Dialectic of Pop, 191–216


I. Situated Individualities


An insistence on the performer’s body is no doubt the first and most obvious way in which pop has challenged subjectivities. For reasons that have as much to do with its conditions of production as with its aesthetic and ethical stakes, the art of pop has continually renegotiated, transformed, falsified and called back into question the possibilities of human embodiment. Of course, this is an obsession that pop shares with all of the performing arts, all of the art forms in which expression—whether linguistic or extra-linguistic—is inseparable from the body in motion.…