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[10] Rancière, 17.

[11] Maurice Blanchot, The Writing of the Disaster, translated by Ann Smock. Lincoln: University of Nebraska Press, 1995).

[12] Jill Bennett 2005, Empathic Vision: Affect, Trauma, and Contemporary Art. Palo Alto: Stanford University Press, 2005), 10.

[13] Bryoni Trezise, Performing Feeling in Cultures of Memory. Basingstoke: Palgrave MacMillan 2014), 152.

[14] Jacques Derrida and Anna Dufourmantelle, Of Hospitality: Anne Dufourmantelle invites Jacques Derrida to respond, translated by Rachel Bowlby (Palo Alto, Stanford University Press, 2000), 73.

[15] Giorgio Agamben, Remnants of Auschwitz: The Witness and the Archive, translated by Daniel Heller-Roazen (New York: Zone Books, 1999), 34.

[16] Jacques Derrida, The Work of Mourning, edited by Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 2001)

[17] Carl Lavery, “Mourning Walk” and “Mourning Walk and Pedestrian Performance: History, Aesthetics and Ethics, ” Walking, Writing and Performance: Autobiographical Texts by Deirdre Heddon, Carl Lavery and Phil Smith, edited by Roberta Mock, (Bristol: Intellect, 2009).

[18] Sigmund Freud, “On Transience (1916)” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, translated and edited by James Strachey, vol. XIV (London: Hogarth Press, 1953-1974).

[19] Tim Etchells, Certain Fragments: Contemporary Performance and Forced Entertainment (London: Routledge, 1999), 17.

[1] Peggy Phelan, Mourning Sex: Performing Public Memories (Routledge, 1997).

[20] Adrian Heathfield, “Then Again,” in Perform, Repeat, Record: Live Art in History, edited by Amelia Jones and Adrian Heathfield (Bristol: Intellect, 2012), 29.

 

[2] Monica Mercedes Martinez, As We See Ourselves, So Shall We Be Seen: Identity and the Artist’s Practice, MA Thesis (University of Manitoba, 2012), 2.

[3] Ibid., 8

[4] For an English translation of the poem, see https://allpoetry.com/Chile-Stadium Accessed September 10, 2017.

[4] Rebecca Schneider, “Performance Remains,” Performance Research: A Journal of the Performance Arts, 6, no. 2 (2001): 102.

[5] Diana Taylor, Disappearing Acts: Spectacles of Gender and Nationalism in Argentina’s “Dirty War,” (Durham: Duke University Press, 1997), 25.

[6] CONSTELACIONES (Rowen Crowe, Doris Difarnecio, Christina Hajjar, Monica Martinez, and Helene Vosters), www.returnatacama.com. Accessed 1 Aug. 2017.

[7] Jill Bennett, Practical Aesthetics: Events, Affects and Art After 9/11 (London: I.B.Tauris, 2012), 79.

[8] Jacques Rancière, The Emancipated Spectator, translated by Gregory Elliott (New York: Verso, [2009] 2011), 5.

[9] Lizbeth Goodman, “Feminisms and theatres: canon fodder and cultural change,” in Analysing Performance: A Critical Reader, edited by Patrick Campbell, Manchester: Manchester University Press, 1996), 271.

Adam Bernstein, “Sergio Arellano Stark, driver of the ‘Caravan of Death’ under Pinochet, dies at 94,” The Washington Post, March 10, 2016. https://www.washingtonpost.com/world/the_americas/sergio-arellano-stark-driver-of-the-caravan-of-death-under-pinochet-dies-at-94/2016/03/10/ad7bdd32-e6d5-11e5-b0fd-073d5930a7b7_story.html?utm_term=.37c2ad4851d8, accessed September 10, 2017.

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"Foreword". Foreword Flowers in the Desert: The Search for Chilé’s Disappeared / Flores en el desierto : la bâusqueda de los desaparecidos de Chile. by Allen Paula. vi-ix. Gainesville, Fl: University Press of Florida, 2013.

Franklin, Jonathan. "Chilean army admits 120 thrown into sea." Guardian News and Media, Accessed https://www.theguardian.com/world/2001/jan/09/chile.pinochet.

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Guzmán, Patricio. Nostalgia for the Light. Performed by Gaspar Galaz, Lautaro Núñez, Luís Henríquez. 2010. USA: Icarus Films, 2011. Documentary.

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Heidegger, Martin. Insight Into That Which Is: Bremen Lecture 1949. trans. Andrew J Mitchell. Indiana: Bloomington and Indianapolis, 2012.

Hirsch, Marianne. The Generation of Postmemory. New York: Columbia University Press, 2012.

https://www.google.com/search?ie=ut&q=disappearance%2C+definition Web. 1 Sep 2018.

Ibid

In Mexico, some 200,000 people have been murdered and 30,000 to 120,000 or so disappeared in the broader war against drugs that President Felipe Calderón inaugurated in 2006.Rafael Mora in A Sub National Analysis of Homicides and Disappearances in Mexico reports that“Between 2007 and 2014 138,589 people were murdered in Mexico (SNSP). JUSTICE IN MEXICO WORKING PAPER SERIES, Volume 14, Number 3, February 2016, https://justiceinmexico.org/wpcontent/uploads/2016/03/sub_national_analysis_of_homicides_and_disappearances_in_mexico_rafaelmora-final.pdf The same report cites that “Though, Movimiento Migrante Mesoamericano, a Central American non-profit that advocates for migrant rights in North America, claims that 70,000 to 120,000 Central American foreign migrants disappeared in Mexico between 2006 and 2012 ("Comunicado De La X Caravana")”the numbers cannot be accurately calculated due to faulty data bases (p. 4). 2017, the deadliest in twenty years, has surpassed the number of homicides and disappearances. “Mexico murder rate reaches record high.”Al Jazeera, June 22, 2017, http://www.aljazeera.com/news/2017/06/mexico-murder-rate-reaches-record-high-170622052056456.html. See too David Agren, “Mexico's monthly murder rate reaches 20-year high.”The Guardian, June 21, 2017.

Jay, Martin. "The Noblest of the Senses: vision from Plato to Descartes" Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought.. 23. Berkeley: Berkeley University of California Press,, 1994.

Kadi, Joanna. Food for Our Grandmothers: Writings y Arab-American and Arab-Canadian Feminists. Boston: South End Press, 1991.

Martinez, Monica Mercedes, and Monica Mercedes Martinez. "As we See Ourselves, so Shall we be Seen: Identity and the Artist’s Practice." ma_diss., University of Manitoba, 2012.

Martinez, Monica Mercedes. As we See Ourselves, so Shall we be Seen: Identity and the Artist’s Practice. MFA  Thesis. University of Manitoba,  2012, https://mspace.lib.umanitoba.ca/handle/1993/8471. Accessed 5 February  2017.

McQuade,, John, and Hall Miriam. "Looking and Seeing: Nalanda Miksang Contemplative Photography" .. 51. New York: Drala Publishing, 2015.

Monica Mercedes Martinez. everyone is fallen-in process 5, 2012, photo credit: Gurpreet Sehra

National Commission for Truth and Reconciliation "Report of the Chilean National Commission for Truth and Reconciliation (English Translation)." Accessed 14 Nov 2018. Indiana. https://www.usip.org/publications/1990/05/truth-commission-chile-90.

Our group of writers and artists also included Doris Difarnecio, a Colombian born theatre artist now based in Mexico, one of the five members of the CONSTELACIONES collective. CONSTELACIONES raised funds to bring the Monica’s ceramic bones to Chile and to undertake the journey from Santiago to Calama, and invited artists and writers to join them as witnesses.

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Rummery, Kirstein, and Michael Fine . "Care: A Critical Review of Theory, Policy and Practice." Social Policy & Administration 46. no. 3: 2012. 321-343.

See Diana Taylor, “Seeing from a Distance: CONSTELACIONES in the Atacama Desert” in this collection.

shalson, Lara. "On Duration and Multiplicity." Performance Research 17. no. 5: 2012. 98-106.

Shalson, Lara. "On Duration and Multiplicity." Performance Research 5. no. 17: 2012. 98-106.

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Taylor, Diana. "Seeing from a Distance: CONSTELACIONES in the Atacama Desert" Return Atacama: Engaging histories of political violence through performance and durational witnessing. Durational Witness. New York: HemiPress, 2018. http://returnatacama.tome.press/chapter/seeing-from-a-distance-constelaciones-in-the-atacama-desert/.

Taylor, Diana. Disappearing Acts: Spectacles of Gender and Nationalism in Argentina's "Dirty War". Durham, NC: Duke University Press, 1997.

Taylor, Diana. Villa Grimaldi. New York: HemiPress, 2017.

Tuer, Dot. "Ghostly Traces and the Memories of Passage: The Journey to the Atacama Desert and the Ritual of Return" Return Atacama: Engaging histories of political violence through performance and durational witnessing. 1. New York: HemiPress, 2018. http://returnatacama.tome.press/chapter/ghostly-traces-and-the-memories-of-passage-the-journey-to-the-atacama-desert-and-the-ritual-of-return/.

Verdugo, Patricia. "The Tragedy of Calama" Flowers in the Desert: The Search for Chilé’s Disappeared / Flores en el desierto la bâusqueda de los desaparecidos de Chile. x-xvii. Gainesville, Fl: University Press of Florida, 2013.

Verdugo, Patricia. Chile, Pinochet, and the Caravan of Death. Miami: North-South Center Press: University of Miami, 2001.

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Vosters, Helene ".." Accessed 26 Jan 2016. atacamadesert.wordpress.com.

We are drawing on Diana Taylor’s theorization in Disappearing Acts of percepticide as a process in which a national population blinds itself to state violence.

Weil, Simone. "Attention and Will" Gravity and Grace. 117. London and New York: Routledge, 2002.

Weil, Simone. "Letter IV: Spiritual Autobiography" Waiting for God. 62. New York: HarperCollins Perennial Classics Publishers, 2001.

Weil, Simone. Gravity and Grace. trans. Emma Crawford. London and New York: Routledge, 2002.

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Worth, Libby, and Helen Poyner. Anna Halprin. New York: Routledge, 2004.

Wright, Thomas C. "Legacy of Dictatorship: Works on the Chilean Diaspora." Latin American Research Review 30. no. 3: 1995. Accessed 14 Nov 1995.

3. Diana Taylor provides an extended mediation on the site in her online book, Villa Grimaldi published by HemiPress’ (the Hemispheric Institute of Performance and Politics in the Americas) Gesture series. Posted at http://villagrimaldi.typefold.com

Zurita, Raúl. Acclaimed Chilean Poet. Blue Flower Arts: A Literary Speakers Agency, 2012.

Zurita, Raúl. Song for His Disappeared Love/Canto a Su Amor Desaparecido. trans. Daniel Borzutzky. Notre Dame: Action Books,N.p. Print, 2010.