Hostname: page-component-cd9895bd7-p9bg8 Total loading time: 0 Render date: 2024-12-29T01:00:46.648Z Has data issue: false hasContentIssue false
  • English
  • Français

Playing with Knowledge

On Lecture Performances

Published online by Cambridge University Press:  01 September 2022

Sophie Seita
Get access Rights & Permissions [Opens in a new window]

Abstract

Seated between art and academia, the lecture performance is a hybrid and playful genre that questions the norms and forms of lectures. Often highly reflexive, discursive, and pedagogical, it draws attention to the structures of how knowledge is produced, distributed, and received. It stages and costumes knowledge; makes it wearable or movable.

Type
Article
Information
TDR , Volume 66 , Issue 3 , September 2022 , pp. 78 - 95
Copyright
© The Author(s) 2022. Published by Cambridge University Press for Tisch School of the Arts/NYU

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Antin, David. 2013. Poetry reading, with Eleanor Antin, for the Segue Series at Zinc Bar, New York City, 16 November. Accessed 7 May 2021. https://media.sas.upenn.edu/pennsound/authors/Antin/Zinc/Antin-David_Macassar-Strait_Zinc-NYC_11-16-13.mp3.Google Scholar
Balaskas, Bill, and Rito, Carolina, eds. 2020. Institution as Praxis: New Curatorial Directions for Collaborative Research. Berlin: Sternberg Press.Google Scholar
Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.Google Scholar
Boal, Augusto. (1979) 2019. Theater of the Oppressed. Trans. Charles, A. and Leal McBride, Maria-Odilia and Fryer, Emily. London: Pluto Press.Google Scholar
Brown, Trisha. (1979) 2005. Accumulation with Talking Plus Water Motor. Performance (first presented 24 February 1979, Oberlin College) recorded 2 September 1986, 541 Broadway, New York.Google Scholar
Cage, John. (1952) 1963. “Juilliard Lecture.” In A Year from Monday: New Lectures and Writing. Middleton, CT: Wesleyan University Press.Google Scholar
Felski, Rita. 2008. Uses of Literature. Oxford: Blackwell.CrossRefGoogle Scholar
Fetterman, William. 1996. John Cage’s Theatre Pieces: Notations and Performances. London: Routledge.Google Scholar
Foster, Susan Leigh. 2002. Dances that Describe Themselves: The Improvised Choreography of Richard Bull. Middletown, CT: Wesleyan University Press.Google Scholar
Foucault, Michel. 1975. Discipline and Punish: The Birth of the Prison. Trans. Sheridan, Alan. London: Penguin.Google Scholar
Frank, Rike. 2013. “When Form Starts Talking: On Lecture-Performances.” Afterall: A Journal of Art, Context and Enquiry 33:4–15. doi.org/10.1086/672015.Google Scholar
Freeman, Elizabeth. 2010. Time Binds: Queer Temporalities, Queer Histories. Durham, NC: Duke University Press.Google Scholar
Freire, Paulo. (1970) 2018. Pedagogy of the Oppressed. Trans. Myra Bergman Ramos. New York: Bloomsbury Academic.Google Scholar
Friesen, Norm. 2011. “The Lecture as a Transmedial Pedagogical Form: A Historical Analysis.” Educational Researcher 40, 3:95–102. doi.org/10.3102/0013189X11404603.CrossRefGoogle Scholar
Gitelman, Lisa. 2014. Paper Knowledge: Toward a Media History of Documents. Durham, NC: Duke University Press.Google Scholar
Hakopian, Mashinka Firunts. 2016. “Staging Professionalization: Lecture-Performances and Para-Institutional Pedagogies, From the Postwar to the Present.” Performance Research 21, 6:19–25. doi.org/10.1080/13528165. 2016.1240924.Google Scholar
Hall, Gordon. 2012. “Gordon Hall: Up On.” Vimeo, 5 January 2013. Accessed 7 May 2021. https://vimeo.com/56841090.Google Scholar
Hall, Gordon. 2013. “Object Lessons: Thinking Gender Variance through Minimalist Sculpture.” Art Journal 72, 4:46–57. doi.org/10.1080/00043249.2013.10792863.CrossRefGoogle Scholar
Hall, Gordon. 2014. “Gordon Hall: ‘Read me that part a-gain, where I dis-inherit everybody.’” Vimeo, 12 May. Accessed 7 May 2021. https://vimeo.com/94993482.Google Scholar
Hall, Gordon. 2016. “Gordon Hall on Gender, Sculpture, and Relearning How to See.” Walker Art Magazine, 8 August. https://walkerart.org/magazine/gordon-hall-transgender-hb2-bathroom-bill.Google Scholar
Hall, Gordon. 2018. “Orange or Salmon, Gordon Hall, The Swiss Institute, July 26, 2018.” Vimeo, 26 July. Accessed 7 May 2021. https://vimeo.com/322489710.Google Scholar
Hall, Gordon. 2019. Over-Beliefs: Gordon Hall Collected Writing 2011–2018. Portland, OR: Portland Institute for Contemporary Art (PICA).Google Scholar
Hall, Gordon. 2020. Tuesday Night Lecture Series, CFA, Boston University, 9 October.Google Scholar
Harney, Stefano, and Moten, Fred. 2013. The Undercommons: Fugitive Planning & Black Study. New York: Minor Compositions.Google Scholar
Hayden, Sarah. (2020) 2021. “Teacher Voice Treatment: Lecture 2.” Sound/Text, Mahindra Center, Harvard University, 26 February 2020. www.spamzine.co.uk/post/teacher-voice-treatment-lecture-2-by-sarah-hayden.Google Scholar
hooks, bell. 1994. Teaching to Transgress: Education as the Practice of Freedom. London: Routledge.Google Scholar
Katz, Vincent, ed. 2013. Black Mountain College: Experiment in Art. Cambridge, MA: The MIT Press.Google Scholar
Pester, Holly. 2019. “The Politics of Delivery (Against Poet-Voice).” The Poetry Review 109, 2:67–78. https://poetrysociety.org.uk/the-politics-of-delivery-against-poet-voice/.Google Scholar
Rainer, Yvonne. (1974) 2020. Work 1961–73. New York: Primary Information.Google Scholar
Rancière, Jacques. 1991. The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation. Trans. Ross, Kristin. Stanford, CA: Stanford University Press.Google Scholar
Schneemann, Carolee. 1991a. Ask the Goddess. Video, 8:24 min, color, sound. Electronic Arts Intermix.Google Scholar
Schneemann, Carolee. 1991b. “The Obscene Body/Politic.” Art Journal 50, 4 (Winter):28–35. doi.org/10.2307/777320.Google Scholar
Sedgwick, Eve Kosofsky. 2003. Touching Feeling: Affect, Pedagogy, Performativity. Durham, NC: Duke University Press.Google Scholar
Seita, Sophie. 2017. Reading Fountain: A Lecture Performance in Two Parts. RA Lates: Rrose Sélavy’s Dada Extravaganza, Royal Academy of Arts, 9 December 2017. Vimeo, 22 February 2018. https://vimeo.com/256930801.Google Scholar
Seita, Sophie. 2019a. My Little Enlightenment: A Lecture Performance. Chicago: Other Forms.Google Scholar
Seita, Sophie. 2019b. Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital. Stanford, CA: Stanford University Press.Google Scholar
Seita, Sophie. 2020. Vulva’s School: A F *cking Didactic Take on Experimental Feminist Performance Art, or, How to Read. Video, 29:33.Google Scholar
Seita, Sophie, and Spittle, David. 2017. “My Little Enlightenment: The Plays and Textual Performances of Sophie Seita.” 3:AM Magazine, 29 May. www.3ammagazine.com/3am/little-enlightenment-plays-textual-performances-sophie-seita/.Google Scholar
Sharpe, Christina. 2016. In the Wake: On Blackness and Being. Durham, NC: Duke University Press.Google Scholar
Taylor, Diana. 2016. Performance. Durham, NC: Duke University Press.Google ScholarPubMed
Thorne, Sam. 2017. School: A Recent History of Self-Organized Art Education. Berlin: Sternberg Press.Google Scholar

TDReadings

Camilleri, Frank. 2013. “Between Laboratory and Institution: Practice as Research in No Man’s Land.” TDR 57, 1 (T217):152–66. doi.org/10.1162/DRAM_a_00240CrossRefGoogle Scholar
Jones, Joni L. 1997. “Sista Docta”: Performance as Critique of the Academy.” TDR 41, 2 (T154):51–67. doi.org/10.2307/1146624CrossRefGoogle Scholar