CommentStreams:Eb76d4937f6808ac661e6f944a99d21d

It is super interesting how you moblize the idea of choreopolitics to inquire platform work on websites such as Chaturbate and Onlyfans. In particular the relation between absence and presence of the choreographic subject ("a dance with someone who is no longer present") for me pushes me to think about the relationship between performer and audience, both in your case of SOLAS, but also of the platforms in general. It makes me wonder, who is the dance partner? I.e. is the audience of Chaturbate/Onlyfans (who intervenes in the performance by sending compliments, requests and even money) engaged in a dance with the performer? Thus who is the dance partner and who the audience, and how do these roles blur?

In that context, your final question of whether "bringing the body into play [is] necessary for critique?" makes me think of Dholakia and Zwick (2013) who examine a similar tension between (in)visibility of the body as they argue that ultra-exhibitionism "is not a negation of privacy but an attempt to reclaim some control over the externalisation of information."

Last is only a minor question for clarification around the relation between expression and affect you touch upon. They are different, but (not coming from the realm of choreography) I wonder how. This might become clear if you use one sentence to explain how "Ingvartsen's naked body becomes a surface onto which various cultural constructions of affect are projected", which sounds enticing, but I find it hard to visualise what that entails. For example, I have to think of Massumi's description of feelings, emotions and affects; is your use of affect related to his or is it something totally different?