowing Through the City: An Urban Ethnography
by Renee Human

Liminalities is a peer-reviewed journal for performance studies, theory and praxis. Our goal is to embrace the possibilities for presenting performance studies work by exploring and exploiting the “staging” potential of digital media. We publish essays, aesthetic works, digital media projects, documentaries, book reviews, interviews, and works about pedagogy & performance. Visit the journal http://liminalities.net

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The new issue (3.3) is an expanded special issue On Sound.

This issue includes an audio epigraph, a monograph on Arthur Russell, a project about temporary radio memorials, an essay about Manu Chao, a recording-essay about Freud and secrets and sound, a video on an ethnographic performance about voice, a sound essay about a performance by an ex-radio reporter, an audio project about auto- (and oto-)phonography, an essay revisiting Rudolph Arnheim’s text on radio, a pedagogy essay (and audio recording) about performing aural appeals, and reviews of two books on sound. Early 2008 will see two special issues, the first On Paradigms of Performance Studies, the second On The City. We anticipate two more general issues to round out the 2008 volume.

 A Day Without Sunshine
A new solo performance about Florida family values, Anita Bryant, and saving the children.

written & performed by Elizabeth Whitney
directed by Mark Finley

It was 1978 in Tallahassee, Florida and the road to Damascus was paved with orange pulp and the newly minted cry of “family values.” It was time to save the children, and that included me.

Thursday, November 1
8 pm
Dixon Place (Houston & Prince)
New York City
$10/12
www.dixonplace.org
www.elizabethwhitney.com

About Elizabeth Whitney:
The fact that Elizabeth Whitney still dreams of pork skins and boiled peanuts is proof that you can take the girl out of the south but you can’t take the south out of the girl. Her solo performance work has been seen around NYC at HERE, Galapagos, Fresh Fruit Festival, The Duplex (with Tosos II), The Tank, and WOW Café. A Day Without Sunshine was developed at La Mama’s 2007 playwrighting residency with Lisa Kron in Umbria, Italy.

About Mark Finley:
Mark Finley is the Artistic Director of TOSOS2, which produced Elizabeth Whitney’s WONDER WOMAN: THE MUSICAL in 2004 as part of its Ethyl Eichenberger Solo Perfomance Series. He wears many hats (is a directing, acting and playwrighting member of Emerging Artists Theater, his play THE MERMAID was recently published by United Stages) and skirts (recently played Susan Evans in Garet Scott’s ROLL WITH THE PUNCHES at the 2007 Fringe Festival and Charlotte in the revival of David Pumo’s AUNTIE MAYHEM at the Wings Theater).

The Life and Times of King Kong

Wednesday, October 31 through Saturday, November 3 at 7:30 pm

Sunday, November 4 at 2:30 pm

Conceived and directed by Tracy Stephenson Shaffer

The HopKins Black Box theatre at Louisiana State University continues its 2007-2008 season with Dr. Tracy Stephenson Shaffer’s The Life and Times of King Kong. Opening on Halloween night, this playful performance celebrates and investigates King Kong, among the greatest cinematic icons of all time.

Inspired by a decade of research on popular icons and recent success teaching a course on the horror film genre at LSU, Shaffer turned to the famous primate as the current subject of her scholarship. In the spring of 2007, she taught an advanced undergraduate course on King Kong for the Film and Media Arts Program. Focusing on the seven official films that feature the character “King Kong” as well as other unofficial versions, the participants found that the cinematic retellings of the “beauty and the beast” myth teach us a great deal about the beliefs and values of contemporary culture. The Life and Times of King Kong puts these lessons on stage.

Shaffer choreographs and directs the multimedia performance, which features a talented ensemble of undergraduate and graduate students playing multiple roles. Audience members should be prepared for fun. The ensemble tells its own version of the tale, complete with flashy dance numbers and scenes from many of the films.

Shaffer said she was certain she would create a performance based on King Kong when she realized that the 75th anniversary of the original film was right around the corner. The original film was released in 1933 and broke tremendous ground in terms of special effects.

Remade in both 1976 and 2005, King Kong’s story stands the test of time. “I hope this performance will introduce a new generation to the original,” said Shaffer. “I can’t think of a better way to spend the Halloween weekend!”

The Life and Times of King Kong plays Wednesday, October 31 through Saturday, November 3 at 7:30 PM and Sunday, November 4 at 2:30 PM in the HopKins Black Box theatre, Room 137 Coates Hall, on LSU’s Baton Rouge campus.

Radio Territories

Derek Holzer (US/NL)
Jason Kahn (US/CH)
Brandon LaBelle (US/DK)
Friday, June 1st, 18:00 to 23:00 (works performed simultaneously throughout the building)
Ballhaus Naunynstrasse
Naunynstrasse 27
Berlin
www.ballhausnaunyn.de

While changes in live streaming and digital networks have transformed the use and understanding of radio, the notion and act of live transmission through the air continues to inspire and haunt the auditory imagination. From the potential of spreading information undercover of legal borders to filling the airwaves with fugitive sound, radio may remain at the core of what it means to communicate through circuits.

Inspired by the radiophonic excesses and marginal acts, an evening of performative installations by sound artists working with and around radio and its medial aesthetics will be staged. Using the building of Ballhaus Naunynstrasse, the works will aim for the intimate, tactile, and personal, bending radio toward the micro-narratives of place. The event is also organized in celebration of the release of the new publication, Radio Territories (Errant Bodies Press), containing essays, articles, documents and audio works by authors and artists on the subject of radio culture.
*
Derek Holzer is a sound artist with a background in radio, webstreaming and environmental recording. His work focuses on capturing and transforming small, unnoticed sounds from various natural and urban locations, networked collaboration strategies, experiments in improvisational sound and the use of free software such as Pure-Data. He has released tracks under the Nexsound, Sirr, and/OAR and Gruenrekorder labels, and has co-initiated several internet projects for field recording and collaborative soundscapes including Soundtransit.nl.

Brandon LaBelle is an artist and writer working with sounds, places, bodies, and cultural frictions. He presented a solo exhibition at Singuhr galerie in Berlin (2004), and an experimental composition for pirate drummers as part of Virtual Territories, Nantes (2005). His ongoing project to build a library of radio memories, “Phantom Radio”, was presented fall 2006 as part of Radio Revolten, Halle Germany. He is the author of “Background Noise: Perspectives on Sound Art” and editor of Errant Bodies Press.

Jason Kahn is a sound and visual artist based in Zürich. His work includes drawing, sound installation, performance and composition. As a composer, his work draws on electronic and acoustic sources to create slowly developing compositions imbued with a sense of timelessness, underlining the entity of sound as both physical and psychological. Kahn has been exhibiting his works since the late 1990s, and has had solo and group exhibitions internationally, including the USA, Canada, France, Croatia, Germany, Argentina, Egypt, Poland, Switzerland, Denmark, Austria and Spain.

press release

www.errantbodies.org

New book announcement:

Cultural Turns. Neuorientierungen in den Kulturwissenschaften. (Cultural Turns: New Orientations in the Humanities and Social Sciences). By Doris Bachmann-Medick. (Reinbek: Rowohlt Publishers, 2006; 2nd ed. 2007).

from the author:

Performativity in cultural studies is a phenomenon which is located in an encompassing performative turn. Is this turn then an offspring of the so-called “cultural turn”?
In the past two decades the “cultural turn” has produced a voluminous and polymorphic field of inquiry in the humanities and in the social sciences. The subsequently established cultural studies are, however, surely not the result of a new “master narrative” according to which the “cultural turn” remained in the spell of an overwhelming linguistic turn. Much more, cultural studies construct an intellectually nuanced, and thus highly dynamic field of force that distinguishes itself precisely through a multiplication of cultural turns. Within this field the performative turn embodies one of the most classical quasi “paradigmatic” orientations, which structure the contemporary study of cultures. In my book I have tried to synthesize the complex of research agendas and approaches resulting from the performative turn and to reflect this paradigmatic orientation in the context of and with reference to other pioneering changes in orientation that cross disciplinary boundaries and lead to corresponding focuses and new alignments of inquiry:
interpretive turn, performative turn, reflexive turn, postcolonial turn, translational turn, spatial turn, iconic turn.

The performative turn is thus not limited to the analysis of performativity in a narrow sense, i.e. to ritual, play, liminality etc. as thematic fields of inquiry; it amounts to a conceptual shift towards a new kind of performative thinking with specific methodologically and theoretically informed approaches.
My new book “Cultural Turns. Neuorientierungen in den Kulturwissenschaften” (Reinbek: Rowohlt Publishers, 2006; 2nd ed. 2007) investigates the performative and other turns not only in their systematic posing of questions, their displacement of other discursive considerations, their ruptures of perception, but also in their socio-political conditions and in their concrete interdisciplinary fields of inquiry. Thus the explicit attempt is to circumvent an increasing intellectual bottleneck of current cultural studies: that is, their prevailing interest in the probing of new subject fields. This fixation on themes has led the development of cultural studies as a whole into a direction, in which basic reflexion and methodological further profiling have come up too short. It is the intention of this book to use the potential of particular turns for a further profiling of cultural studies: that is, for the basic reflexion of cultural-studies knowledge, but also, at the same time, for a theoretically reflexive focusing of cultural studies analysis. Precisely the emphasis on changes in approaches of perception, in operative approaches as well as in new categories of analysis, would confront, furthermore, the predominant proliferation of themes and the expansion of subject fields.

If the humanities and social sciences of the last thirty years are reconstructed systematically from the perspective of their different turns, a new and specific understanding of cultural studies will come to the fore: not as an autonomous discipline but as a multilayered medium for transdisciplinary encounters and translations.
In the systematic reevaluation of the leading cultural turns the performative turn is contextualized and located within a whole spectre of interwoven other “paradigms”. This makes it possible to locate the performative approach also in a wider horizon.

Even in facing the actual challenges of reconnecting humanities and natural sciences, as they are at present pushed forward by the so-called “life sciences”, like neurobiology and brain research, a fundamental analysis of the various turns promises to deliver important insights. The wider range and enlarged self-reflexive potential brought to cultural-studies by looking at their various turns might even enable us to decipher and critically assess the essential cultural dimension in the emerging “neuro-biological turn”. This should be of great use for the actual debate between the humanities and natural sciences concerning their mutually exclusive claims to analyze and interpret human thinking and acting. The systematic reevaluation of cultural turns undertaken in my book thus leads to a critical reflection of the actual blurrings and terminological displacements which are under way at present trying to absorb – if not to resolve – the special competences and key terms of the humanities under a new hegemonic regime of the natural sciences.

---

Liminalities publishes reviews of books revant to performance studies research and practice. Anyone interested in reviewing this book, or any other, should send a note of inquiry to editor@liminalities.net

We are pleased to announce the release of Liminalities 3.1 today.

Contents:

Mirrored Asylum: Reflections on Naming, Home and Subjectivity in Ireland
by Sara McKinnon

On Answering Machines and the Voice Abject
by Joshua Gunn, with Flash design by Crystal Watson

Love, Longing, Language, Lust: An Erotic Daydream Post-September 11th
script and performance notes by Laura Winton

Methodology of the Heart: A Performative Writing Response
by M. Heather Carver

Editor’s Introduction: Performance & Pedagogy
by John T. Warren

Liminalities: A Journal of Performance Studies is a peer-reviewed online journal for performance studies scholarship, criticism, praxis, and pedagogy. We welcome the submission of essays, interviews, reviews, performance scripts, poetry, and multimedia projects. We support a wide range of performance perspectives, practices, methodologies, media, contexts, styles, and sites. All submissions should be in cross-platform formats. For information or inquiries, contact Marcyrose Chvasta or Michael LeVan at editor@liminalities.net.

The aim of this issue of Liminalities is to explore the theoretical, critical, experiential, and praxial intersections of performance and urban environments. The issue is devoted to performing the city–i.e., performance in/of/on/across/with the city.

Possible topics include: Movement in the city, New urbanism, Performance and public spaces, Performance and urban architecture, Street art and graffiti, Street theater, Theatre cultures, Cinema and the city, Urban decay, Hipsterism, Gentrification, Urban renewal, Branding, The homeless, Food cultures, Neighborhoods, Neighborhood festivals, Block parties, Sports in/and the city, Immigration, and Globalization

The editor anticipates (at least) three sections in this issue: theoretical essays, ethnographic projects, and aesthetic texts about urban life and cities.

Submission Procedures:

Step One: Proposals (New Deadline: March 15th, 2007)
In approximately three to seven pages, plus a selected bibliography, please identify the primary argument you plan to make in your essay/project. Please identify any mediated sources/texts/strategies (e.g., video, audio, Flash, etc.) you intend to use in your final piece. Please use Chicago format where appropriate and submit your proposal electronically to dmakagon@depaul.edu . The editor will notify authors about the status of their proposals by April 15th, 2007.

Step Two: Final Materials (Deadline: October 1st, 2007)
Authors with accepted proposals should plan to submit final versions of their essays/projects in electronic formats. Media projects can be emailed (if smaller than 10MB), placed on a server for download, or mailed to the address below on CD or DVD.

Step Three: Peer review and editorial changes will take place over the winter, with publication of this issue scheduled for March 1st, 2008.

Please send all proposals and submissions for this special issue to:
Daniel Makagon ( dmakagon@depaul.edu )

Or by mail to:
Daniel Makagon
Guest Editor, Liminalities
Department of Communication
DePaul University
2320 North Kenmore Ave.
Chicago, IL 60614

The deadline for proposals for the special issue on Sound is right around the corner. Submit proposals and ideas for audio essays, audio performances, and essays about sound by 15 February 2007. For more information, see the call for papers & projects.

The editors of Liminalities are pleased to announce the addition of a new (recurring) section of the journal devoted to Performance & Pedagogy. The Performance & Pedagogy section will be edited by John T. Warren of Southern Illinois University.

This section of Liminalities publishes scholarship that explicitly (or implicitly) examines pedagogical contexts and subject matter. The focus on pedagogy is widely conceived and we are open to a variety of methods and formats. We welcome the submission of manuscripts, videos, and other pieces addressing performance, the performative, and performativity; performance scripts and aesthetic texts for performance; reviews and criticism of pedagogy related performance work; reflections on pedagogy and performance; and book reviews of pedagogy related texts. We will consider any form of performance work, and encourage both traditional work and that which challenges the boundaries of performance and/or pedagogy. We welcome a wide range of performance perspectives, practices, methodologies, contexts, and sites. Any of the Liminalities submissions formats (manuscripts, audio, video, interactive) will be considered for the Performance and Pedagogy section; authors should follow the directions outlined on the editorial page.

» Inquires and materials regarding Pedagogy and Performance should be directed to:

John T. Warren
Liminalities Performance and Pedagogy Editor
Department of Speech Communication
Southern Illinois University at Carbondale
Mailcode 6605
Carbondale IL 62901-6605.

The performance and pedagogy sections will be published in all issues (if accepted work is available) as a regular section of Liminalities.