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During the last thirty years, we have seen a proliferation of the use of the word “performance.” Artists such as Stelarc and theorists such as Jon McKensie and Rossana Reguillo show how economic performance, sexual performance, the performance of “the body,” discursive performance, technological performance, political performance, and aesthetic performance often work together. This chapter shows how these phenomena constitute a capitalist spectacle (Debord) interconnected to such a degree that it is difficult, if not impossible, to understand one without the other.

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