The Events: Immanence and the Audience

David Greig’s The Events (2013) stages the aftermath of a traumatic event; a cleric tries to come to terms with the massacre of her multicultural choir. The play uses two actors (one playing the cleric, and the other playing all the other main roles, including that of the killer). The cast, however, also includes a choir, drawn from the town where the show is being performed: the choir sings, and takes on small speaking roles (reading their lines from the script). They also serve as an audience for the action, occupying tiered seating at the back of the stage. The choir serves as a powerful reminder of what Laura Cull, in Theatres of Immanence: Deleuze and the Ethics of Performance (2012) identifies as Deleuzian immanence: a performance which stages “the participation, multiplication and extension of the human body – understood as that which is produced by relations of force and encounters with the affects of other bodies” (10). In this article, I argue that the strong affect generated by the play in performance stems mainly from the positioning of the choir, the performers and the audience as, simultaneously, participants and witnesses to trauma; and from the immanent relation of actors, choir and audience within the structure of the performance event

Master of Science

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El "Cercano Oeste" de los Estados Unidos: las economías dinámicas de Asia del Este

It examines the process of opening up Asian markets to US participation, which occurred as a result of technological, ideological and individual changes. These changes contribute to regional economic integration, reason for which US companies doing business in Asia should develop regional strategies and not view Asian countries as completely separate markets. Five factors are pointed out that explain the growth of exports of US companies to East Asia: increasing competitiveness in prices, increasing competitiveness in the quality of goodness, increasing openness of Asian markets, corporate commitments to international business opportunities, and continued high economic growth in Asian markets. It is concluded that US organizations should learn about the cultural and institutional characteristics of Asian markets in order to be able to interact more effectively with Asian partners and competitors.Examina el proceso de apertura de los mercados asiáticos a la participación estadounidense, que se produjo como resultado de cambios tecnológicos, ideológicos e individuales. Estos cambios contribuyen a la integración económica regional, razón por la cual las empresas estadounidenses que hacen negocios en Asia deberían desarrollar estrategias regionales y no ver a los países asiáticos como mercados completamente separados. Se señalan cinco factores que explican el crecimiento de las exportaciones de las empresas estadounidenses al este de Asia: mayor competitividad en precios, mayor competitividad en la calidad de los bienes, mayor apertura de los mercados asiáticos, compromisos corporativos con las oportunidades de negocios internacionales y un alto crecimiento económico continuo en Mercados asiáticos. Se concluye que las organizaciones estadounidenses deberían aprender sobre las características culturales e institucionales de los mercados asiáticos para poder interactuar más efectivamente con socios y competidores asiáticos

A sonic theory unsuitable for human consumption

The past decade has seen the proliferation of scholarly work on audio culture by philosophers, sociologists, ethnographers, musicologists, anthropologists, and others. There is now a range of histories and ethnographies on listening and on the soundscape, and a proliferation of epistemological, methodological, and cultural investigations of the sonic. At the same time, as John Kieffer notes, sound art is fast becoming “the new kid on the cultural block” (2010). Different writers have engineered different conceptual approaches for studying the sonic. These voices are symptomatic of a body of work that has developed as a way of reacting against the primacy of Cartesian reason, looking for ways of escaping the Western tendency to measure, calculate and represent everything. They offer strategies for defending and resurrecting the nullified senses, like hearing, which must no longer surrender to the tyranny of ocularcentrism. However, the belated recognition of sound as a valid academic object of study and art discipline, often risks fetishizing the sonic and repeating the same ideological separations between sound and image, body and mind. Moreover, refreshing as they may be, they are too often confined within a human-centred position and interested in predominantly addressing the phenomenal experience of sound. This article wishes to discuss alternative schemas daring to go beyond the audiophile anthropocentric angle. It mainly draws on Kodwo Eshun’s unconventional method of ‘sonic fiction’ (1998), in order to argue for the value of developing a sound theory that brings together speculative philosophy, science fiction, and experimental audio art. Ultimately, it attempts to explore how such ‘a sonic intervention into thought’ (Goodman, 2010) can drag us away from the sociopolitical and historical organisation of sound and toward the vicinity of a more ‘unreal state’, where the boundaries between fiction and theory are provisional and utterly permeable

Soundscapes: Toward a Sounded Anthropology

A generation of scholars in multiple disciplines has investigated sound in ways that are productive for anthropologists. We introduce the concept of soundscape as a modality for integrating this work into an anthropological approach. We trace its history as a response to the technological mediations and listening practices emergent in modernity and note its absence in the anthropological literature. We then trace the history of technology that gave rise to anthropological recording practices, film sound techniques, and experimental sound art, noting productive interweavings of these threads. After considering ethnographies that explore relationships between sound, personhood, aesthetics, history, and ideology, we question sound's supposed ephemerality as a reason for the discipline's inattention. We conclude with a call for an anthropology that more seriously engages with its own history as a sounded discipline and moves forward in ways that incorporate the social and cultural sounded world more fully. Copyright © 2010 by Annual Reviews. All rights reserved