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We show how the dire state of the Earth's rivers entangles intimately with 'thingifying' processes at the heart of colonial modernity. Known in many precolonial and Indigenous contexts as person‐like kin, we describe how rivers the world over have been re‐done primarily as thing—amoral, controllable, a potential commodity like anything else.We develop and work with a provisory concept of kin as those constituents of environments that reciprocally nurture, and contribute to the substance of, one another's life and wellbeing.We show how kinship with rivers figures centrally in primarily Indigenous‐led struggles in various regions of the globe for the recognition and enforcement of river personhood and rights. This is partly because people are motivated to fight passionately for their kin.With some careful caveats, we argue that associating river kinship exclusively with Indigenous worlds undermines its potential for global impact. Thus, as an apposite case study, the latter part of the paper focuses on some of the social–ecological trends which we suggest are opening up the possibility for the re‐establishment of 'riverkinship' in the United Kingdom.We reflect on the potential for riverkinship to help cultivate political constellations fitting to the challenges of the Anthropocene. Read the free Plain Language Summary for this article on the Journal blog. Read the free Plain Language Summary for this article on the Journal blog. [ABSTRACT FROM AUTHOR]

This essay approaches the field of posthuman performance, focusing on the personification of love in the form of Eros. After focusing on the changing depictions of Erotic love across archaic and classical Greece, the essay then delves into the theatrical depiction of winged love in Aristophanes’ timeless comedy Birds. The author argues for the importance, in performance practice, of love as ethical praxis, suggesting that real erotic love is a fundamental energy driving performance. The critical takeaway of this essay is the need to perform a love that is not merely anthropomorphic or anthropocentric— a love of humans for humans— and the importance of practising more-than-human love, to tether living beings in an interspecies web of bonds and relations. [ABSTRACT FROM AUTHOR]

The article focuses on the development of a working method for the collaborative practice within digital dance theatre. Topics discussed include the digital media production of "Flatland," the book "Flatland: A Romance of Many Dimensions," by Edwin A. Abbott, and French palaeontologist and archaeologist Andre Leroi-Gourman's view on multi- and inter-dimensionality through his book "Gesture and Speech" in 1993.

This article explores the somewhat neglected theory of topological movement developed by the Hungarian artist and researcher Rudolf Laban. The piece begins with an examination of Laban’s understanding of space in relation of the notion of the kinesphere. I argue that Laban’s idea of space is essentially derived from a rationalization of outer movement (geometry), which enables him to break movement down into analytical units, and rearrange these into a meaningful syntax, a language (dance, mime, or theatre). I then go on to explain Laban’s idea of a synthesis between outer movement, and another sphere of movement known as dynamospheric (which refers to more fundamental inner forces that involve psychological and emotional dynamics). Crucially, these dynamic forms are modelled by Laban through the use of topological surfaces. I further support my analysis by an investigation of Laban’s unpublished book Effort and Recovery, and also by taking a videographic approach to a number of important filmic studies of topological movement observation. The article concludes with the idea that Laban’s graphic approach to movement analysis can be further enhanced, particularly within the study of topological dynamics, with the help of vision technologies such as film, video, and computer animation. I briefly discuss William Forsythe’s reinterpretation of Laban’s analysis via moving-image technologies, before concluding with a short description of a video study entitled Labanimations, which I carried out recently with video artist Sebastian Melo, and in which I reexamine Laban’s artwork through video techniques such as long exposure photography and slit scan. [ABSTRACT FROM AUTHOR]