@article{Waterfeld2018,
  author    = {Waterfeld, Sarah},
  title     = {B6112—Art after All},
  series = {Theatre Survey},
  volume    = {59},
  journal   = {Theatre Survey},
  number    = {2},
  publisher = {Cambridge Univ. Press},
  address   = {New York},
  issn      = {0040-5574},
  doi       = {10.1017/S0040557418000108},
  pages     = {276 -- 281},
  year      = {2018},
  abstract  = {B6112 is a collective anticapitalist, feminist, antiracist, and queer transmedial theatre production. Welcome to our artwork! Our theatre, our art, our poetry, and our work are weapons of struggle. Art does not take place in a political, social, or economic vacuum. Art takes place in world structured by imperialism and its slaughter, war, destruction, commerce, and slavery. Art must engage with this in both content and form. Otherwise it is obsolete. B6112 advocates a theatre that calls for revolution, reveals relationships of domination, denounces grievances, names guilty parties, presents resistance strategies, explores them, rejects them. B6112 stands for the elimination of nationalisms and gender inequality, for a global citizenship, for a world community in which all people peacefully coexist in equal living conditions. B6112 stands for self-organization and emancipation, for a hierarchy-free theatre that has a mimetic and thus exemplary effect on society. In the face of global disasters, we reject an entertainment theatre or a theatre of display that acts as an opiate in the society. Only when our goals have been achieved will we be able to renegotiate the role of the theatre for our society, redefine its content, and redefine the question of relevance.},
  language  = {en}
}
@article{RodriguezQuilesyGarcia2018,
  author    = {Rodr{\´i}guez-Quiles y Garc{\´i}a, Jose A.},
  title     = {Music as a rhizome},
  series = {Revista musical chilena},
  volume    = {72},
  journal   = {Revista musical chilena},
  number    = {229},
  publisher = {Universidad de Chile, Faculty of Arts},
  address   = {Santiago},
  issn      = {0716-2790},
  doi       = {10.4067/s0716-27902018000100139},
  pages     = {139 -- 150},
  year      = {2018},
  abstract  = {This work seeks to lay the foundations for a new music education epistemology inspired by the text A Thousand Plateaus by the Frenchmen Deleuze and Guattari. Contemplating music as a rhizome and the music classroom as a rhizomorphic system allows the properties of music making to be analyzed as part of a decentralized system of interactions between performative forces that transcend the music score (in the traditional sense of the score being the principal and only monument considered as part of the curriculum). In this way it distances itself from the imaginary museum and its ideologists. Understanding the music classroom as a social performative space permits the characteristics of rhizomorphic systems to be studied in this field. With the help of the principles of connection, heterogeneity, multiplicity, asignifying ruptures and map making, the universals of classical musicology are confirmed to not be valid when used as a single reference point applied in educational contexts.},
  language  = {es}
}