bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dance house as the art of (co)existence: Interview with Gisela Mu?ller and Barbara Friedrich
Authors: Srhoj Dejan 
Published: March 2015

Abstract
Uferstudios is a monumental space for contemporary dance in Berlin consisting of 14 bright studios that range from 85m2 to 415m2. An old electrical trolley depot built in 1920s was rebuilt in 2010 and now hosts the Inter-University Centre for Dance Berlin HZT, Tanzfabrik Berlin, ada Studio, Tanzbu?ro Berlin and the freelance dance community. Uferstudios is run without an artistic director or an artistic board, and coexistence is based on a constant dialogue and sharing the vision and the paying of the rent. The nonhierarchical way of governing the space offers a new model for a dance house - which is both intriguing and very different from other dance houses in Europe that I had a chance to experience. I invited Barbara Friedrich, the managing director of Uferstudios, and Gisela Mu?ller, a board member and artistic director of the Tanzfabrik school, to speak about the protocols of coexistence, the con_icts, the vision and the costs of running the space. Both of them are founding members and driving forces of Uferstudios.
Dance today: Between biopower and biopolitics
Authors: Apostolou-Hölscher Stefan 
Published: March 2015

Abstract
Around 1800, parallel to heavy changes on the political stage in general and the replacement of taxonomical thought by the idea of life as living within life sciences - an observation by Michel Foucault, which he, after The Order of Things, deepens in his lectures on The History of Governmentality between 1977 and 1979 - choreography also changes fundamentally. This change manifests very obviously in the Letters on Dancing and Ballets by Jean Georges Noverre from 1760, published as a manifesto in their first edition approximately 20 years before the closing of the Académie Royale de Danse in Paris. In Noverre, there can be found a lot of hints pointing toward the complex problem of biopolitics, although nowadays many scholars mainly refer to him solely as the inventor of ballet d'action and in this context as an early precursor of romantic ballet in the nineteenth-century.
Digitalisation of movement: A hidden potential or chasing time?
Authors: Kopač Andreja 
Published: March 2015

Abstract
A (dance) performance is always associated with the experience of passing. Although caught in the moment, there are attempts to eternalise it by way of different postproduction responses and records and turn it into a 'sellable good'. In his performance Fest, Ivo Dimchev metaphorically and literally depicts phallic-vaginal relations between the artist, programme head, technician and critic, thus revealing the vulgarity of the process of buying performances. Selling and researching performances is based on our memories. In Frankfurt, a symposium was organised to the theme of digitalisation of the dancing body, entitled Motion Bank. An accurate record of movement leads to democratisation, which supports a relaxed dialogue between different artistic practices, but at the same time uniforms the dancer's body and obscures his individual dimension, though it also contributes to direct learning of known repertoires.
Theatre as an entry and an exit point: Interview with Andraš Urban
Authors: Gvozdenovic Nataša 
Published: March 2015

Abstract
The Desiré Central Station festival is created by director Andraš Urban in Subotica, a small secession town on the border of Vojvodina and Hungary. The interview (up)on the occasion of the festival's fifth edition under the motto 'I am desiré' was focused on the future of the festival and contemporary theatre. The objective of this festival, which ignores ceremonies, is the education of an already very educated audience, the addressing of boundaries - both personal and social - the questioning of what the purpose of performing arts is, and questioning especially the relationship between an audience and a performer, as well as the relationship between theatre and the community in which it is created - to address these connections as organic while being constantly aware of the inevitability of change.
The great ten and the interrogation of new theatre forms
Authors: Brodar Urška 
Published: March 2015

Abstract
The Berlin festival Theatertreffen - the German-speaking equivalent of the Maribor Theatre Festival (Borštnikovo srecanje) featuring ten 'most noteworthy' performances selected by jury - takes place every year at the beginning of May. 'Courage to Audaciousness' was the motto of the latest edition of the festival, which presented several long performances with very diverse but distinct authorial signatures: from the archaic Gotscheff and the hysterical Castorf to the emptied Borgmann, the poignant Final Witnesses of the Holocaust, the apparently cold petit- bourgeois horror by Susanne Kennedy, the global implication in the arms trade by Rimini Protokoll, the entertaining Fritsch, Karin Henkel's play with identities, Hermanis' integration of an uncivilized foundling, and Platel's choreography on the theme of social exclusion.
Pleasure and apocalypse: The relation of pleasure and horror in images of a catastrophic history
Authors: Ruhsam Martina 
Published: March 2015

Abstract
This article discusses the piece Salves, a performance choreographed by Maguy Marin in collaboration with Denis Mariotte that premiered at the Biennale de la Danse de Lyon in 2010. With regard to the choreographer's statement that Salves - an attempt to stage a catastrophic past and apocalyptic visions - would be an invitation for resistance, the text questions whether the performance raises any urge for resistance. With reference to Jacques Rancière's thoughts in The Future of the Image, the review scrutinizes efforts of representing catastrophic events with theatrical means and reflects on the pleasurable experience of watching Marin's visual poetry, which stands in vast contradiction to the proclaimed horror of the performance.
Performing arts and virtual bodies
Authors: Murnik Maja 
Published: March 2015

Abstract
The compendium of texts Performance and Technology: Practices of Virtual Embodiment and Interactivity takes as its starting point the fact that today's mixed and augmented reality, essentially defined by smart technologies, offers new challenges for both artistic practices and theoretical reflection. The central questions posed by the authors in the book are: what is the position and role of the body in these mixed, technology-supported worlds and which new possibilities for the performing arts have been opened up in consequence? The texts concentrate mainly on the simultaneous presence of physical and virtual bodies (or avatars) in the process of performing and their mutual relations, interaction, cooperation and synthesis.
From alternative culture to contemporary Indian theatre
Authors: Milohnić Aldo 
Published: March 2015

Abstract
In the first part of his contribution, the author speaks about the publication of the second (revised) edition of Art and Alternative, published for the first time in 1992 - during a time of fierce repression of the cultural and artistic alternative, or to be more precise, of the remains of the once strong and respected Serbian (especially Belgrade) alternative scene, by the then ultranationalist state authorities in Serbia. This very alternative culture, discussed by Milena D. Šešic in the mentioned book, was one of the most intractable 'pockets of resistance' against the aggressive nationalist politics of the time. The second part of the text presents the new book by Milena D. Šešic, Indian Theatre: Tradition and Activism, which is framed as a 'journal' of a field research carried out on contemporary Indian theatre. In the course of her 'action research', Milena D. Šešic visited several important centres of contemporary Indian theatre and met with many charismatic makers on this diverse scene of which we know so little about in Slovenia.
Art and life: Productions of temporality in art
Authors: Kreft Lev 
Published: March 2015

Abstract
The notion of life has shaped various relations of art to politics for decades; with its convergence with life, art used to subvert and shift its institutional boundaries and question its own autonomy, while, at the same time, the belief in its emancipatory power was closely related to possible new ways of life. However, the ability to neutralise each and every artistic protest is infinitely greater in contemporary systems than it was in the totalitarian systems of the past, which dealt with their critics and opponents with repression. Nowadays, it seems that to call a spade a spade is a waste of breath. Precisely for this reason, it is necessary to rethink the relations between art and life, particularly the question of how this relationship is defined nowadays through a special form of production of temporality that transpires in contemporary modes of work, in the disappearance of the dividing line between private time and working hours, in the investment of subjectivity, the role of debt in imagining the future, in the disappearance of the commons, in the duration of an artwork and/or experience, etc. Art must rethink its temporal constitution, which was so important at the beginning of the resistance to industrialisation and the exploitation of work, for the autonomous creative and aesthetic experience now represents an important source of production value.
Life for art, art for life
Authors: Kraigher Amelia 
Published: March 2015

Abstract
This issue of the journal is, exceptionally, quadruple and, as a consequence, heftier and more comprehensive. This editorial gesture, which, in itself, is not particularly unusual, is (unfortunately) also an announcement that, in the transition from 2014 to 2015, the international journal Maska is changing from a quarterly into a triannual publication. In 2015, (only) three double issues of Maska will be published. The theme of the central section is, in fact, in tune with these topical circumstances. It is titled "Art and Life: Productions of temporality in art" and has been conceived and prepared by a guest editor, Dr Lev Kreft.
Troubles with the economy, geography and history
Authors: Šuvaković Miško 
Published: March 2015

Abstract
Contemporary global corporations control abstracts networks of management and executive boards; the majority of present-day workers' protests is doomed to fail, for there is no concrete person that they could address. In postmodernity, politics as a formalised technique of governance is carried over into cultural and artistic action. Thus, politics and the political are created with the regimes of aestheticisation in art and culture; as a result, politics is becoming depoliticised, while art is increasingly politicised. Contemporary art thus represent a ladder that leads from a depoliticised abstract space into the space of politicized social reality. The article considers a series of critical artistic practices from the end of the twentieth and the beginning of the twenty-first centuries.
Waiting for the event
Authors: Štrajn Darko 
Published: March 2015

Abstract
By paraphrasing the title of Samuel Beckett's key dramatic text in the title of this article, we indicate the capacity of art to define time. To what extent its influence extends to reality is a question inscribed in the very foundations of its social meanings, which, at the same time, also stimulates the emergence of artistic events. Starting from the introductory layout of concepts in the relationship between art and politics in Miško Šuvakovi?'s book Art and Politics [Umetnost i politika], we are interested in the concept of event developed (non)definitively by Alain Badiou. The politics of art is an epistemological problem rather than an aesthetic one. At numerous intersections of social, power- and production-related practices, art and politics serve one another as the medium of waiting for the event. Speaking of various definitions of the relationship between art and life, the Dadaist movement proves relevant for subsequent times in a paradigmatic sense.
Artist at work - 160 years ago
Authors: Kreft Lev 
Published: March 2015

Abstract
Courbet's 'The Painter's Studio' opens the whole field of modernist art's mission. After an introductory explanation of the painting, we enter its immediate context: the year 1855, when it was exhibited on the opposite side of the entrance to the Universal Exposition. There is another context, that of the atelier as such: the atelier was a common name for artisans' workshops and studios. But during this period, it became more than that. It was Louis Blanc's proposal for a solution to society's disorders: without ateliers as free associations of workers, the free market deteriorates into crisis. He had strong opponents. Their ideologue was Michel Chevalier, who claimed that only a free market without associationism could save modern society from its instabilities. Courbet's painting is an allegory of capitalist society and an image of the artist's atelier as a place from which a critical political economy of the world is revealed.
The culture wars that never existed
Authors: Keil Marta 
Published: March 2015

Abstract
The year 2013 in Poland was marked by a series of unrest-inspiring events that curtailed the liberty of artists and frequently verged on censorship. It may seem as though we are witnessing culture wars between the so-called right-wing, conservative, catholic representatives and the so-called left-wing, more liberal, progressive segment of Polish society. In fact, what creates the real division in contemporary Poland is not a series of ideological issues but the direct consensus-defying consequences of the post-1989 transition and the yawning gap between the haves and the have-nots in Poland. Ideological squabble is thus actually more of a smoke screen, a type of pressure valve in these times of accelerating socioeconomic and symbolic inequality.
Artist at work against work?
Authors: Milohnić Aldo 
Published: March 2015

Abstract
The starting point for the article is a thesis by Bojana Kunst, saying that the work of a contemporary artist is, on the one hand, bound to the 'bizarre fantasies about creativity', on the other, it is 'becoming more and more labour and less and less creativity'. The relation between labour and creativity is examined in a historical perspective: through phenomena of autonomous artistic work, philosophical idealisation of creative 'genius' and emergence of copyright. The relation between productive and unproductive labour and growing tendencies toward 'productivisation' in culture and art are also considered. The article concludes that what is at work in (creative) work is a struggle against (creative) work.
Art and/is (non)work: Towards a rearticulation of concepts
Authors: Cicigoj Katja 
Published: March 2015

Abstract
In order to oppose (hyper)production of art in late capitalism, such an opposition within the art field has precisely to be - produced. This paradox at the heart of strategies of 'refusal of labour' in contemporary art can be viewed as the basis for a critical articulation of possible understandings of the relation between art and work - and as the starting point for an attempt at overcoming the existent understandings of these relations.
Not All Capitalist Stories Are Created Equal: Mitt Romney’s Bain Capital Narrative and the Deep Divide in American Economic Rhetoric
Authors: Levasseur David G. , Gring-Pemble Lisa M. 
Published: March 2015

Abstract
At the outset of the 2012 presidential race, Republican candidate Mitt Romney touted his private sector leadership of the private equity firm Bain Capital. As this election unfolded, Romney’s Bain Capital story became less of a narrative he could run on and more of a narrative he had to run from. Why did this Bain Capital story, a story about someone’s success in the free marketplace in a society that seemingly values such success, become so troubling for the Romney campaign? This question constitutes the centerpiece of the present essay. In addressing this question, we argue that the Bain Capital narrative’s role in the 2012 presidential race divulges a great deal about the fundamental nature of economic discourse in American democracy. Specifically, we contend that the economic narratives circulating in American democracy actually construct a tale of two economies—a tangible economy and a speculative economy. Unfortunately for Romney, his Bain Capital narrative situated him on the wrong side of this economic divide.
Recession Resonance: How Evangelical Megachurch Pastors Promoted Fiscal Conservatism in the Aftermath of the 2008 Financial Crash
Authors: Martin Stephanie A. 
Published: March 2015

Abstract
Jesus often spoke about the Christian obligation to provide for the poor. Yet, public opinion polls and scholarly studies consistently find that conservative Protestant voters favor economic policies of low taxes, limited state spending on welfare, and personal responsibility for financial success. This study uses evangelical sermons as a means for analyzing how conservative economic discourse, defined as a preference for limited government interference in market activities, proliferated inside American megachurches over four years following the 2008 recession. It also examines how pastors of large congregations rhetorically justified support for policies that scholars have shown work against the economic interests of middle-class and poor citizens alike. The study found that when megachurch pastors speak about economic issues, they deploy language and arguments that emphasize American economic providence and the need for individuals to take personal responsibility for financial outcomes, premises that afforded pastors the discursive space necessary for making claims about the superiority of private charity over public welfare. These findings suggest that, contrary to arguments that situate the public discourse of conservative Protestants as being mostly about social issues, there is inside evangelicalism a robust conversation about financial questions. This economic discourse is strikingly similar to that of nonreligious conservatives in the United States, a confluence that works to create a rhetorical resonance among the base constituencies inside the Republican Party and so fortify its ideological appeal and strength.
If This Statue Could Talk: Statuary Satire in the Pasquinade Tradition
Authors: Gilbert Christopher J. 
Published: March 2015

Abstract
In Renaissance Rome, Pasquino was the name of a curmudgeon who earned a reputation among the popolo for circulating satirical barbs about the colloquy and conduct of politico-religious officials. Commemorated and conserved in a statue that remains his namesake, Pasquino became a figure for the civic ritual of bodying forth unease with and distaste for corrupt Italian politics. Pasquinades, or anonymous squibs posted on and around the statue, represent a tradition of transgression in and on public statuary in Italy. This essay examines the age-old Roman practice of defacing so-called “talking statues” according to its communalization of oppositional politics that both defy and defile the symbols and mainstays of public space. Specifically, I approach Pasquino as a rhetorical body and the pasquinades as bodying forth tactile, visual, and verbal inscriptions of disgust. Pasquino is monumental because he evokes popular opinion and political activity by capturing satiric commentaries on Italian public culture. Ultimately, I argue that the statuary satire of Pasquino provides a traditional space of rhetorical performance through which the iterative contours of ridicule survive in “living” symbols of resistance.
A Rare non-auto immunodeficiency disease (AIDS) related neo-plasm Kaposi sarcoma in Iraqi man: a case report
Authors: Al-Helfi Haider , Al-Saad Rasha , Al-Shewered Ahmed 
Published: March 2015

The aim of this article is to report unusual case of KS presenting in the patient with negative serology for AIDS. Kaposi Sarcoma (KS) is a rare entity. It is a vascular neoplasm mainly affecting the skin of the lower extremities. Although it is the most common neoplasm affecting patients with AIDS, sporadic cases in HIV-negative people have been reported but it is rare.Â Here, we present a case of a non-auto immunodeficiency disease (AIDS) related KS. A 72 year-old male, Iraqi patient presented to our oncology outpatientâ€™s unit in Al-Shafaa Oncology Center with multiple subcutaneous nodules. The diagnosis was based on histopathological and immunohistochemical analysis of the excised lesion, serology tests and imaging investigations. The patient had a 13-month history of a slowly progressing pigmented multiple lesions on the lower and upper extremities. The patient had visceromegaly as splenomegaly at the time of presentation. His serum was negative for the common types of viral infections including Human Immunodeficiency Virus (HIV) on routine serology. On general examination, the man look well, no pallor, no fever, no cachexia present and no jaundice. There are a multiple ill defined, irregular hyper-pigmented nodules to plaques were present on forearm, legs, feet and hands. The nodules and plaque was firm in consistency and was non-tender. The lesions were deep reddish to brownish in color. The size of the lesions were arranged from 0.5-1.5 cm. No scaling was evident. The patient was under treatment with chemotherapeutic regimen of Paclitaxel.Â
A novel inactivating mutation of the LH/chorionic gonadotrophin receptor with impaired membrane trafficking leading to Leydig cell hypoplasia type 1
Authors: Rivero-Müller Adolfo , Potorac Iulia , Pintiaux Axelle , Daly Adrian F , Thiry Albert , Rydlewski Catherine , Nisolle Michelle , Parent Anne-Simone , Huhtaniemi Ilpo , Beckers Albert 
Published: March 2015

ObjectiveThe LH/chorionic gonadotrophin receptor (LHCGR) is a G protein-coupled receptor (GPCR) that plays a central role in male sexual differentiation, regulation of ovarian follicular maturation, ovulation and maintenance of corpus luteum and pregnancy, as well as maintenance of testicular testosterone production. Mutations in theLHCGRgene are very rare. The aim of this work was to study the clinical and molecular characteristics of a rare familialLHCGRmutation.MethodsFive affected members of a family, including a phenotypically female, but genotypically male (46,XY), patient with Leydig cell hypoplasia type 1 and four genotypically female siblings with reproductive abnormalities, were studied genetically. Cell trafficking studies as well as signalling studies of mutated receptor were performed.ResultsThe five affected patients were all homozygous for a novel mutation in theLHCGRgene, a deletion of guanine in position 1850 (1850delG). This resulted in a frameshift affecting most of the C-terminal intracellular domain.In vitrostudies demonstrated that the 1850delG receptor was completely incapable of transit to the cell membrane, becoming trapped within the endoplasmic reticulum. This could not be rescued by small-molecule agonist treatment or stimulated intracellularly by co-expression of a yoked human chorionic gonadotrophin.ConclusionsThis novelLHCGRmutation leads to complete inactivation of the LHCGR receptor due to trafficking and signalling abnormalities, which improves our understanding of the impact of the affected structural domain on receptor trafficking and function.