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This article discusses the strong resonance provoked by the 2011 triple disaster in the Japanese performance and visual arts by focusing on multimedia artist Yamakawa Fuyuki and the antinuclear activist network's intersection with the underground music scene. Directly plugging into the disaster, Yamakawa re-elaborated his artistic practice in relation to the nuclear crisis by addressing internal and external exposure to radiation. Illustrated are connections between polluted environment, corporeality, politics and performance art, and how his performative experimentations offer novel insights into the interaction between art and disaster enhancing alternative modes of interpretation in technoscience and aesthetic theory.

The radical reassessment of performance conceived by Tatsumi Hijikata calls into question the body informed by dance systems and society. While exploring a wide range of corporealities, Hijikata focused his attention, in particular throughout the 1960s, on the nikutai (carnal body). This specific corporeality is corruptible, pluralistic, metamorphic, ungovernable, intrinsically political and anti-capitalistic. The nikutai permits the performer to access and explore gaps between reality and fiction, to uncover the quality of deformation and malformation inherent within reality, while resisting systems of knowledge and forms of monolithic identity. As Hijikata states, the nikutai is shattered at the moment of birth. Hence, it may be said that disfiguration is at the very root of the carnal body, which oscillates between the rotting corpse and living body. In his 1960s dance aesthetics Hijikata experiments with corporeality by challenging image, reproduction and representation, and dismisses the figurative outcome of the performative act. Central to this enterprise is the corruption of the body and of the standardised body-object relation disciplined by language and quotidian behaviour. In this essay, I examine aspects of Hijikata's artistic strategy to undermine choreographic methodologies and framed corporeality. With reference to James Gibson's theory of affordances I also argue that the challenge in butoh's movement process and corporeal work disrupts affordance. In relation to this alternative economy of movement, and of attention and exhibition, is highlighted the question of how Hijikata, in his earlier experimentations, avoids 'the aesthetic consciousness of those who dance' and switches off the power of gaze. ; The radical reassessment of performance conceived by Tatsumi Hijikata calls into question the body informed by dance systems and society. While exploring a wide range of corporealities, Hijikata focused his attention, in particular throughout the 1960s, on the nikutai (carnal body). This specific ...

La tesi inizia con l'analizzare il passaggio dal turismo culturale al turismo creativo a livello internazionale, nazionale e siciliano. Il settore creativo su cui si sofferma l'attenzione è quello inerente all'Arte Contemporanea, analizzando processo di democratizzazione e globalizzazione in atto allargando il proprio pubblico e di come il settore possa diventare elemento di attrattività della destinazione creando nuovi modelli di marketing territoriale, innescando nuove nicchie turistiche e i beni/servizi intermedi offerti dal settore all'industria turistica. Infine, il progetto tesi focalizza la sua attenzione sulle realtà siciliane, in particolare quelle di Favara e Gibellina e della loro riqualificazione in chiave socio-politica grazie all'arte contemporanea, valutandone le ricadute sul turismo regionale e proponendo nuovi modelli di policy.