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Gijs Mom

This summer a small airplane was suspended between high trees on a lane in a posh neighborhood of Amsterdam. Part of a display of contemporary art, the plane is one of Joost Conijn’s self-built contraptions in which he flew all the way to Africa, regularly reporting on his “performance” in one of the Dutch national newspapers. In Western histories of mobility, voyages to Africa—on foot, by ship, in litters carried by indigenous people, in trains, by car or motorbike, and in planes—symbolized in the popular mind an aggressive colonialism. Such trips demonstrated Western superiority as much as they involved utilitarian journeying or reconnaissance of land to be conquered. Anxious about staying aloft, Conijn mimicked in his adventures the pioneering spirit of colonial exploits while at the same time giving them a postcolonial twist. In his case, the return to Africa was a self-consciously humble venture, one that threw into comic relief assumptions of western superiority and the right to unfettered mobility. At the same time as his low-tech vehicle questioned the rationality of mass tourism in supersize Boeings, it reminded us of an era after the car began to be domesticated, when aviation promised to be the more advanced successor of individual motorized transport.

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Fernanda Duarte

The Transborder Immigrant Tool is a Border Disturbance Art Performance that discusses the physical and virtual limits of the U.S.–Mexico frontier. It was developed by the Electronic Disturbance Theater (EDT) with the funding of the Arts and Humanities Grant 2007–2008 at the University of California in San Diego. The project uses an inexpensive GPS-enabled cell phone and a custom piece of software, the Virtual Hiker Algorithm, to guide border crossers in the desert. The crossing of the U.S.–Mexico border can be deadly due to the severe conditions of the environment; once in the Mexican desert, the software installed in the cell phone directs the immigrant toward the nearest aid site, be that water, first aid or law enforcement, along with other contextual navigational information. According to the EDT, the Transborder Immigrant Tool was created with the aim of reappropriating widely available technology to be used as a form of humanitarian aid, as well as offering a tactical intervention of distraction and disturbance in the order of transnational corridors. In addition to the navigational capabilities of the Tool, the performative effect is also provided through poetry made available on the screen of the cell phone. It is with this poetry that the artists attempt to rescue a sense of hospitality and to alleviate the difficulties of the journey.

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DEADARTIST.ME

An Experiment with Networks and Traps

Olga Lukyanova and André Mintz

conceived as a data collection performance that reenacted typical online practices. The data it generated were later presented as an installation containing several visualizations as traces of the app’s activity. Additionally, a live performance was held in

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Maria Hupfield

intergenerational negotiation of space. The banner is waved, rolled, and folded in performance. Figure 2 All Is Moving , Black Ice and Shock and Awe. Performance, 30 minutes, 2013. Photograph by Jason Lujan. In conjunction with the exhibit Water and War at the

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Mimi Sheller and Gijs Mom

shifting performances, and changing representations. We welcome this wide range of understandings of practice and processes of “transference,” as we might call this kind of conceptual transformation across mobilities. They all share an emphasis on

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Filmmaking at a Crossroads

Ulrike Ottinger’s Johanna d’Arc of Mongolia Goes off the Rails

Grace An

, performance, and ritual on the eve of globalization in the late 1980s. The Museum of Modern Art’s (MoMA) retrospective screening in September 2017 pulled it from the margins for a privileged moment, summoning travelers for another journey through Ottinger

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Afterword

Dangerous Mobilities

Mimi Sheller

across these realms that a theoretical approach informed by the mobilities turn can reveal. In this afterword, I want to draw together some of these lessons in materialities, sensations, mobility assemblages, and performances, and to consider their

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Peter Merriman, Georgine Clarsen, and Gijs Mom

boundaries separating mobility studies, transport studies, mobility history, transport history, and media studies. We must also engage with approaches, methods, and debates from disciplines such as dance, performance studies, film theory, contemporary

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Kai Syng Tan

running after trucks as a leap to a new life, prezi.com/user/kaisyngtan. Commissioned as performance-lectures in the ANTI Festival (Kuopio, Finland), Exparte (Brick Lane Gallery, London), and Fermynwoods Contemporary Art Centre (U.K.). Image: Kai Syng

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Theorizing Mobility Transitions

An Interdisciplinary Conversation

Cristina Temenos, Anna Nikolaeva, Tim Schwanen, Tim Cresswell, Frans Sengers, Matt Watson, and Mimi Sheller

what people do as a matter of individuals making choices consistent with their attitudes. Instead, human action is understood as the performance of social practices. 29 So, for example, we can talk of cycling as a practice. In talking or thinking of it