T Nikki Cesare Schotzko
Biographic Data
| ID | 1709094 |
|---|---|
| NAME | T Nikki Cesare Schotzko |
| GIVEN NAMES | T Nikki Cesare |
| FAMILY NAME | Schotzko |
| SIGNATURE | SCHOTZKO T N C |
| AFFILIATIONS | T. Nikki Cesare Schotzko is Associate Professor at the Centre for Drama, Theatre, and Performance Studies, University of Toronto. She is author of Learning How to Fall: Art and Culture after September 11 (Routledge, 2014) and is currently working on a project that terms “#nihilism,” engaging the hashtag as a cultural form in an era of literal and metaphoric climate change. |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
(M)Othering Like Us
Black artist-activist Parker Bright’s three-day protest of white artist Dana Schutz’s Open Casket (2016) at the 2017 Whitney Biennial ignited a debate concerning “historical witnessing” versus “cultural appropriation,” artistic freedom and freedom of speech, and institutional agency in affording socioeconomic value to white artists over artists of colour. While intended to evoke an empathetic response “across race,” Schutz’s painterly reproductio…
A year (in five months) of living dangerously
This article invites a meditation on the hidden intimacies Zoom engenders, even as we are constantly reminded that this is not a platform intended to create intimacy. Rather, it is one intended to create work-place efficacy, balancing the ‘happiness’ of distributed or outsourced employees with what Jonathan Crary (2013 Crary, Jonathan. 2013. 24/7: Late Capitalism and the Ends of Sleep. New York: Verso. [Google Scholar]) identifies as a 24/7 avail…
Message Send Failure
The choices audiences make in “self-scheduled” smartphone plays inevitably inform their experiences. How does the lack of site-specificity in these works that take place exclusively through mobile technologies enable a greater sense of intimacy between dis-placed actor and audience? And how do these plays challenge the self-surveillance mechanisms embedded within social media technologies, even as they exploit them
Terror and Performance by Rustom Bharucha
No prominent works on this page.
Message Send Failure
The choices audiences make in “self-scheduled” smartphone plays inevitably inform their experiences. How does the lack of site-specificity in these works that take place exclusively through mobile technologies enable a greater sense of intimacy between dis-placed actor and audience? And how do these plays challenge the self-surveillance mechanisms embedded within social media technologies, even as they exploit them
Terror and Performance by Rustom Bharucha
A year (in five months) of living dangerously
This article invites a meditation on the hidden intimacies Zoom engenders, even as we are constantly reminded that this is not a platform intended to create intimacy. Rather, it is one intended to create work-place efficacy, balancing the ‘happiness’ of distributed or outsourced employees with what Jonathan Crary (2013 Crary, Jonathan. 2013. 24/7: Late Capitalism and the Ends of Sleep. New York: Verso. [Google Scholar]) identifies as a 24/7 avail…
(M)Othering Like Us
Black artist-activist Parker Bright’s three-day protest of white artist Dana Schutz’s Open Casket (2016) at the 2017 Whitney Biennial ignited a debate concerning “historical witnessing” versus “cultural appropriation,” artistic freedom and freedom of speech, and institutional agency in affording socioeconomic value to white artists over artists of colour. While intended to evoke an empathetic response “across race,” Schutz’s painterly reproductio…
Art (4 works) · Sociology (3 works) · Aesthetics (2 works) · Computer Science (2 works) · Computer security (2 works) · Law (2 works) · Media studies (2 works) · Theatre and Performance Studies (2 works) · Advertising (1 work) · Appropriation (1 work)