Performance, Transparency, and the Cultures of Surveillance
Nonfiction, Art & Architecture, General Art, Art History
| Author: | James M. Harding | ISBN: | 9780472123636 |
| Publisher: | University of Michigan Press | Publication: | January 23, 2018 |
| Imprint: | University of Michigan Press | Language: | English |
| Author: | James M. Harding |
| ISBN: | 9780472123636 |
| Publisher: | University of Michigan Press |
| Publication: | January 23, 2018 |
| Imprint: | University of Michigan Press |
| Language: | English |
Placing the disciplines of performance studies and surveillance studies in a timely critical dialogue, Performance, Transparency, and the Cultures of Surveillance not only theorizes how surveillance performs but also how the technologies and corresponding cultures of surveillance alter the performance of everyday life. This exploration draws upon a rich array of examples from theatre, performance, and the arts, all of which provide vivid illustration of the book’s central argument: that the rise of the surveillance society coincides with a profound collapse of democratic oversight and transparency—a collapse that, in turn, demands a radical rethinking of how performance practitioners conceptualize art and its political efficacy. The book thus makes the case that artists and critics must reexamine—indeed, must radically redefine—their notions of performance if they are to mount any meaningful counter to the increasingly invasive surveillance society.
Placing the disciplines of performance studies and surveillance studies in a timely critical dialogue, Performance, Transparency, and the Cultures of Surveillance not only theorizes how surveillance performs but also how the technologies and corresponding cultures of surveillance alter the performance of everyday life. This exploration draws upon a rich array of examples from theatre, performance, and the arts, all of which provide vivid illustration of the book’s central argument: that the rise of the surveillance society coincides with a profound collapse of democratic oversight and transparency—a collapse that, in turn, demands a radical rethinking of how performance practitioners conceptualize art and its political efficacy. The book thus makes the case that artists and critics must reexamine—indeed, must radically redefine—their notions of performance if they are to mount any meaningful counter to the increasingly invasive surveillance society.
