This thesis addresses and analyses the ‘virtual,’ unsighted potentials of the artistic and critical practice of performance through abstraction, deconstruction and remediation of its ‘body.’ It argues that the ontological distinction between material and immaterial representation can be dislodged by the proposition of an ontogenesis of emergence of the dynamic dimension of affect. Such self-organising, recursive system of forces and energies elicits change and transformation expanding the sensual and aesthetic practice of performance as alive art. These arguments connect concepts from affect and political theory with philosophical ideas of virtual multiplicity, relationality, counter/intuition and (dis)individuation passing via the work of Brian Massumi, Eve Kosofsky Sedgwick, Judith Butler, Jacques Ranciére, Jean-Luc Nancy and Emmanuel Levinas, as well as other theorists. The thesis also intersects methodologies and epistemologies from philosophy, science and art with the radical contingencies implicit in performance (art) as a ‘technology of existence’ (in)formed by tendencies of distribution of affective intensities and temporal (re)modulation of shared perception. The point of reference for exploring the parameters of affective distribution and emergent aesthetics is the epistemological gap opened by the ‘wounded body’ as it figures in the folds of representation. Regarding the wound as a state of ‘emergency’ of an ungraspable reality, and as a sensitised and sensitising condition of being-with and doing-without, I pay attention to the demands this figure makes on the timely dimension of (in)human being. This disruptive and interruptive presence expresses the singularity of the experience of openness in the ways that life comes into being exposed to the plurality of its (im)possibilities. Exercising a kind of pressure on the body, this critical point ruptures temporality itself in the way that the (in)human becomes effective/affective beyond its finality. Key works such as Trio A and MURDER and murder by Yvonne Rainer, Self Unfinished by 3 Xavier Le Roy, and the performance series Resonate/Obliterate by Julie Tolentino and Ron Athey will be parsed as singularities revelatory of the intuitive type of creative experience that transduces the lived experience of the synesthetic dimension of affect, and the parameters of processual and emergent aesthetics. Ultimately, I propose to imagine these instances of performance as a vital archive of (perceptive) experience that enables a bodily state of intensity and emergency to flesh out an experiential, visceral field of affective modes of becoming and becoming-other in related mo(ve)ments of aliveness traversed by the ungrasped pulse of a past yet to be/come.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:618718 |
| Date | January 2014 |
| Creators | Alifuoco, Annalaura |
| Contributors | Heathfield, Adrian ; Skantze, P. A. ; Fischer, Ernst |
| Publisher | University of Roehampton |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | https://pure.roehampton.ac.uk/portal/en/studentthesis/in-the-event-of-a-wound(fa73daa4-2a44-4d58-900b-dcf2f9052c08).html |
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