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A political, performative and affective landscape is revealed in this chapter as a way of approaching the topic of performing the digital: from the macro of the upheaval caused by Edward Snowden's revelations of mass data surveillance to the micro of a phenomenological account of a crisis following an artistic performance using mobile media. "Performing Encryption" is a response to working as a dancer and philosopher with mobile networked digital media that can be read as a part of a larger narrative of transitioning from one state to another. The state of viewing the fine interweaving of mobile technologies in our lives as a positive expression of social choreographies gives way to a state where it is impossible to regard the potential for surveillance and capture of daily activities as anything but provocative, troubling or even threatening. The risk is not just the "capture all" aspects of dataveillance, but of increasing control over gestural and affective exchanges in urban life. In saying networked technologies, I point not just to mobile phones but also to the Cloud and the Internet-of-Things which, in combination, are potentially devastating from the perspective of embodied agency. This narrative of questioning and transition is typical of others arising at the beginning of a century, let alone a millennium. It is no longer possible to avoid asking what we have created. And how we can respond to the technological and cultural conditions of our world.

This Preface to the Living Archives publication on Openness raises questions and controversies around open data and publication as an academic and expressive process. It begins by asking: why produce a publication on openness? Or, rather 3 versions, because the collected articles appeared as a series on medium.com (1/3), as a freely downloadable PDF (2/3), and finally as a limited hand bound print run of approximately 30 volumes (3/3). These are iterations on openness comprising 18 peer-reviewed contributions existing, to cite Jean Luc Nancy, "between exposed thought and knotty intimacy" within a Commerce of Thinking (Nancy 2009, 3). These 3 versions travel across materialities. They are re-mediated, but to me it feels like a sort of de-mediation – a stripping away – as we moved over time from the digital versions toward the print version. Video had to be unspooled into image frames, audio into fragmented text transcriptions. These iterations render Nancy's argument multiple both in form and in voice, without a doubt "born in agitation and anxiety, in the fermentation of a form" (ibid) but not in search of anything as unified as a coherent style or position. The contributions demonstrate the political groundedness of research data, and its cloudiness, rather than the collective fiction of the transparency of data in the Cloud.

The paper considers the role of the body and embodiment in design education. It offers a "re-do" of the Embodied Interaction course on the Interaction Design Master's at Malmö University. This conceptual and pedagogic redo coincides with the increasing relevance of this field which now can be seen to include physical computing, wearables, haptics, and networked devices for transmitting bodily data. Three conceptual shifts are emphasised: embodiment redefined as materiality; critical engagement with contemporary politics and economics; methodological awareness and experimentation. This is not an abandonment of previous approaches, but a revision to coincide with developments in practice and scholarship, both within interaction design and in relevant related disciplines. It also reflects current cultural and political educational climate thereby emphasizing a porosity of education, a flow-through between the university and the world outside its walls.

This article reveals a multi layered design process that occurs at the intersection between postcolonial/decolonial theory and a version of digital sketching called Embodied Digital Sketching (EDS). The result of this particular intersection of theory and practice is called Bitter & Sweet, a Mixed Reality design prototype using cultural heritage material. Postcolonial and decolonial strategies informed both analytic and practical phases of the design process. A further contribution to the design field is the reminder that design interventions in the current political and economic climate are frequently bi-directional: designers may enact, but simultaneously external events intervene in design processes. Bitter & Sweet reveals intersecting layers of power and control when design processes deal with sensitive cultural topics.

This article reveals a multi layered design process that occurs at the intersection between postcolonial/decolonial theory and a version of digital sketching called Embodied Digital Sketching (EDS). The result of this particular intersection of theory and practice is called Bitter & Sweet, a Mixed Reality design prototype using cultural heritage material. Postcolonial and decolonial strategies informed both analytic and practical phases of the design process. A further contribution to the design field is the reminder that design interventions in the current political and economic climate are frequently bi-directional: designers may enact, but simultaneously external events intervene in design processes. Bitter & Sweet reveals intersecting layers of power and control when design processes deal with sensitive cultural topics.

Frontmatter -- CONTENTS -- Acknowledgments -- Introduction -- I DANCE AND CULTURAL STUDIES -- 1 Embodying Difference: Issues in Dance and Cultural Studies -- 2 Cultural Studies and Dance History -- II SOCIAL LIVES, SOCIAL BODIES -- 3 Reinstating Corporeality: Feminism and Body Politics -- 4 "The Story Is Told as a History of the Body": Strategies of Mimesis in the Work of Irigaray and Bausch -- 5 Classical Ballet: A Discourse of Difference -- 6 Ballet as Ideology: Giselle, Act 2 -- 7 Dancing the Orient for England: Maud Allan's The Vtsion of Salome -- 8 The Female Dancer and the Male Gaze: Feminist Critiques of Early Modern Dance -- 9 Some Thoughts on Choreographing History -- 10 Auto-Body Stories: Blondell Cummings and Autobiography in Dance -- 11 Dance Narratives and Fantasies of Achievement -- III EXPANDING AGENDAS FOR CRITICAL THINKING -- 12 Dancing Bodies -- 13 Spectacle and Dancing Bodies That Matter: Or, HIt Don't Fit, Don't Force It -- 14 Sense, Meaning, and Perception in Three Dance Cultures -- 15 Some Notes on Yvonne Rainer, Modernism, Politics, Emotion, Performance, and the Aftermath -- 16 Homogenized Ballerinas -- 17 Dance Ethnography and the Limits of Representation -- Vodou, Nationalism, and Performance: The Staging of Folklore in Mid-Twentieth-Century Haiti -- Notes on Contributors -- Permissions -- Index