- Utrecht University, Media and Performance Studies, Graduate Studentadd
- Game studies, Serious Games, Video Game Theory, Media and Cultural Studies, Video Games and Learning, Slavoj Žižek, and 31 moreDigital Media, New Media, Online Journalism, Digital Story Telling, Paywalls, Iphones, Facebook, Google, Virtual Revolution, Youtube, Reza Negarestani, Timothy Morton, Speculative Realism, Object Oriented Ontology, Performance Studies, Urban Studies, Walter Benjamin, Posthumanism, Software Studies, New Materialism, Accelerationism, Blue Humanities, Philosophy of Technology, Anthropocene, Gilles Deleuze and Felix Guattari, Anthropocene studies, Science, Technology and Society, Critical Theory, Creative Arts, Algorithms, and Platform Studiesedit
- Rumen Rachev is in the process of unfolding his self-being into the sea of information and computational systems. On... moreRumen Rachev is in the process of unfolding his self-being into the sea of information and computational systems. One day he plans to become the most famous anonymous academic that can ever exist.edit
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Author(s): Rumen Rachev Title (English): Towards the New Abnormal Journal Reference: Identities: Journal for Politics, Gender and Culture Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 104 Page Count: 1... more
Author(s): Rumen Rachev Title (English): Towards the New Abnormal Journal Reference: Identities: Journal for Politics, Gender and Culture Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 104 Page Count: 1 Citation (English): Rumen Rachev, “Towards the New Abnormal,” Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 1 (Summer 2020): 104.
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The key role and the importance of arts and culture in shaping today’s creative economy and bringing vibrant range of creative and cultural activities to the public has been steadily growing in the past few years. This paper investigates... more
The key role and the importance of arts and culture in shaping today’s creative economy and bringing vibrant range of creative and cultural activities to the public has been steadily growing in the past few years. This paper investigates the question of how design research contributes to belonging and wellbeing, specifically in the context of Aotearoa, New Zealand. Through a proposed three-folded structure: a) Toi Whītiki in Action, b) Aotearoa – New Zealand and Education Context, and c) Student Case Studies, this paper delves deeper into student creative projects and city co-design practices to enhance a city’s status of wellbeing and engagement with diverse culture.
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Rumen Rachev’s performance “undoes” the intellectual labour of a PhD student by unsettling the emerging conventions, or systemization of practice-led-research (Buckley and Conomos 2009; Hasman 2006). Rather than following an orderly... more
Rumen Rachev’s performance “undoes” the intellectual labour of a PhD student by unsettling the emerging conventions, or systemization of practice-led-research (Buckley and Conomos 2009; Hasman 2006). Rather than following an orderly approach to practice-led research, Rachev’s fluid methodologies (Coleman and Ringrose 2013; Koro-Ljungberg 2016) promote un examen minutieux of what is meant by the ‘production of knowledge’ in the Art and Design field. Through questioning the role of critique in the academic domain, and examining the undoing the academic self via performance, this paper provides an insight into the relations between institutional critique and academic labour, while using the academia as the main stage.
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Rumen Rachev ao desestabilizar as convenções emergentes ou a sistematização da pesquisa prática (Buckley e Conomos 2009; Hasman 2006) “desconstrói” seu trabalho intelectual como estudante de doutorado. Rachev, ao invés de seguir a... more
Rumen Rachev ao desestabilizar as convenções emergentes ou a sistematização da pesquisa prática (Buckley e Conomos 2009; Hasman 2006) “desconstrói” seu trabalho intelectual como estudante de doutorado. Rachev, ao invés de seguir a metodologias da pesquisa fluída (Coleman e Ringrose 2013; Koro- -Ljungberg 2016), promove um exame minucioso do que se entende por “produção de conhecimento”, no campo da Arte e do Design. Questionando o papel da crítica no domínio acadêmico e examinando a possibilidade de desfazer o self acadêmico por meio da performance, este artigo fornece uma visão das relações entre crítica institucional e trabalho acadêmico, ao mesmo tempo em que usa a academia como foco principal.
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Rumen Rachev’s performance “undoes” the intellectual labour of a PhD student by unsettling the emerging conventions, or systemization of practice-led-research (Buckley and Conomos 2009; Hasman 2006). Rather than following an orderly... more
Rumen Rachev’s performance “undoes” the intellectual labour of a PhD student by unsettling the emerging conventions, or systemization of practice-led-research (Buckley and Conomos 2009; Hasman 2006). Rather than following an orderly approach to practice-led research, Rachev’s fluid methodologies (Coleman and Ringrose 2013; Koro-Ljungberg 2016) promote un examen minutieux of what is meant by the ‘production of knowledge’ in the Art and Design field. Through questioning the role of critique in the academic domain, and examining the undoing the academic self via performance, this paper provides an insight into the relations between institutional critique and academic labour, while using the academia as the main stage.
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This is LOCKDOWN THEORY #27: "Towards the New Abnormal" by Rumen Rachev: "What was once considered unusual and abnormal, now through the stress test of the current global crises shows that it has been adapted as a new normal scenario. We... more
This is LOCKDOWN THEORY #27: "Towards the New Abnormal" by Rumen Rachev: "What was once considered unusual and abnormal, now through the stress test of the current global crises shows that it has been adapted as a new normal scenario. We are heading towards a time for redefining and reshaping what may constitute as a living experience. These new abnormalities are not something that needs to be expelled and that will threaten the destruction of “normal life,” but something that will reshape altogether what in the first place was considered normal and how this normality has been normalizing us over time. Nothing is normal per se; normality needs to be normalized in each and every moment."
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Perform or else. This is the mantra by which I was initiated (as a form of pre-liminal ritual) into performance studies, by the all too familiar name McKenzie. Perform or else. I hold the mantra and the mantra holds onto me, through the... more
Perform or else. This is the mantra by which I was initiated (as a form of pre-liminal ritual) into performance studies, by the all too familiar name McKenzie. Perform or else. I hold the mantra and the mantra holds onto me, through the past and present years; through different performance turmoil and performance journeys. What is the future of performance?
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Rumen Rachev’s performance “undoes” the intellectual labour of a PhD student by unsettling the emerging conventions, or systemization of practice-led-research (Buckley and Conomos 2009; Hasman 2006). Rather than following an orderly... more
Rumen Rachev’s performance “undoes” the intellectual labour of a PhD student by unsettling the emerging conventions, or systemization of practice-led-research (Buckley and Conomos 2009; Hasman 2006). Rather than following an orderly approach to practice-led research, Rachev’s fluid methodologies (Coleman and Ringrose 2013; Koro-Ljungberg 2016) pro-mote un examen minutieux of what is meant by the ‘production of knowledge’ in the Art and Design field. Through questioning the role of critique in the academic domain, and examining the undoing the academic self via performance, this paper provides an insight into the relations between institutional critique and academic labour, while using the academia as the main stage.
Research Interests:
Introducing the notion of ‘mineralisation’ as a conceptual tool taken from Manuel DeLanda and applied in the context of software, this article investigates the mineral origins of software and how to engage in mapping the vibrancy of... more
Introducing the notion of ‘mineralisation’ as a conceptual tool taken from Manuel DeLanda and applied in the context of software, this article investigates the mineral origins of software and how to engage in mapping the vibrancy of software through new material practices.
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In this talk I would like to I would like to present my current work so far, mainly discussing the topic of ‘how software comes to be perceived as software, through material and affective becomings’. Using as a guiding methodology mapping... more
In this talk I would like to I would like to present my current work so far, mainly discussing the topic of ‘how software comes to be perceived as software, through material and affective becomings’. Using as a guiding methodology mapping and following the vibrations of the field of new materialism, software studies, affect theory and infrastructural knowledge upon digital media, my work aims to map out the different becomings taking place in the proliferation of software, how software moves through the material infrastructure and how it affects human and non-human bodies. Moreover, my work strives to open a terrain for the performative multiplicities of software becomings, not in order to situate them as fixed entities, but rather to open a transversal line of thinking upon what kind of material ecology are running computers, automatic doors, hospitals, whole cities.
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In this lecture performance we study water as an interface whereby colonial encounters are activated and shaped.
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This paper makes the claim that computer avatars nowadays are used not only to explore further the given self of a person, but as well as to find the lacking ‘I’ from the off-line world into the online one. Taking as an example the online... more
This paper makes the claim that computer avatars nowadays are used not only to explore further the given self of a person, but as well as to find the lacking ‘I’ from the off-line world into the online one. Taking as an example the online virtual world Second Life (2003), developed by Linden Lab, this essay examines how the open sandbox type of game play that Second Life provides serves as a schizophrenic tube, in which the subjects even being granted with agency, still remain with destabilized notion of the self, behind the screen.
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The key role and the importance of arts and culture in shaping today’s creative economy and bringing vibrant range of creative and cultural activities to the public has been steadily growing in the past few years. This paper investigates... more
The key role and the importance of arts and culture in shaping today’s creative economy and bringing vibrant range of creative and cultural activities to the public has been steadily growing in the past few years. This paper investigates the question of how design research contributes to belonging and wellbeing, specifically in the context of Aotearoa, New Zealand. Through a proposed three-folded structure: a) Toi Whītiki in Action, b) Aotearoa – New Zealand and Education Context, and c) Student Case Studies, this paper delves deeper into student creative projects and city co-design practices to enhance a city’s status of wellbeing and engagement with diverse culture.
Research Interests:
This paper discusses collaborative practice within creative industries and the socio-technical benefits of being ‘artsy’ with an entrepreneurial mindset, rather than focusing on short-term financial predictions. Riding the ever-rising... more
This paper discusses collaborative practice within creative industries and the socio-technical benefits of being ‘artsy’ with an entrepreneurial mindset, rather than focusing on short-term financial predictions. Riding the ever-rising wave of the arts, it is imperative to acknowledge that the creative empire is hungry for fresh intellect and innovative minds, and STEAM is heading towards quenching the thirst for pioneering practices.
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A Note from the Editor: Essentials John Fletcher Theatre Topics, Volume 31, Number 2, July 2021, pp. ix-xii (Article) Published by Johns Hopkins University Press A Note from the Editor: Essentials As those readers who saw the original... more
A Note from the Editor: Essentials John Fletcher
Theatre Topics, Volume 31, Number 2, July 2021, pp. ix-xii (Article) Published by Johns Hopkins University Press
A Note from the Editor: Essentials
As those readers who saw the original call for papers know, my initial plans for a 2021 special issue centered on the notion of intimacy. I imagined a slate of pieces about intimacy choreography on stage and screen, intimacy awareness in theatre classrooms, and intimate ruminations about the ever-fascinating transactions between performers and audiences, between dramatic events and the places that house them, and between projects that speak to and with one another across time and space. That was in March 2020.
Essentials in Three Acts: Collaboration, Care, Time by Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Laine, Sarah Lucie, Juliana Moraes, Malin Palani, Rumen Rachev, and Leah Sidi
The following is not an article. Nor is it a play, despite its structure. To some extent, it is a performance and an experiment. It was written collaboratively over a three-month period by a group of performance-makers and performance scholars in response to the difficulties of writing and studying during the pandemic. Following a cancelled international conference, we wrote from five different continents in moments of crisis shaped by personal, political, and geographical particulari- ties. Meeting over Zoom, we shared our fears for our industries, our communities, and our personal griefs. We also sought to think together in response to Theatre Topics’ call for articles on “Theatre Essentials.” Prior to this work, many of us did not know one another, although some had worked together through other projects and academic gatherings. The call to consider the essentials of the- atre has opened possibilities for us to examine what remains of theatre and our own work, as well as how a discipline and field might coalesce when gathering in person is considered a dangerous act.
Theatre Topics, Volume 31, Number 2, July 2021, pp. ix-xii (Article) Published by Johns Hopkins University Press
A Note from the Editor: Essentials
As those readers who saw the original call for papers know, my initial plans for a 2021 special issue centered on the notion of intimacy. I imagined a slate of pieces about intimacy choreography on stage and screen, intimacy awareness in theatre classrooms, and intimate ruminations about the ever-fascinating transactions between performers and audiences, between dramatic events and the places that house them, and between projects that speak to and with one another across time and space. That was in March 2020.
Essentials in Three Acts: Collaboration, Care, Time by Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Laine, Sarah Lucie, Juliana Moraes, Malin Palani, Rumen Rachev, and Leah Sidi
The following is not an article. Nor is it a play, despite its structure. To some extent, it is a performance and an experiment. It was written collaboratively over a three-month period by a group of performance-makers and performance scholars in response to the difficulties of writing and studying during the pandemic. Following a cancelled international conference, we wrote from five different continents in moments of crisis shaped by personal, political, and geographical particulari- ties. Meeting over Zoom, we shared our fears for our industries, our communities, and our personal griefs. We also sought to think together in response to Theatre Topics’ call for articles on “Theatre Essentials.” Prior to this work, many of us did not know one another, although some had worked together through other projects and academic gatherings. The call to consider the essentials of the- atre has opened possibilities for us to examine what remains of theatre and our own work, as well as how a discipline and field might coalesce when gathering in person is considered a dangerous act.