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In echoing the title of A. Sivanadan's seminal examination of Black cultural-political strategies of resistance to the representational violence governing the construction of colonial identities and power relations, this article argues that the racialized regime of representation continues to support the social production of global hunger and sustain its operation. In this context, hunger must be seen as an act of exteriorized violence directed against specific populations in order to maintain the necropolitical neo-colonial settlement. Within the aesthetic logic of humanitarianism supporting this regime, the emaciated figure of the suffering, silent other is continually forced to re-enact the traumatic scene of their own disappearance into the space of the image in order to fulfil a spectatorial desire to see and to be subjectivated through seeing. The article contends that the social construction of an intrinsically theatricalized humanitarian gaze is inimical to the political functioning of colonial-capitalist ways of seeing, thereby demonstrating that critical art practices are not exempt from operating within the parameters of this aesthetic regime. The article investigates the claims of Dutch artist Renzo Martens' performative documentary, Episode III: Enjoy poverty (2008), to expose the hypocrisy of Western food aid practices through the lens of performative intervention. Through close analysis of the film, it cautions against positioning hunger as an object 'outside' reflexive critical consideration of it. It demonstrates that there is no external material reality that pre-exists our imagination and desire to know; no objective correlate for our hunger for social and political change. In order to understand this 'different hunger', we must recognise our differential implication in, and relation to, the world in which hunger is manifest and not construct an idealised optic that would allow us to simply imagine ourselves acting upon it. [ABSTRACT FROM AUTHOR]

This essay onBlack Smoke Rising(Tim Shaw, 2014), returns to some of the core political and ethical questions concerning the inter-relationship between representation and repetition in the aesthetic experience of images of suffering: What's at stake in looking at images of suffering, and how is the spectator - and the cultural politics of spectatorship - implicated in the image as integral to its construction and operation? What's the relationship between the content of the image, its material tracing of historical presence, and its mode of representation? What's at stake in representation as a making present again of historical trauma and social suffering? Why do we keep on looking, long after the passing of the event represented, as if looking keeps open the wound of suffering through its repetition and circulation in the form of the image? These questions, prompted by Shaw's return to the images of torture emanating from Abu Ghraib prison in Iraq as resources for further image-making, 10 years after the event, are investigated through a double-handed reading of bothBlack Smoke Risingas a performative/scenographic event, and a staged return to the author's own writing on the Abu Ghraib image-event, 'The Anxiety of the Image', ten years after its publication inParallax’s special issue ‘Visceral Reason’ (Vol. 10, No. 1). The essay thereby aims to question the aesthetic-politics of repetition - and the culturalanxietyabout repetition - integral to the theatrical temporality of the logic of representation. It examines how the continuous circulation of the iconic image – the image of ‘The Hooded Man’ most especially -- reinforces the ideologically anticipatory mode of anxiety and explores the extent to which Shaw's aesthetic event re-deploys andre-stagesthe spectatorial experience of anxiety in a politically critical visual economy. [ABSTRACT FROM AUTHOR]

In a recent interview for Mouvement, the theatre-maker Richard Maxwell notes that: ‘In theatre, we are faced by a paradox. There is the reality of the story and the reality of the place where the play unfolds. It operates within this paradox. Between these two elements … This paradox is present in everything I do’ (2011: 21). Maxwell's words here seem to signal an investment in both the recognition of the materiality of the stage environment as a specific location—whose specificity resides precisely in the audience relation—and an awareness of the ways in which what takes place there—representation in one form or another, however presentational it may appear—constructs an ‘elsewhere’ in the landscape of the spectator's imagination at the very least. This paper investigates the ways in which Neutral Hero seeks to combine an aesthetic of rigorous material subtraction in which the locus of the stage is inhabited as nothing other than the place it is with a dramaturgical ethic of ‘emancipated’ spectatorship that enables it to invoke an exhibitive and relational understanding of ontology and identity. It examines how, in Neutral Hero, the ‘dramatic’ is constructed and eschewed, arguing that it is in the materiality of the exchange of speech—rather than simply the embodied presence of the performer on stage—that the specificity of the theatre as location resides, in that ‘the voice is always for the ear, it is always relational’ (Cavarero 2005: 169). At the same time, it explores how the prosodic foot is always to be found in the actor's mouth—the Oedipal foot grounding the contemporary in the archaic form of tragedy—acting as a dramatic impediment to the movement of the theatrical. [ABSTRACT FROM PUBLISHER]

The article examines the French philosopher Jacques Rancière's elegant revelation of the failings of political philosophy. It explores the apparent contradiction of terminologies expressed in his book "Disagreement" which reveals the uneasy meaning of the union in the phrase political philosophy. It also investigates the various transformation of the regime of truth and their impact on practical politics.

Investigates the mood of anxiety accompanying the public manifestation of images of prisoner abuse being conducted at the American occupied Abu Ghraib jail in Iraq. Gap between verisimilitude and veracity opened up by the “Daily Mirror's” claim that the pictures accurately 'portrayed' serving soldiers' actions; Politics of attempting to further instrumentalize the images' performative effects; Nature of the response to the images of human rights abuses emanating from Abu Ghraib prison in Iraq.

This article focuses on the philosophical concept of mimesis based on an image of a dancer. The image of a dancer is suggestive of a certain mimetic resistance to the logic of commodity capitalism, a disruption of its ability to mediate the purely economic terms of the relation. The mimesis at work within the image of the dancer collapses the distance between self and other and at the same time maintains it, giving the portrayal of interiority a distinctively outward-looking dimension. As such it is indelibly theatrical, presented to an audience of onlookers whose very presence interrupts the solipsistic fiction of autoerotic inwardness.

This article discusses theatre and the ethic of interruption. Something happens, and theatre interrupts. So when, in "The Author As Producer," Walter Benjamin describes epic theatre as the 'art of interruption', he emphasizes that this is a structural rather than simply stylistic problematic: 'interruption does not have here the character of a stimulant, he explains, but of an organizing function. More particularly, for Benjamin the purpose of interruption is to enable the theatre to 'discover' rather than 'reproduce' situations, to 'represent' them by 'uncovering' the materiality of social conditions.

Focuses on the critical importance of site-specific performance on alternative economy; Emphasis of the performance on archiving the memory in the building; Intervention of site-specific performance into a particular location.

Focuses on the background of the play 'Wolf Man,' written by Joe Kelleher and performed by Ernst Fischer, Adrian Kear, Maggie Pittard and Helen Spackman in London, England. Role of psychoanalyst Sigmund Freud in the development of the play; Accounts on the interests of Freud on the behavior of wolves; Depiction of the play on the childhood trauma of Freud.

Focuses on the importance of time in cooking. Changes on the time consumed during food preparation due to modern technologies; Similarity of the essence of cooking to theatrical arts; Ability of a person to perform cooking as an art.

The author reflects on the etymology of the term appearance which is congruent to the group of terms such as image, mirror, and spectacle. Appearance denotes an aspect of being whose essence rests in giving itself to be seen and being derived from the root which meant to look or to see. It also notes how philosopher Giorgio Agamben perceived appearance which is the essence of species, whose visibility is regarded to provide the basis of its intelligibility.