Titlebook: Repetition in Performance; Returns and Invisibl Eirini Kartsaki Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 contemporary

LVAD360

關(guān)心

變異

Eirini Kartsakiould be to tailor the contract between the project owner and the project contractor to the respective project stage, with conversions along the way. Information asymmetry between owner and contractor also suggests the need to tailor a contract to a project’s situation. In line with this, the chapter

obtuse

Eirini Kartsakie utilizes a unique collective intelligence process to address long-term global resilience beyond 2030 by harnessing the potential of paradigm-shifting frontier technologies and emerging social trends. This case study explains not only how and why climate change itself is an issue of disruption, but

Creditee

來就得意

Eirini Kartsakiication—specifically, increased social media usage and engagement with digital communities. Viewing this disruption in a more positive light, and as an opportunity, allowed edgefactory—a creative works company with world headquarters in Orlando, Florida—to expand future-focused activities while navi

cataract

懶洋洋

克制

潰爛

After Barthes,om Pina Bausch’s . (1977), I narrate my experience as a viewer. I propose that the role of the viewer is to perform repetition and its content, to come closer to repetition, to become part of it. An active engagement with repetition gives rise to difficult pleasures, or, borrowing Barthes’s term, ce