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James Thompson

that an aesthetics of care can be a demonstration, a showing of caring, but, more significantly, it can be the actual moment of building a more just distribution of caring and increase participants’ capacity to care and be cared for. The understanding of aesthetics here is, on the one hand broad, signalling aesthetic in the sense of the appreciation of something crafted, artistic or beautiful. However, on the other hand, I am also using it in a more particular sense borrowed from the work of Jacques Rancière and his framework of the ‘distribution of the sensible

in Performing care
Open Access (free)
Continuous theatre for a creative city
David Calder

construction grew, the Loire was dredged to accommodate larger shipyards building larger ships. Seventeenth-century maps of Nantes depict a latticework of bridges connecting some ten or twelve small Resurfacing 141 islands to each other and to the Loire’s northern bank. With the growth of the shipbuilding industry, dredging operations displaced silt to the smaller fingers of the river, gradually forming a single land mass out of multiple islands. The northernmost islands became part of the mainland, while the others formed what is today the single Ile de Nantes. The

in Street theatre and the production of postindustrial space
Beholding young people’s experiences and expressions of care through oral history performance
Kathleen Gallagher and Rachel Turner-King

), before them, similarly challenging that care is not a stand-alone ethic. Importantly for this chapter, Noddings’ body of work seems to suggest that our capacity for care is finite and teachers ought to focus on what is before them, what they might realistically be able to care for, rather than risk ‘empathic exhaustion’ by focusing too much on ‘unknown victims of poverty or injustice in some far away land’ ( 2010b : 12). This particular idea is especially provocative as Gallagher and her team attempted to make some sense of the kind and quality of care they witnessed

in Performing care
Open Access (free)
Putting the countryside back to work
David Calder

established enterprise.’7 When Photosacs relocated its manufacturing activities to Corbigny in 1961, the company took over an existing concrete structure of 450 square metres on land owned by the municipality. Thanks to increased demand from Kodak and Gevaert, Photosacs was able to triple its productive surface area; two additional structures of identical footprint were added behind the original building (see figure 2.1). To convert Photosacs into La Transverse, project architect Patrick Warnant opted to preserve the two rear additions and raze the original building facing

in Street theatre and the production of postindustrial space
Open Access (free)
The imaginary archaeology of redevelopment
David Calder

’s production process typically involves archival research and ethnographic interviews about the history of a neighbourhood or building. In performance, company members project these primary materials onto the exterior walls of the neighbourhood or building in question. This chapter takes up two of KompleX’s artistic interventions into industrial space, PlayRec (2006–08) and SPP (short for Sentier Pédestre Périphérique (Peripheral Pedestrian Path), 2011–12). For PlayRec, a touring production, KompleX developed site-specific performances that engaged with derelict or converted

in Street theatre and the production of postindustrial space
Applied drama, ‘sympathetic presence’ and person-centred nursing
Matt Jennings, Pat Deeny and Karl Tizzard-Kleister

The practices and principles of nursing have long been associated with kindness, respect and compassion (Nursing and Midwifery Council, 2015 ). Nursing pedagogy promotes these attributes as necessary for humanistic, ‘person-centred’, therapeutic practice. Professors Brendan McCormack and Tanya McCance, in the Person-Centred Nursing Framework (PCNF, see Figure 11.1 ), identify the importance of ‘respecting the patient’s rights as a person, building mutual trust and understanding and developing therapeutic relationships’ ( 2017 : 1). Such values resonate with a

in Performing care
James Thompson

Children in Crisis, a non-governmental organisation (NGO) based in London, and a Congolese organisation called Eben-Ezer Ministry International (EMI). In a broader school building and teacher development programme, sponsored by Comic Relief among others, my responsibility had been to train local community animators in interactive and participatory theatre techniques so that they could subsequently create performances on the subject of girls’ education and women’s rights. EMI believed that by encouraging communities not to discriminate against girls in access to

in Performing care
Open Access (free)
Frank O’Hara
David Herd

'Hara 137 amount of energy he invested in our art and our lives made me feel like a miser. (H, 99) One expression of that energy was, as Rivers indicated, O’Hara’s capacity for intimacy, where intimacy meant not just friendship but a detailed understanding of the artist friend’s work. Philip Guston recalls a conversation with O’Hara: Frank was in his most non-stop way of talking; saying that the pictures put him in mind of Tiepolo ... Suddenly I was working in an ancient building now a warehouse facing the Giudecca. The loft over the Firehouse was transformed. It was

in Enthusiast!
Open Access (free)
Working memory
David Calder

wrecking ball had already reduced to rubble before a successful lobbying effort by locals and preservationists to designate the building a heritage site. Stéphane Bonnard is not (primarily) a heritage preservationist. He is, with Pierre Duforeau, co-artistic director of street theatre company KompleXKapharnaüM. Since its founding in 1995, KompleXKapharnaüM has worked out of a former metal parts factory in what is now the Carré de Soie. KompleXKapharnaüM creates sitespecific, multimedia performances that engage local memory, industrial and working-class heritage, and

in Street theatre and the production of postindustrial space
The paradoxes of sustainability and Michel Houellebecq’s The Possibility of an Island
Hannes Bergthaller

sheer biology, as both de-individualised and de-socialised, and as utterly overwhelmed by its own inherited drive to reproduce and consume. Far from demonstrating that humans are somehow unnatural, our tendency to multiply beyond the Earth’s carrying capacity is a sign that we are indeed a biological species just like any other, fully in the thrall of blind evolutionary forces that lie beyond our control. The story of human ascendancy is revealed as a kind of Kippfigur: a reversible image in which two contradictory meanings continually displace each other. The maggots

in Literature and sustainability