Theatre, an empty space: A thought performance after Gilles Deleuze

Theatre, an empty space:

a thought performance after Gilles Deleuze

John-David Charles Dewsbury

"A Dissertation submitted to the University of Bristol in accordance with the requirements of the degree of PhD in the Faculty of Social Sciences" School of Geographical Sciences; September 2000

[word count 78441]

Abstract

This thesis is about an encounter with performance - be that theatre, dance or live happens art - and with what when you attempt to put into words the visceral, heightened and irretrievable experience that is witnessed in such a space. Moving against the conventional ways social science almost inevitably starts to unpack this frameworks through and interpretations,,the thesis always-alreadymade experience begins instead in the abstract realm of 'empty space'. This is to argue, following Gilles Deleuze, that first and foremost 'something in the world forces us to think'. The thesis therefore proposes a syntactical grammar of thought, one that operates hierarchies, works upon consistent not systematic modes of connections not thought, and experiments rather than confirms. In the specific encounter with for the achievement of a three registers or reatms are advocated performance art, knowing; kind these are corporeality, immateriality and temporality. of certain Working through these the thesis investigates how an encounter registered at the down level looking 'empty pared of space'might inspire other ways of at the world inevitably know know. the think question ways in which we what we we which Therefore, in producing a negotiation with what might be an unverifiable real - the love, haunting bodies) being the the immateriality of in and affect of our visceral force of the past upon the tension of our present moment - the thesis argues for the validation of non-representational scriptings of the social. To achieve tl-iis the thesis folds, Without prejudice, theory and practice by chatting an apprenticeship through the work of Gilles Deleuze alongside empirical encounters with some of the processes leading up to the creation of performance (that of the somatic training of Body-Mmd Centring, the art of devising theatre, and the space of rehearsals).

ii

Dedication and Acknowledgments This research was made possible by support from the ESRC (Award number R00429634041).I am much indebted, and extremely appreciative of the advice and like I by Equally Simon Nigel Thrift. Jones for to thank to support given me would his encouragement,influence and time. I would also like to acknowledge the huge family, Angela for late M particular my sister support of my into working with me the final night, and of the following: e

Derek McCormack, Claire Pearson, William Harris,, Paul Harrison and John Wyhe.

Paul Cloke for inspiring me to do a PhD in the first place. The Bristol Old Vic, the artistic director Andy Hay, the cast of All My Sons,the director, front house the the assistant stage managers and of staff.

9

The Arnolfini, Paul Clarke and Unintiled Guests. The Drama Department at the UniVersity of Bristol. Catherine Hossenlopp and those working through the Body-Mind training weekends with me.

iii

Centring

Author's declaration

I declare that the work in this dissertation was carried out in accordancewith the Regulations of the University of Bristol. The work is original except where by dissertation has been the text the indicated references part special III and no of for degree. submitted any other Any views expressedin the dissertation are those of the author and in no way represent those of the University of Bristol. The dissertation has not been presented to any other University for examination either m the UfUted Kingdom or overseas.

L., -7ý

Signed:

4ýA

Date:

iv

21 22

1

ýu

Table of contents

Chapter One: 'Empty space'

I

1.1

Introduction

1.2

Empty space

5

1.3

Performance

9

1.4

An apprenticeship after GiHesDeleuze

12

1.4.1 Peýýrmalhe ' gs rrsearckjblditý gs and wea Pin , 1.4.2 Peýbrmafiiw researckfildiqtheexpenential andTherýferenlial

12 13

1.4.3 Pqýrmaliveresean-kfolding theogandpractice, theconceptual andTheempirical

14

1.4.4 Performative tbegeneral resean-kfolding andtheparticular

17

How the thesis unfolds

18

1.5

Chapter Two: Tracings of flesh striated: arche-6criture,

signifiance

& viscerality

21

2.1

Introduction: the 'body' itself is not a discrete object for investigation

22

2.2

Arc&4ýture

25

2.2.1 The'boýv'and Ixo aphon'sms

26

2.2.2 Thearbitragnatureofthesiý9 n

27

2.2.3 '11n'y pasde hors texte' (Fhere is nothinT outside-the-text)

30

2.3

Signifying machine - Speculating (on) bodies

34

2.4

Counter- signifying serniotic - strategic transformations

37

2.5

Primitive, pre-signifying serniotic

39

2.6

Post-signifying regimes: "we must consider very diverse domains

2.7

Jonah the sign of simultaneously"; or

42

Problem 1: The abstract machine and diagrammatic transformations

43

2.6.1 Antinomiessurroundinbodies ,g Problem 2: What a body can do

44 43

Conclusions: What meaning in her breast?

46

V

Chapter Three: Choreography of affect and movement: the territories of 'Body-Mind Centring'

50

3.1

Introduction: spacingthrough movement

51

3.2

Thought spokenout of substance:What can a body do?'

55

Problem 3: Ethological mappings

5ý5

3.3

The visceral art of Body-MMd Centring: a new expressiVe language of

the planes of movement

60

3.3.1Latitude:thehon'ýZontalplane qJ'affect

61

3.3.2 I-onTitude. - theverticalplane oftelationality

65 68

3.4

3.3.3 -I gnthesisqJ'these tivoplanes:thesaTittalplane 3.3.4 Practisin BAIC.-pathwa to affect js ,g Experiential anatomy

3.5

Legitimating the vitality of this research

85

Problem 4: Transversal pathways

87

Conclusion: geographies of affects and relations

89

3.6

Chapter craftsmen

Four: The materiality

and immateriality

69 70

of objects;

or 91

and apprentices

4.1

Introduction

92

4.2

The object in general: Italy 1924 - an erotic event: dissolving the body, distinctions city and text which separate categorical

92

Walter Benjamin: the viscosity of historical-cultural material

95

4.3

100

4.3.1 Thedialectical image 'No 4.3.2 Theabsolute, themystic,theinpisible,theimmaten'al or, oneelse as unipoci_4,; I bere, be thegate wasmadeonljoryou. am nowgoingto since couldever admitted

105

it" shut

4.4

4.5

Gilles Deleuze: the sensation of attachment

108

4.4.1 Lines of apprenticesbip

108

Problem 5: The symptomology of signs

108

Problem 6: The essence of the phrase of the sign

/11

Conclusion: The dialectical moment/itnage/ob)ect

vi

Arcadia -

114

Chapter Five: Events: Witnessing the inhuman

118

5.1

Introduction: The wooden horse of representation

11,9

5.1.1 Tbeproblemoftbetransc-endenisel-up; anessentialism

123

5.1.2 Theproblem of empiria'sm

12ý

5.2

Beyond limits of thought

129

5.3

The art of Performance Art: Uninvited Guests House' -'Guest 5.3.1 Epentadsandthead epent

135 136

Events and the virtual

142

Problem 7: Thought worthy of the event

142

Offering up interpretations

155

Problem 8: Univocity part one

155

5.5.1 Siqulario andindipidualio

156

Problem 9: Univocity part two

161

5.5.2 Theýure'event andart ofcounter-actualiZation

162

5.6

166

5.4

5.5

Departure points: Ungraspablereality

Chapter Six: Timing, or an encounter with time

168

6.1

Introduction: the quick and the dead

169

6.2

Movement and force: time irretrievable and indeterminate

172

Chronos Awn: 6.2.1 Theplaybetween takeplace thegapwithinwhichrehearsals and

177

6.2.2 Chronos. andactual - corporeal

178

6.2.3 Aion: incorporeal andi4dual

180

6.2.4 Theindiscernibifiýy oftime:vidualio

182

An instance of subjectivity

187

6.3

Problem 10:The unravelling of subjectivity 6.4

Memory: the 'pure' past

196

6.4.1 Memog

198

Problem 11:Bergson's notion of a 'pure' past 6.5

193

Conclusions

198 202

vii

Chapter Seven: Endgame

204

7.1

Introduction:

205

7.2

Making an exit

205

7.2.1 Immaneme

206

7.2.2 Praakal andprqgmatk , 7.2.3 Creatim

207

7.3

an unknown road

208

Writing with a view to an unborn people that doesn't yet have the language

209

References

211

Appendix

223

viii

Illustrations list

Figure 1:

The movement-image and the time-image

175

Figure 2:

The deeper strata of reahty

187

Figure 3:

Bergson's conic diagram of memory

198

ix

CHAPTER ONE

'Empty space' We would do better to ask what is a subjective or implicit form knows has 'Everybody it the presupposition: of Everybody knows, in a pre-philosophical and preknows it conceptual manner ... everybody what means to be Evegbodyknows,nobody6andeny,is the ttlink and to ... form of representation and the discourse of the But here representative ... and there isolated and passionate be How isolated when they cries are raised. could they not deny what 'everybody knows

'? And passionate,since ...

deny? deny that they which, it is said, nobody can (Deleuze, 1994: 129-30)

Something in the world forces us to think. This somethingis fundamental but entounter. of a an object not of -recognition What is encountered may be graspedin a rangeof affective ... its hatred, In love, tone, tones: wonder, suffering. whichever be In it is sensed. this primary characteristic that can only 139) 1994: (Deleuze, it sense is opposed to recognition.

1

Empýy ipace

1.1 Introduction In The EmpýySpace,the theatre director Peter Brook details what it is we mean when, as a society, we refer to the art of theatre. Moving against historically and geographically specific definitions, which are often charged with the prejudices of society at the time', he opens by presenting what he seesas the basic mechanics, the bare essentials,which form an act of theatre. It is rather simple: I can take any empty spaceand call it a bare stage.A man (sic) walks acrossthis empty spacewhilst someoneelseis watching him, and this is all that is neededfor an act of theatreto be engaged. (Brook, 1968: 11)

The thesis that follows is about an encounter With this spaceof performance art be devised dance. I here in that theatre, performance or am interested not theories of theatre, or its history, but in the experience of the theatre and the brings: happens that it encounters what when you attempt to put into words the heightened visceral, and irretrievable experience of any live art performance. Therefore, all of the conceptual and empirical directions that the thesis takes come back to these questions: How are we affected when we experiencean act of theatre, how do Why to this? either as a spectator or an actor, and come we make senseof I&n: Learý how, Why, they the people moved are when witness ending of g and and hear do feel he Lear's when we words as crouches, as an old man, over we what, daughter his Cordelia: feather dead body lives! "This be the of stirs; she if it so/It is have does felt" I (Shakespeare, ký.: redeem all sorrows/That ever g a chance which Lear Act V, scene III: 264-66)ý Again, what is the languagethat speaksto us when bodies dancing? look What 'going the two movement of is upon, or act within, we does 'going on' mean, when we are caught up in the intensity of the on', and what fluctuating hand bodies, between the the speedand slownessof gesture as a rhythm body? In the the touch the performance of other then of skin rejects caressesand directions (sensate have as well as artistic) stunningly visceral and affecting we can designs bodies; hauntingly of setsand props interfering with the clarity evocative of

1It is clear that Brook is speaking about a Western conception of theatre (although not exclusively so), and that this specificity necessarily shapes most of our accounts of theatre and performing arts where "acting style and the theories that explain and Justify it are right and natural for the historical period in which they are developed (Roach, during 1985: 12). they arc accepted" which and

2

Empýyjpace

of the material sense of place; and powerfully effective use of the tension of the present tense that is the space-time of the performance itself In each of these registers - corporeal immaterial, and temporal -a performance can be evaluated, and in each of these registers the performative provides a currency for use in the fife. to social scientist's endeavour unravel aspectsof everyday This thesis is about being drawn to the actual 'empty space' of such because different levels the performance of way it mobilizes of phenomena: fiction. In this way, theories movement, sensations, architecture, words, and brings performance us into contact with the immediate effects and mediations of the physicality of our being in the world, the architecture (built and sigmified)that situates and channels a path through the world, and the power of the 'present both being how 'knowing' the the to in move and in moment', ongoing senseof on definition, Brook's Taking Peter the the thesis takes the spirit of abstract go on. up forces differently. In that to think to think this theatre as something us and art of for bringing is the performance to the practice of an argument worth of wav, it doing social science,and in particular human geography.As a theoretical motif for the thesis, and as an instance of the actual ground upon which performances are I space. played out, present the title and the term of empýy In this introductory chapter, I want to draw out the manner in which this thesis because its This thesis, the the manner of style of serves a crucial point unfolds. presentation that is at once experimental and programmatic, precise and unrefined, free to that we, in academia,need in itself attempts to make an important argument: the through interpretations, construct terms the which we reference of up least because descriptions the such referencing social - not of explications and As I this is the investigation. explain, of will areas select the in we which way affects happens "what the stuttering is when about research which of style performative a but, itself the longer in it words rather, ushers words, pre-existing affects no hand, On 23). 1994: Olkowski, (Boundas this the performative one and affects" the type in of involved theoretical problems the empirical and reveals strategy In research that is capable of working out of an encounter with performance art. in in together the the this coming social science concerns resonates with particular, (Thrift, 1996,1998,2000a), theory performativity work of non-representational (Butler, 1997; Rose 1997a, 1997b), and non-epistemic ontology (Holzman & Newman, 1997; and certain strands of Hetherington & Law's recent work 1998, 3

Empýy ipace

2000). On the other hand, this explains the idiosyncratic nature of the thesis in its attempt to show how these concerns produce an alternative sensibility in our stance towards what counts as knowledge. Such idiosyncrasy begins with the three audiences for whom this thesis is intended: the social sciencesin general, the field of performance studies, and the followers of the philosophy of Gilles Deleuze. Playing to the mix of these audiencesproduces a hybridized style of presentation, the characteristicsof which I will detail in sections 1.3.1-1.3.4.However, I begin by illustrating the purpose behind thinking through 'empty space' both in the way in deal which my arguments Will With the concrete space of performance and in the in leads kind the to performance itself way which us a certain of conceptual space.I how issue this important stress cannot of the conceptual space is: a space for hierarchical but finkiq, thinking that is not paradigmatic but gntaTmati6-, not and not but (see systematic consi'stent Deleuze & Guattari, 1994: 91). Next I outline, and for, the particular qualities of performance that make such make an argument cempty spaces'a potentially vibrant resource for social scientific research.I do this through three researchexamples' taken from the three empirical pieces of research for this thesis: carried out An investigation into the role of corporeality in performance through the Body-NEnd Centering p3mq, used both the training participation in somatic art of by movement

(from artists

dancers to actors) and healthcare practitioners

(chiropractors to developmental therapists). An insight into the immaterial realm of performance through the observation of

devised the theatre as it moves the processesinvolved in production of a piece of from being a work in progress towards a premiere performance. [GuestHouse devised and performed by Uninvited Guests;premiere: Arnolfini, Bristol, 22nd October 1999.] An exploration of the significanceof time within the achievementof performance involvement the through intensive observation of, and in, the art carried out Mj Sons, [All leading theatre to production. performed up a professional rehearsals ] 3rd 7thMarch, 1998. February Old Vic, Bristol at the -

In the next section I will set out why, in the pursuit of many of the aims of bringing performance and social sciencetogether, I am following the work of Gilles 2 These are examples that are neither particular nor universal; the example here "is a singular object that presents itself as such, that sbomsits singularity ... expropriated of all idcnfity, so as to appropriate belonging itself'

4

Empo, )Pace

Deleuze and what has been cited as a philosophy of difference (seeAnsell-Pearson, 1997a, 1997b; and in geography, Doel, 1999). Finally, I will map out the design of the chapters in relation to the particular elements of performance and to the Deleuzian concepts that open and experiment with thought capable of making daring To to edge towards sayingthat senseof such performative qualities. sum up, hope does "that I that trace which is impossible, a mere of which not allow itself to be clarified without disappearing" can be achieved (Martin, 2000: 62). Or at least I hope to show some of the theoretical avenuesthrough which such sayingsmight be That is to to that there is say accomplished and made make sense. whilst a tendency to argue that many things are unsayable,a lot of the time efforts to intimate such things stop before they have even started - not least because of the trenchant by feel the categories nature of which we we can Justify and articulate the do In interventions we make. this way this thesis moves againstsuch caution: whilst it doesn't offer any concrete answers it does suggest theoretical and empirical looking. spaceswhere we can start

1.2 Empty space The abstraction of empty space- practically, as the clearing of the stage for does in thought the theatricalproduction, and conceptually,as not encounterof Rather the the it is an attempt to work off the concrete. work against materialand In thinking. that particular, thought imagesof effectivelystop potential avenuesof focused kind of abstractionis and as a startingpoint to this thesis,the aim of this following I that the seeas the unnecessaryconfines of obstacles upon removing be that can understood as the conceptualprops that social science,obstacles discourse The first lack that the these is rational of of thinking. seen-ungly support a knowledge. for body than an object asno more straitjacketsthe appreciationof the In this way, the realm of emotions,feelingsand specificallyembodiedstancesto the dangerous (gender the courts of reasonas a and sexuality)are thrown out of world irritation (venturesome,uncertainand chancy)making the body excessivenot only The but itself the is to it. second of predominant relation our understandings in in humanist and subject-orientatedstance,including that of phenomenology,that framesunderstandingthrough the languageof intent and agency,and ignoresall the ways in which nonhuman organics,materiality and situations shape and are as (Agamben, 1993: 10.1). 5

Empýy ipace

much a part of the world as we are Instead, we need to work towards 'others' degree that these to which the encounters give rise to understanding the become us, making us who we are. Finally, there is the representational systemthat defined interpretations. For example, in the works an economy of always-already case of social constructivism, it works towards that ghost in the machine, the real. This system organizes scholarship by privileging those who sign up to a singular from denigrating the potential of those essentialism which everything emanates, basis for that the research practices experiment with what it is we think we can It understand. is not that these imagesof thought get things wrong, and nor is it the doing hopes better this to things. thesis offer is a way of case that the alternative Rather it is to work at producing other modes of thinking that might elicit begins And to work perhaps more importantly it additional ways of understanding. for for different communicating and co-authoring new on the need a vocabulary for the new problems such thinking opens up. maps The thesis then is about meeting the force of the performance experience through

is It the to think. to think, and with a passion an opennessto think, within a necessity It to thought that not vice versa. is the embodiment of gives rise encounter itself being there that startsus thinking, necessarilyneedingto think about knowing how to go on - With the meaning, the narrative unfolding, and the appreciation of the is Such (and thinking is practice itself; it a mutual thus our) skills on show. corporeal founding. As I will set out shortly, this thesis moves against a theory and practice, dark divide. is It the also a passion, a shot in and an empirical and transcendental, These from that is a move away representationtowards a performative apprehension. beginning from vagueness,about not ruling out are apprehensionsthat are about intuition, and about being tentative in the handling of things becausethat which is Apprehensions be sketch out With a sense of risk and sensed. grasped can only have from be an slipping View, and as such experimentation that which seems to academiccurrency in the way they are more attentive to the contingent nature and 'empty The the to start in point is to attempt significanceof things in the making. before degree the representational systems of zero, at a place space', at a place is limits frame blocks the of what sayable. of meaning that always-alreadyconstituted As Bonitzer has put it when speakingof the empty spaceoperating in the work of full Antonioni, "empty Nfichelangelo filrnmaker of mists, of spaceis not a void: the fleeting faces, of evanescent presences or of random movements, this space 6

Empýyipace

from freed final finally being the negativity of intentions, of representsthat point of passions,of human existence" (1989:218). The fights Might go down, sounds Might be played, odours might infuse the but bare this theatre, the auditorium - perhaps not act of essentialsof all potential forces, like the body of the man, that channel and bring about the events which are high belief Expectations in the that you are about to witness a unfolding. are heightened instance of the everyday.The man in Peter Brook's description appears. Where is he coming from? Why is he here?Where is he going? Who is he? Does it matter? Imagine that these questions do not matter, and that foremost you are in line the caught up general of the performance: a man is walking across this empty space.You see the performance as an act of spacing and not as something that is about a particular place or a specific character. This level of description first be directly it to Might at glance appear entirely abstract, whereas comes out of the material practices that most concern our daily lives. For instance, take the act of forward brings that takes us and walking: an action us into potential encounters from This the materiality of things. is not an escape with other people and other building knowledge for, through the world, out of such actions, the argument is bodily for knowledge thinking process,which in turn made creation as part of our lived Instead the the of world itself speaksof variation of our embodiment within from the presupposition of self-autonomous, intentional orientating arguments human focuses "common the practices and skills into on agentsof subjectivity, one in that turn produce people, selves, and worlds" which we are socialized and (Dreyfus et al, 1997: 16). It makes explicit acknowledgementof the ways in which fixed know "how that through to negotiateour way is not and pre-given a world we but that is continually shapedby the types of actions in which we engage" (Rosch directly description Such 144). 1991: of the syntactical of theatre speaks a et al. grammar of action, the syntax of which is the moment-by-moment assemblageof drawn lives. I to this am the worlds, encounters and events that make up our syntactical grammar - that which parallels the connective operation of prepositions in linguistic grammar - becauseof its simplicity and exactness.A good example of babies: Deleuze's reflection upon the way that this is more evocative is given in "With a young child, one alreadyhas an organic, personal relationship, but not with its baby, in smallness the same energy that shatters paving which concentrates a The description 133). (1998: this the thus intent of of empty signals space stones" 7

Empo ipace

thesis to pare things down to an ahistorical operational clarity, serving notice of the belief that there is far less distance between the description and the object of description than is commonly held. By which I mean that the ways in which we mobilize the material, the affective, the sensedand the nonhuman, is less a point of disclosure in by their the the the referential place and more world way we constitute brought that experiential actions we make - actions are about through encountering these 'others'. The lights go down. The visual field losesits clarity in the darkness,and yet there knowing that something was visible. There is a creakingof wood. Soundsecho as is a by traces thinking invisible movement; is infected and inspired this out an a pattering fifts. The The information other sensation. curtain of odour pulls attention unseen dark, bodies here Two the into empty space:an encounter and now. and another be having Feeling to there, touching. that, the now capacity affected too, encounter the duration of the encounter binds forces in. just as the colours of hqw'dsMIX when brought together, and when waves of light dispersein contact with other spaces,and asmoleculesrefashion themselvesin contact with others, the presentmake-up of the bodies The two in the empty space world is continuously shaped and reaffirmed. force the tension the touching, of contact, of unfolding continue moving and done being This to, and contained within, the time of the is all affected. affecting and For It terms the thinking in present moment. example, of performance. is about following becoming the think/feel the sensual performance event of touch as an of active aiming at nothing above its own abundance: A finger turns in light circlesacrossyour toes and the padsof According feet. Is to ticklish? this relaxing? irritating? erotic? your difference,the delineationdoesnot usher from an exterior source, like the masseurtelling you to relax or a socialnorm insistingthat doctor does does this it is sexualand when your when your wife borders define let it Instead, the the physicalaction and this is not. feels like What the event is and what it ariseon the meaning.... 10) (Brusseau, 1998: scene.

However, it is impossible to stay still in the immediacy of the 'empty space, for bodies, few two these a as such performance, the of a of a seconds space in even begins be VA-Iilst for tabula the the of to rasa out. interpretation etched territory Journey diagram the rather 'empty space' is an impossible place the purpose is to 8

Empýyipace

than its actual departure and arrival points - to seewhere the )ourney takes you, to experiment. This is to take a stance that is open to thinking of the advent of difference-in-itself that any action manifestly ushers in; and one that is equally open to the improvized use of empirical and theoretical investigation where both unravel simultaneously, unravelling experientially Just as they are woven together referentially in the act of writing them up. This is about investigating how these inspire experiences a mode of thinking that makes a "product of a negotiation with an unverifiable real" where the work of theory in this place is a "description and transcription of what one cannot see or prove with visible evidence" (Phelan, 1993: 1/32).

1.3 Performance First, I want to make a distinction

between the space of performance

of the concept of performativity

that has in recent years come to take hold: for

example, see in performance Sedgwick,

studies itself the work

and the place

Sedgwick Eve (Parker & of

1995); in the social sciences in general Judith

Butler's

recent work

(Butler, 1997) and the special issue of the journal Theog, Culture & SOC7'eo (19 9 9); and within

geography

the empirical

Thrift Nigel work of

theoretical

work

(1997,1998,2000a)

So67*eo & Space (2000). Performativity journal

might

is a slippery term indubitably

and through

such actual renditions.

discrete a act - the performance

The performative concept signifying such an act. that unfolds conflation

obscured

the next moment

of performativity

the boundary

between

allowing

performance

sciences there is a prevalent

the performative -

is not itself a

is the gap, the rupture, the spacing

Currently

assertion that a performance & Longhurst,

becon-ung

within

social

comes about through

1998). Thus, in everyday

because they underline their behaviour

that they are being scrutinized

by others (including,

It 'perform' themselves). the terms, is the closeness of word narcissistic 9

this easy

there is the additional concern that

becomes a performance.

become performers people

the apprehension

In this sense, whilst

fife increasingly is and everyday

there being an audience (Abercrombie

through

linked to

by instances which a

happen. Alongside to change

with performance,

such that everything

circumstances

and the special issue of the

be defined (see Schechner, 1994), the performative to come

beyond slips across, constituting

Rose (1997a; 1997c), the

but, regardless of the multiple

the idea of a performance, performance

Gillian of

in

(to make,

Empýy ipace

do feign dissimulate, (to 'act' or something) to the word action) that causes this discursive doubling-up (Schechner, 1985 & 1994). The distinction that I want to make is that narcissistic performance chimes with the latter, whereas it is the former

general performance,

let practice us say, that is constituted

performative. A key concern remains: Is the concept of performativity

by the

for one all

occasions? Yes, in that the performative has a univocal sense: it is the cusp of an emergent structure. And no: whilst uniVocally speaking of the incessant alterity within the spaces of our encounters, the potential the performative etches out for fracture In refusal, this it is necessarily aberrant and torsion is set within ipec#i6sites. and parasitic upon conventional, citational, and socially stratified context (whether that be upon the theatrical structures and rules of a specific performance art or sited event, or whether upon Goffmanesque performances set to everyday fife (see Goffman, 1956). As Perloff notes, our structures of meaning have to in particular, be repeated to work, and as this always entails a shift in context as well as in use, becomes (1996). Hence, whilst the performative, as a to everything open chance theoretical toot or concept, can be used in any given circumstance,, its usefulness fundamentally and what it uncovers and creates is specific to the context in which it is sited. The above considered, the space of performance lends itself explicitly to the

between theory and practice produced in the performative encounter itself, realm for four reasons.First, performance opens up to View this 'as if space,a spacethat for time potential enactments to take place in a way that is much more gives tangible than in imagination and thought. It does this by putting on show the inbetween and the in-the-making performative actualization. Second, this spaceis a binds belonging it in that through to a personal spacein an immediate senseof you does for So general theory, it not construct a space shared condition. whilst it exhibits the micro-political investments produced in the personal spacesof our have (whilst bodies the to the potential in relation everyday actions we all own heightens is in It that the this to performance sense perhaps not the capacity) make. by staging the ways we affect and are everyday instances of our corporeality here between fink Third, by there performance and the is a encounters. affected by has long the its practitioners played upon conviction phantasmagoria- theatre father Hamlet's be "from it the ghost of seen: that can make manifest what cannot Western the theatre's machine of contemporary special effects, to the ghost in 10

Empýy ipace

theatre has had a sustained conversation with the incorporeal" (Phelan, 1997: 2). This means that the performance space plays explicitly to a general research disappears. As problematic: that the object of one's mediation or interest itself Phelan puts it, linking together the previous and the next point, "the enactment of by disappearance invocation and performance and theatre is precisely undertaken the drama of corporeality itself" (1997: 4; see also Auslander, 1997). Fourth, and finally, performance and theatre is an art with 'real' bodies in the sensethat it is a live art: "Art is never an end in itself It is only an instrument for tracing fines of lives" Deleuze & Guattari, 1988: 187). Above all, taking all these reasons,it is a belief; for is the experimentation of question of and it a question of giving space that belief. It is not so much a question of whether it can be proven that this is but development the right or wrong, more about of capacitiesand skills that enable for the extraction of sense. alternative means In relation to the space of performance within the social sciencesthe thesis is "If Peggy Phelan's taking question: about up

the diversity of human culture

be a universal continually showed a persistent theatricality, could performance language? (1998: 3). The human " to openness in signification, akin expression of for theatre this academic endeavour is an openness that means alternative utilizing to "escape the conventions of methodological

field's to a particular allegiance

its knowledge. In the adherents, performance studies was able to eyes of system of folklore, literary anthropology, studies, combine new work in critical theory, feminist dance theory, and and queer studies postcolonial theory, theatre studies, 4). Whilst I (Phelan, 1998: forging agree a new intercultural epistemology" while disciplinary its and sub-disciplinary many with this in the terrain of academia, and boundaries, I think that in speaking only of epistemology it misses one of the most This is that it offers a window into tricks studies. performance of significant thinking an alternative ontology - that it reveals the space of other possible worlds. The thesis therefore takes Phelan's sentiments on board and looks to the work of Gilles Deleuze to move towards a sense of folding ontologies through wl-&h we life, and apparent non-representational, or representational of make aspects might therefore useful. In the next section, many of these particular qualities of the both that the problems through of creative and refracted performance space are Deleuze's thought delivers us to.

11

Empýyipace

1.4 An apprenticeship

Deleuze Gilles after

Do not count upon thought to ensure the relative necessity of what it thinks. Rather, count upon the contingency of an forces thought or a passion to think. that encounter with which (Deleuze, 1994: 139)

In tl-iis section I want to set out why the work of Gilles Deleuze offers a perfect apprenticeship to the task of making senseof the encounter with performance, and be forward in taken this to into academia encounter why in particular it enables because four for I this the thesis is as much an to reasons offer general. want Deleuze's thought in practice, as it is about the encounter with examination of performance art.

1.4.1 Performative research: foldings and weavings First and foremost, it is the style of thinking that Deleuze delivers us to. When he Guattarl, Deleuze final F61ix his ' What collaboration with is philosophy? in asks Whilst fabricating formulating, is and inventing concepts. answersthat it the art of this is pitched in relation to philosophy it explains a practice that can equally fields, for that that performance and theoretical including of in other work operate featuring (space in one of its guises as a of the social science that thinks spatially his be Deleuze's This itselo. philosophy when own mixing of seen in can concept he addressesthe art of the cinema: It is a practice of concepts,and it must be judged in the light of is A theory of cinema other practiceswith which it interferes. but 'about' about the concepts that cinemagives cinema, not rise to and which are themselvesrelated to other concepts level It the of corresponding to other practices ... is at beings, happen, interference of many practicesthat things images,concepts,all the kinds of events.(Deleuze,1989:280)

is the In this way the theoretical enterpnse at work through empirical encounter the intervening production of new that possible the make conditions with about "posits because folding I the concept this and a weaving a as see existence. modes of 22), Guattari, 1994: (Deleuze & its that time it is created" the same at object itself and fold In the the this presents also the encounter. way, of moment to at say is which 12

Empýy ipace

the simultaneity of thought. There are two moments of a dice throw: the weave of the dice that is thrown (experiential)and the dice that falls back (referential).These are the "two hours of a single world", a simultaneous enactment of the ongoing hour hour the constitution of the world, the of necessityrespectively; of chance and the chance of the encounter which forces us to think and the necessityof being able to go on in relation to that which it delivers us to (seeDeleuze, 1983:25-26). Instead distributed have "not of causality-finality we a probability chance-necessity: over but (ibid: 27). throws several all chanceat once"

1.4.2 Performative research: folding the experiential and the referential Second,in achieving this, and in the achievement,it entersinto variable relationswith domains. It is not the position of this thesis to present any theoretical or other empirical analysisas an answerin itself, rather it is to show a way of thinking through 1, I to theory, through empiricism, trying prove a a problem. am not nor am how Rather, to the present a moment of starting at an attempting world really is. interface with the world that produces a certain problematic, that of the experiential how the theatre, we - in all of our question is more about asking encounter with disciplinary guisesbecausewe are first and foremost humans experiencingthe world As Smith the that the to perform world. of encounters might make sense come is C4it than to to it read an image, painting or novel is no easier points out I So (1998: to it is not enough show what am trying to xii). comprehend a concept" for different meansexample,a video of a performance,or a piece work through via different in if their they style of could encompass of text, or a particular painting - as The point is presentation that which is apparently non-representationalin writing. Those what style we take up and use within the sphere of academicinterpretation. force bounded have (if to style) us a that such interfere ours we with other styles doing think and in so conceive of alternative concepts that offer up another way of be but that can understandings understandingthe world; not Justany understanding, domains because do the take in these place of mixings to precisely something seen Deleuzian Consequently, brings the them about. stance of a particular context that be independently taken of other cannot the practice that academic understands has does This that theological. the it mean the not or scientific the artistic, practices(in impossible for the task the my and view, unhelpful an others, all to account forth derived from distil is I to to the set ability want of what veracity academic 13

Empýyipace

potential avenues that are necessarilypartial). Rather, it is to be open to the full richness of the concrete through the bringing together of any potential combination of the elementsin the specific contrapuntal relationships- the stanceof the scientist moving alongside that of the artist producing a conceptual spacein between which neither the one nor the other could capture. This contrapuntal relationship is experimentation in contact with the 'real' (asin the empirical richness of the concrete), that wl-ýichoperatesa particular fold, that of the experiential and the referential. Experientially: this is what brings us into thinking. It is one way of understanding the nature of your attention as you engage with a theatrical performance. And yet something more takes place. Referentially: the performance takes hold of you. The sensedaction of the encounter is filtered in order to make it do somethingfor you, rather than it being something that just does This fold because 'r you' or the 'to you' is to somethin9 is a you. neither the ýfo Together they make up the algebra of being able to 'go on', to five superior. through, to cope, to act. The man moves across the stage (experientially) in a way that reminds you (referentially) either of someone else, or of a personality trait (ie he cowers ever so slightly when he does it). The movement of the man begins to his becomes down territory etch out a meaningful pacing walk a up and and you relate to this in a particular way. The performance seeminglyreferencesexperiences that you have lived through before. The referential is not a representationalsystem, for the trace territory it is moment where we out a going on. 1.4.3 Performative research: folding theory and practice, the conceptual and the empirical This leadsme on to my third reason, that of the conceptual architecture given to us through Deleuze's notion of the plane of Immanence: "the image thought gives itself of what it means to think, to make use of thought, to find one's bearings in thought" (Deleuze & Guattari, 1994: 37). This concept of the plane of immanence be because it is to to is often misread,,and, able encompass everything, it seems likewise misunderstood as some form of transcendentalplane. This is not the point 46-47). Rather, (see Goodchild, 1996: Deleuze through this its concept, of creation dealing with the world in any of our guises- as arguesthat when we are at work in lover "concrete scientist, or even artist, acaden-uc, - we are working with cmultiplicities"' where a whole host of processesare bringing the present moment 14

Lmpýy.ýPace

favour This about. renounces the notion of emanation or projection in of connection in that it does not follow the realm of s1gnification premised on an Absolute origin but looks to what connections, encounters and interferences do. It is not that origins are removed altogether; it is just that they have actually durations that make them less grand and non-totahzing. Take this example of a man walking across a stage:the man is a biological force, 'multiply' the number of forces that n-ughtbe at play here and you seethat in this way the man is made up of certain types of molecules, specifically those that make up the enzymes and fluids have him due that to him having just drunk stimulating come about within in he it is take the the of or a glass wine; stage walks across, made out of, the wood built from fact has the tree the the that it, craftsman who it which wood came, a history (that it was on this stage that Henry Irving played Hamlet), and so on. These are all concrete, empirical instances bringing about certain processes of in We the this performance of could take any one of these connection very action. fines of connection - the history of the stage,or the biological forces mobilized by the man in the way he effects his performance - knowing that it is just one full field the of multiplicities that come to constitute this plane of multiplicity out of because All to they these multiplicities are immanent immanence. one another come about through contact with

the same world. This moves against

has for is that this transcendentalism immanence it not suggesting existed once and for always. Rather it is that this idea of immanence captures the fact that the host have to the to of world are immanent a created get a grip on concepts that we other such compositions of concepts in that they are coming out of the same A (eg the tl-iis stage). plane of immanence is act of a man walking across encounter hold the that autonomous realm, the image that thought gives itself, in which we (see Deleuze & together particular concepts we are creating or working with Guattari,, 1994: 7). It might seem transcendentally vast in comparison to our because but is there are so that immediate appreciation of the concrete moment have flight fines taken and created in coming that we could and concepts of many In the this way, the plane of world's unravelling. to grips with this moment of by Equally, the to as the concepts we create and put use. immanence is constructed from being derived immanent is 'something to the in world creation of concepts be forces the think'to transcendentalin the manner of plane cannot us the world because Thus: for the being once and it is changing along With always world. 15

Empo ipace

Creating concepts is constructing some areain the plane, adding filling in a new areato existing ones, exploring a new area, lines, Concepts what's missing. are composites,amalgamsof brought be have If to in all the time, it's curves. new concepts just becausethe plane of immanencehas to be constructed area by area,constructed locally. (Deleuze,1995: 147)

The way the thesis is structured reflects this, and it does so in two keys,one major The key turns around the way in which the empirical research and one minor. major for this thesis functions; a fact that also effects the way it is presented.As mentioned, the three periods of researchwere all intensive immersions into particular fields of the five arts, the purpose being to encounter that aspectof the five art performance force be Each time to to think. it me and give researchperiod should seenonly as a particular take on the whole aspectof the performing arts. Each piece of the research different mobilizes concepts in the aim of achieving certain connections and literally is that to make senseof what apprehensions enable us and metaphorically Cgoingon'. The time of being in contact with the empirical field is distilled to the formation This direct these that the means emergenceof a coherent of connections. fraction the thesis are often a small of the overall empirical instances presented in but be that time it involved, equally should immersion understood that in this way different division, In the empirical and the theoretical are not set apart. place of such in both theory intensities of and empiricism weave and out throughout the thesis. The point is theory is practice and practice is theory - whilst theory, the creation or use of certain concepts, enablesthe apprehensionof certain aspectsof the concrete fuels that the theoretical the the concrete world contact With world, practice is key: leads forces This 'something the minor me to in the world us to think'. process: in it the to empirical elements that whilst exhibit is often common practice both (or the this thesis presents even chapters) compartmentalized sections intensities of theory and practice in a style that further blurs the boundariesbetween feature Thus the particular theoretical problems the two. many of the chapters forced (those to think) as the realm are moments we when in empirical encountered fold And the the processof creating concepts. of vice versa,in an exemplification of light to are shown shed on particular aspectsof the theory and practice, concepts Deleuze's to in show work action. serving empirical,

16

Lmpýy ipace

1.4.4 Performative research: folding the general and the particular Fourth, I am personally taken with a particular preoccupation of Deleuze's, one that blasts through those confines of social science, that of his appreciation for a non-organic conception of fife; or as he puts it, of "a Life

(1997). Whilst this

his latter (1988b, its face 1993,1997; 1998) it & only presents in work explicitly formulation diversions in his the the underwrites of many of seminal early works (1990a; 1994). Why am I taken with it? "A Life " opens a window to the ... frequently by Deleuze's too those ontological ethics of work overlooked distracted by the terminology and the playful, often obscure, understandably his beautifully his This nature of writing. window is caught in account of a scene from Dickens' Our Mutual Eriendwhere those witnessing the event of a dying man, few have life" for, his dying (1997: 4)'. This "spark the of any concern seein whom bond for Deleuze that acts as a spark represents a univocal quality, a quality between us through the way it effects a "deep interest" - "probably becauseit is life, and they [we] are living and must die" (ibid). Between his life and death there is a moment that is no longer death. The life but life of an individual playing With anything a has given way to an impersonal and yet singular life that disengages a pure event freed from accidents of the inner and from life, the subjectivity and objectivity of what that is outer happens. A bomotantumWith whom everyone sympathizes and (ibid) beautitude. kind of who attains a

The point is that 'Life' "is an impersonal and nonorganic power that goes beyond any lived experience" (Smith, 1998: xiv). In this way, it is the theoretical surface upon which it is possible to comment upon the general, whilst never denying that such generality is folded out of the actual, and particular, lived like be For it in these are evocations example, evoked. experience which comes to bodies Dickens' two the instance in above or that moment of performance where final is The this the ontological space of touch. very moment of these evocations fold, a fold that is equally an empirical and epistemological space.There are many be from from in terms the a place not only of which we can perspectivesto choose

17

Empo ipace

witness, but also from the way In which, this time around, we seek assistance'in making sense of what it is we are witness to'. The performative moment of understanding and recognition will work in this thesis by the way it acknowledgesa senseof the general becausewe can register that the spirit of certain moments, that Life, happen fact happen The of a that will it won't again. again exactly means that this cannot be an authority or an ownership of the potential repetition; the particular, the specific context, is equally important. Folds are in this sense fold being It's 'differentiator', 'differential' the everywhere, without universal. a a (Deleuze, 1995: 156-57). In this thesis, in its guise as an apprenticeship after Gilles Deleuze, I present these folds as problems which work through the philosophical manoeuvres achieved in Deleuze's work. By putting these problems to use in both the theoretical spaceof the encounter with performance, and hence through each of the three registers of corporeality, immateriality and temporality, I present Deleuze's philosophy of difference as that which can make a difference.

1.5 How the thesis unfolds Each of the chapters is distinguished firstly through the investigation it makes of one of the three registers of senseupon which the encounter with performance can come to make sense- the register of corporeality (Chapters Two and Three), Immateriality (Chapters Four and Five) and time (Chapter Six); and secondly, through the particular aspect of Deleuze's philosophy each puts to work in creating an alternative methodology

(conceptual as well as empirical) for research into and through such

begin by Therefore Chapter Two I registers. in addressing the problem signification

3 Interestingly this links to the (last/latter) thoughts of many of the key continental philosophers (seeLyotard, "Anima Minima", 1997: 235-249; Foucault, "Life: Experience and Science", 1998b: 465-478) and to work playing on the similar, earlier thoughts of Aristotle (seeAgamben, 1998; and on this bare life, Thrift, 2000b). 4 "In a vacuum their work would be meaningless. Here we find a clue. It leads us naturally to the idea of an audience; we see that without an audience there is no goal, no sense ... I watch a playjýrssisle i unepiýce.To key" it is (Brook, is 1968: 155-56). the the assistword simple: 5 For example, take the spectatorship of an act of performance, that of a dance: "An authority on dance, whom dancer informed 'The two to perform viewer, upon seeing a similar moves, may conclude, an may refer as we dancer repeated the step'. One who is ignorant of dance and claims no ownership of its language,whom we dancer 'The this at viewer, same moment to ecstatic might performed two sinAar say, as an may refer in first in little later different in in the the place room, the one the room'. The second a place a movements differences observed by the second viewer might seem so insignificant to the first viewer that he chose to ignore them altogether, concentrating instead on the larger patterns which conform to the language of dance 33-34). (Goulish, 2000: he feels he owns" which

18

Empýyfpace

has in the face of the corporeal realm. Beginning with Dernda's famous aphorism, '11 de hors pas n'y texte', I will show that whilst there is a necessaryincompletenessin knowing experientially through the body, and in communicating such knowing referentially through the always-alreadyinterpreted frame of language, a certain performative kind of knowing can be achieved.The first Deleuzian problem is then diagrammatic importance that the the transformations that cut across one shows of the way our different signifying regimen figure the body. A workable answer is presentedin the secondDeleuzian problematic, that of asking 'What a body can do?' In Chapter Three I take this question on board and exemplify a possible empirical into knowing the through the body: the fact that investigation production of a way of through our viscerality, the body is both the engine and the recording surface for many of our encounters, scripting their meaning through the affect, rhythm and delivers Through BMC I to. the research into movement it practice us of argue that be in-between the can made mapping an alternative cartography out of spacescaught being This but is affected. an open system of signification, affecting and a folk through mobilizing anatonuical, and experiential signification nonetheless,which, knowledge, makes, as I will show though the empirical work, sensefor those who In I to practice it. opposition essentialism, term this an ethologicalmapping and unite Mix Guattan's it with notion of transversalpathways;respectivelythese present the third and fourth problematics. Chapter Four takes the materiality of the body into the realm of immateriality. Through the work of Walter Benjamin in particular, I will demonstrate that, despite the essentially non-representational nature of immateriality, the immaterial plays a hugely significant, if personal, part in the performance of the social. By theming the falling love, fifth the in and sixth chapter through the personal condition of Deleuzian problematics set out the potential of working a symptomolgy of signs: a theoretically clinical art that scripts, through encounters With the material world, for be Continuing to the case an argue grasped. intimations of that which cannot by fifth this the moving out of starts chapter inl-Materiality, of apprehension into the space of events, again stressing the artifice of our terrain personal does bear inability through to to that its not which Witness representational systems is itself, in I This the this the power of chapter event and spectral presence appear. it. is In for thought that terms of practice and style of a worthy of to argue want illustration lengthy Deleuze's I of art of creating concepts as thought, present a 19

Empýy ipace

back I to the particular qualities turn seventh problematic; and in terms of practice, of performance art, and make the case for, and an interpretation of, that which is put on show in the process of devising theatre: the making room for things to happen. The chapter concludes by offering interpretations (problems eight and nine) of Deleuze's concept of univocity as a theoretical operator capable of linking the particular instances of the incorporeality of events put on show in the spaceof performance with a senseof the general line of non-organic life drawn acrossus all. Chapter Six turns our attention to time, for if one thing is irrefutable about the directly involves the performance specific qualities of art it is way it and is created through the tension of the present tense and the spacing of time itself. In fl-lis heightened capacity, performance, whilst a experience, plays to the particular ways in which time modifies and situates the signification of all of our endeavours: through its passing, where the present moves in both directions towards the past future, locate I the through the the the past coexists with present. and and way a potential sighting of these operations of time through the researchconducted into the rehearsal process, and through this location I present two final problematics Deleuze, that of the unravelfing of subjectivity within the the in raised work of tension of the present moment and that of Bergson's notion of the 'pure' past. In conclusion, Chapter Sevenaskshow we get off this particular stageof empty forward I In the purpose of this thesis: to extract to take space. answering, attempt through the three registers of corporeality, immateriality, and temporality potential both through the theoretical citings made in response to openings made possible the encounter with these registers and the empirical practicality sited here through This the spaceof performance art. is to conclude that there is something that can doing forget be 'said' that the social sciencewe in in the unsayable; conduct of only loss; Phelan "learning to see is that we are operating on a process of notes, as blindness. To training careful apprehend and recognize the visible is to eliminate as data" (1993: 13). well as absorb visual

20

CHAPTER Two

Tracings of flesh striated: arche-ecriture,

signifiance

viscerality

Here I am in the presence of images, in the vaguest sense images the perceived when my sensesare opened of word, to them, unperceived when they are closed. All these images act and react upon one another in all their Yet is there them parts is elementary one of which ... distinct from all the others in that I do not know it only , from Without perception, but from within my affections: it is my body. I examine the conditions in which these find I that they alwaysinterpose affections are produced: from between I the that themselves receive excitations I the movements which am about to execute, without and final had the they some undefined influence on as though issue. (Bergson, 1990: 1-2)

fiance ni &' sýg arche-icrilure, gsojflefh s1rialed. ,

Trac, ',,

2.1 Introduction:

viscera liýy

the 'body' itself is not a discrete object for

investigation The body is and is not ourselves.The body does everything and in does Neither it ends nor means,alwaysinvolved nothing. its beyond it, jealous always of autonomy, the matters which go body is powerful enough to oppose itself to any merely deliberateend yet has none to propose to us if we finally turn toward and consult it. (Merleau-Ponty,1973: 112)

In the empty spaceit can be argued that we first register what is happening through the body: the primary characteristic of the encounter is that it can only be sensed. Conceptually, whilst this is the operational point of its abstraction, empty spaceis be: have I I I to that the an impossible space sense can't empty spaceuntil am there body, filled by body body, This emptiness is immediately a your already. - my fleshy body, Situated, through sensing materiality one createsspace, as a anybody. the surrounding space of being. The substancethat is our materiality gives us our before the the any question of space of empty stage;it speaks senseof place and body fold Wl-iilst this through the we we sense our embodiment within the social. delivering body in that the is us to. which up immediately the way we make senseof In this way we need to ask how we make this move from sensingto making sense? We need to ask what conceptualisation of the body do we allow to take place on the stage. In the last four or five years the sub-discipline of cultural geography has seen a Pile, 1996; body (Duncan, Matless, 1995; 1996; literature the on proliferation of Nast & Pile, 1998). In contributing to this I want to make a distinction concerning figured body hand, body. On different the the is as two one ways of thinking the body knowledge. This the as a viable object of the object of apparently affirms focused upon the array of practices analysis, and provides much insightful work body. by, knowable discourses the this objectof that enframe, and are enframed and On the other hand, the body is approached as the subjectof knowledge. It is the body's sensate qualities of touch, smell, taste, sight and sound that enfold our being-in-the-world out of the encounters With others (organic or non-organic, Delving individually or in milieu), etching out our orientations and understandings. further in this direction one becomes aware of the affective mixing within the 22

Traciqs qljlt, j-h s1rialed. - arche-icrilure,slgnýiame & viscerahýy

particular anatomical compartments of the body, the interchangeablechannelling of energy flows and chemical fluids that comprise our unique sensationalqualities that give colour to our experientiality with different feelings, emotions and moods. Through affect this elusory body literally composes the spacesthrough which we move (Radley, 1995). This distinction is symptomatic of a universal mechanicsworking at the heart of knowledge her Bodies Knowled In Feminism thecrisisof all production. essay and ge: and , Elizabeth diagnoses Grosz this as the crisis of reason exhibited in "the reason, displacement between 'objectivity' and 'subjectivity... (1995: mismatch, conflict, or 26). For Grosz, this crisis is discernible in the academicpractice of self-validation and methodological self-justification; an issue that will be debatedin a later chapter. For the moment, I want to extract two issues from Grosz's argument, both of body the the risk of configuring which outline outside the normal codes of heralds that signification, a shift a vital change to the ways we understand and carry knowledge by longer body Firstly, the production. out no gagging Within the codes knowable of signification, constructing it as a object, one implicitly embracesthe for kit that there tool the is no single, neutral conceptual realisation or methodology knowledge. As Grosz puts it, one is now able to raise the question production of "How does this language,method, technique constitute its object?" (Grosz, 1995: 27). Secondlv, the criteria for evaluating the salienceof knowledge is ungrounded by the accompanying denial of the belief that an "object of investigation exists for knowledge (ibid: This 28). independently of the of it" offers a new space been have hitherto that considering the intelligibility of our corporeal urges discredited as subjective and irrational, and consequently thrown out of the courts These opening points together implicate a principle theoretical of reason. being beyond there any easy conceptual cornerstone to the thesis: that above and divide separatingobject and subject, one sensesthat both are folded performatively out of the samemoment and substance. A second frame of points arises out from this 'apparent-paradoXical'folding. Firstly, whilst the body is not a discrete object the space between bodies (organic itself decoy for The as an adequate such aspiration. and non-organic) offers interstitial how is behind this the advent of Might we space one which asks question knowin discover body, body? Let know this other this: and in our own me example ,g body through the touch another this of sight sense encounter where we we suppose 23

&' Traciqs ojj7esbstriated. slý*gnýiance arrbe-eýrilure, visteraljýy

body's appearance, movement, gesture and form. The first two qualities of appearanceand movement seemin effect to be immediately apparent - sometl-ýing is there before us and we get some senseof space via this presence.Whereas the quality of the latter two differs in that they impose upon us the creation, via the senseof our own body-grammar, of the sentencesthat this other body, the body, necessarilyleavesincomplete (Gil, 1998: 108). The point is we can't know the body, it doesn't know itself - as Merleau-Ponty (1973) says the body has no answers to propose to us. Yet, what we might do in a given encounter is frame this other body; it, see name it, empathise and anticipate its expression. The crucial point I want to is by that this is the giývenpalettes of signifýin suggest anticipation mediated factor this that enables us to communicate throuThthe body an reg=e , and it is indication of its existence'. The body is then culturally staged and dramatized through particular conventions, such that bodily practices are moulded by the for prevailing scenery and contingencies possible action. Thus, whilst the body is a performance staged within the enclosure of cultural co-ordinates, this does not body's the meaning. exhaust Finally, therefore, it is important to note the ways in which the body is subject to fact body the that the inscriptive is symbolized, typified, connotated, slander; body The by body; the prefigured, and named. represented is not authored it is highly mediated by the protocols of signifying systems;it is as if we are seeking by flesh from (Dillon, 1988: the transforn-ung text into and ourselves release world 100). Beneath the word, subtending it, the body is something of a crucible of but, in These themselves spite of energies are in unknowable, energy mutations. be I that this, want to suggest sought so that a certain adequate sen-ilologiescan kind of knowing Might be achieved. This chapter is divided into three sections. The first section arguesthrough the knowledge fact follow from the that creation privileges the our consequencesthat This the is about exposing the gap the unknowability of the corporeal. mental over body createsin the seemingly complete representational system through which we The (eg it text, in painting, etc). next section make apparent outside of itself body the as codified within addressesthe importance of our understandings of folding by linking 'through', have the the thus hope sense of using prepositional 11 of use to suggested it body it is communIcation that ý#ectsthe that the to that affects whilst acknowledging relative communication body into apparent being.

24

Trac'7ngf ojjlefl) sl,,ialed.- arcbe-icrilure,fl'ý, gnýiance&' Vlfl-eraljýy ,

different sen-iiotic regimes: that of signifying serniotics, the counter-signifying strategiesthrough which the body disappearsin strategiesthat de-corporeahze,and at a non-discurisve, pre-signifying level that frames the body contextually (historically and culturally) through the tangible consequencesof its actions. In the third section, through an initial focus on the last work of Merleau-Ponty, we attempt to think again this prediscursive realm, that which is prior to referential contemplation and before "the imposition of metaexperiential organization and its by (Grosz, 96). 1994a: In this way I attempt to site the empty codification reason" beyond representation, as a spaceof post-signification, in preparation for the space next chapter, an apprehension of an alternative vocabulary for thinking our materiality in itself.

SECTION ONE 2.2 Arche-6criture I use the words you taught me. If they don't mean anything any let be Or En4, (Beckett, teach me others. more, me silent game, , 1986: 113).

label, I am Writing on the body; I am Writing the body the it is a sign, a a name, letters body.

This act of writing

double possesses a articulation, and the requirement

that

is not simply evocative

that second articulation

there is somettling

is communicable. something

of its moment,

it

of an expected readership

to communicate

and that that

In other words, the act of Writing possesses us With a

level it speaks the immediate corporeal moment, split reality - on one

on another

level one is caught up in a grander scheme where one is placed within

a signifying

belief I the that this writing is an end in itself -I regime. am not writing With the word

'body'

with

the trust

that it signifies

something,

and yet with

write the

knowledge that it almost doesn't matter what it means. It is a disquieting practice as but To to text to is produce a written not this Writing seems possess another. write is also in itself a performative constituting

utterance -I

being constituted and

feel as if I am assembling a world,

by this act of writing.

25

&- wsceraliýy Traa*,ýýgsoj'17esbstrialed.- arrbe-&,riture, slýg nýiance ,

2.2.1 The 'body'and

two aphorisms

In one way or another, the practice of social science announces the nature/culture binary through its inevitable assumptions concerning the concept of language:that the written word and its phonetic alphabet (with its implication of the primacy of speech) indelibly speaks the 'truth'. After all the very constitution of academic practice is expressedin the spacescreatedvia language: Even before one speaksof visible or overriding structures (primary and secondaryeducation,the university, authority, legitimacy),there is the very experienceof discourseand language:the interest of philosophy alreadyfinds itself involved there in institutions. Everywhere and always,institutions ... dictate to attempt our rhetoric, the proceduresof demonstration, our mannersof speaking,writing and addressing the other Perrida, 1995:327).

Whatever critique I wish to present here begins with its necessaryimmersion in the very system against which it Will be set. The words spreading out upon this blank page contain the binary rift inscribing the nature/culture divide: that moment being language that which possessesmeaning, as when you consider a word of hand thin that there that the word the there is is present at assumption some where ,g For example, when writing signifies.

the word 'body', is language (here) the

determinate it Is immediately apparent what it is sense or meaning? expression of that I Wish to signify to you by the presence of this word (this sign of a sign)? The from which openings engendered in these questions offer specific conceptual sites to support the rest of the chapter, so I want now to consider the implications of both by two these type of questions of which make wellaphorisms, addressing known statements concerning the nature of writing. The first sets out many of the (where writing is main arguments caught within a structuralist account of writing The texts). the production of written related to speech possessing prosperity in for by Derrida a arguing with second moves to set out the agenda of this thesis 4writing in the general sense' (arcbi-icriture),for understanding writing as affectively discussion I Norris, 1987). However, (on to to this advance want see performative Matter, Butler, her book That Bodief Judith in particular and a turn to the work of recent interpretation

by Vicky Kirby on the ideas contained there. As a direct

her Butler know "to the readers, that orientating significance towards writes gesture 26

& msieraligt Trati, gs oj,11t, sh striated.- an-he-icriture,siýgnýiance

of something is to know how and why it matters, where 'to matter' means at once 4to materialize' and 'to mean"' (1993: 32). In effect Butler is making us aware that the object of her analysis is not the body as matter (or substance, as Kirby emphasises)but rather the processesby which the body comes to be valued. A crucial implication of this focus is that Butler's work operates through the be "there that assumption can no accessto a pure materiality outside or before signification and, by extension, no access to a pure materiality of bodily fife is from language" (Kirby, 1998: 103). separate

2.2.2 The arbitrary nature of the sign: (essentialism) In many ways "the arbitrary nature of the sign" is an anti-essentialist argument appearing to imply that there is nothing outside the sign to invest it with meaning; in other words that there is no transcendental signified. At work here is the founding principle of knowledge production: the belief that experience and the 'voice' to that to is it present me, is possible and world such experiencein an exact fashion via speech and writing. The poststructural turn arrived with this ambiguity knowledge Saussure's the map of within work, writing across with its critique of humanist heart the the subject at of authenticity and self-presence. authorship and Thus, Barthes declared in his essayThe Deatb of theAutbor that "Linguistically, the I than the instance author is never more writing, just as is nothing other than the knows P. language 'subject', 'person"' (19 Outside 88: 145). instance saying a not a of the immediate moment one has no self-awareness,and one is not the central So, that that the moment. unfolds out of world when we attempt to agencywriting body, having for 'body' than this the the the rather sign of an experienceof account incommensurable between gap what is essential signified, it speaks of an In this way the sign possessesan the referent. signified's signified/perceived and So in to that it may virtually refer anything. whilst the sign arbitrary characteristic 'body' - is not significant because of its relation to the thing it designates,in a "the through is in its contained use, namely what practical sense it gains weight formal relation of sign to sign insofar as it defines a so-called sigrflifying chain" (Deleuze & Guattari, 1988: 112). The sign, in other words, performs and createsa

2 This is a pivotal question of subjectivity: "The lyric 'I' emerges as a positional relation. Its subjectivity is made in 'I' (Davidson, 41; 1986: Pcrloff, linguistic by social structure and ultimately which in speaks quoted a possible 1998: 406).

27

Tratiqs

ojflesh siriated. - arrhe-icrilure, siTn#iance & Plk-eraliýy ,

signIfied, which does not have a direct relationship with an essential 'real'. Glendinning has termed this "foundational assumption of classical humanism" as the concept of "ideal conceptual exactness" involving a "dogmatic or non-logical language, exclusion of possibilities of the phenomenon of an exclusion practised in (and thus indefinitely repeatable-as-thethe hope of 'isolating' a supposedly essential identity (1998: 77/79). same) or content" To accept the performative potential of language is to understand that the hes bringing forth "a place that allows things to in it signification of semiology happen" whilst being aware that this practice in itself "does not give what it says;it lacks being" (Certeau, 1997: 30). It thus seemsthat signification can only work in the absenceof a transcendental signified. The baton of meaning has to be passed down the signifying chain by interpretation, by interpreters like us. In an argument that rrught seem to advance the body's signification within academia,one can here bodies is through that the that it is our stress signifying coherence of society however body but The is maintained. understood as nothing a tool of its theoretical language body To illustrate, through the representation. effectively passes using the body as its medium for expression, such that language is understood to operate body for In the pre-formed ideas. such arguments neither itself as a vehicle nor languageare seen as a pre-condition of thought. The predominant assumption at immediately here that present of a should an apparent an writing utterance work be definite is and exact not one among meaning, which, more crucially, should framing knowledge but "tbe the philosophical creation prejudices many of To (Glendinning, 1998: 78). the reiterate, the philosophical injustice" prejudice, happening of things is in the passing of the baton and not the baton itself Thus bereft Guattan, like Deleuze that an interpreter's existenceis a and one can argue, doomed only to encounter a world alreadyinterpreted, seizing upon the mere one, forms don't (that of course exist). joy of maintaining these always already crafted As an aside,whose echo will return later, one can understand the insidious nature for of this interpreter's existencewithin academia, one can justifiably arguethat: becausethe ... best interpretation, the weightiest and most radical one, is an longer there is no even any need to interpret,

(Deleuze Guattari, 1988: 114) & significant silence. eminently

28

Traa'.

& VisCeraliýy ý arche-ictilure, slýgnýiance sltiated. qýflesh ,' ,s

The silence over the body as a subjectof knowledge is particularly apt. Moving it, has to on, whilst the sign no necessaryrelation anything outside that is not to say that there is no outside the sign. The sign seemingly exists as something separate from the extra-finguistic reality of matter (and I am able to write that). But, as Kirby brilliantly illustrates, the issue is not so much one of the matter of difference (the deferral but difference the the incessant the meaning) sign's more of origin of of for if there is no transcendental signified, then the stable ground outside matter, last Underwriting this is itself signification matter point there is a suggestionthat the 'sensibleplenitude of substance' (Kirby, 1998) is in some way alreadypresent to linguistics does it become to require itself not and a regime of signification brought Crucially, the the anti-essentialistpotential of sign is out of the apparent. Therefore, if the existenceof an essence,of a senseof substance. we acceptanceof take a second glance at the nature of the arbitrariness of the sign we can argue that doubt have the it actually comes out of we concerning the veracity of the reference, doubt both fact this that the is conceded and refused in the very act generative and but I that is what of referencing. can never wholly say, write, signify anything, drives me, and allows me, to write in the first place. Nothing is apparent. So when trying to call the thing we call the body forth as an object of intended language Yet find the ourselvesimpoverished in our speechand writing. capture we lapses the and interstitial misapprehensionsthat very we use cultivates in its practice designate its function. Thus the impurity of signification and the violence of languageare the very qualities that place us somewhereand allow things to happen; is (1976: It 226). has "writing Derrida is unthinkable without repression" argued as difference finds in the the repression the act of writing, necessaryexclusions,which 1998: 79). 55; Glendinning, (Kirby, 1998: judges see also inhabiting the identity it And tl-iis "radical difference between referent and signified is the site where the language to the it that signify are seeks which of world and materiality of bridge Thus, 69). (Butler, 1993: to the and conclusion as a perpetually negotiated" language; be believe do "I my problem totality can contained in not next aphorism (Calvino, 143). 1982: the unwritable" is what remains outside, the unwritten, We feel as if we had to penetratephenomena:our investigation, however, is directed not towards phenomena,but as one might We possibilities the phenomena. remind ourselves, of say,towards kind the to that we make about of that is say, of statement 29

UNIVERSITY

4) s1rialed. Trmy'qs oj.11c. - arcbe-icriture,SITnifiance& visceraljýy

phenomena ... Our investigation is therefore a grammaticalone (Wittgenstein, 1953: ý90).

2.2.3 71Wy pas de hors texte ,3 (There is nothing outside-the-text) This second aphorism serves to disinvest the binary opposition of meaning. Derrida does not here write serniologically belief in a system of meaning where -a words are the symptom of some real referent - rather he deliberately uses the root (to (to As Kirby argues, the sign of that gramme word write) over of seme mean). Derrida's 'grammatology' is informed by a context that is more than linguistic, With the implication that the world is not a part of a linguistic whole but rather that both 'world' and linguistics are mutually implicated. Therefore, the sign and the system discrete because familiar they of signification are not entities, are within the context of substance.Derrida is not sayingthat there is nothing outside the text, rather he is because 'outsid that there thetext' there is a general arche4criture is suggesting no eThis links back has to the that encompassingeverything. previous section suggested that it is the difference of matter that matters, whereby signification is grounded brute Substance is this this and woven out of unbounded plane of substance. not figured kind This as some point is of absolute exteriority. unmediated quality inference be the that there then there if is no outside-the-text amplified in can no This 'writing in the general sense' presents the principal theoretical inside either. foundation endorsed within this chapter: there is no inside disassociatedtextual loýýicwriting the world, nor is-there an interior subject adjudicating its creation. Writing emanates from the simultaneous fold of substance and thought such that any mode of arc&467iture,language for instance, "bursts the boundaries of its constitutional

articulation,

engendering a reality whose inscriptive

implicates the ideological with/in

production

the physical" (Kirby, 1998: 52). Two points can

be arrested out of this. Firstly, the conditional possibility of language's functionality being in its there a grammatical sense of play at its rests structural ambiguity, in Secondly, it hindrance heart (transparency than is more a a necessity). operational idea be the the that the clothing of or grapheme is not just recognised should (Grosz, This its 1995). is a rarely visited site, one not incarnation thought, it is it is the registry academic of recommended places; even when mentioned in

3 Derrida, 1976: 158.

30

Trwings offlesb strialed: arcbe-icriture, signýiance & Pisceraliýy

day-to-day 'real' for derided considered, it is usually ignoring the pressing struggles implicated within actual instances of social, political and economic concern. I regard this as an inefficient understanding of what is at stake because there is a here that textuality misconception the is merely one way in which it is in evidence possible to appertain a formal understanding of text, albeit very pervasive and belief, This that, in effect, Derrida is suggesting that there is reactive response. Derrida's dissolution 'real' the text the the ignores nothing outside accent upon of dissolution This 'text'. the is conceived via the conception that the world is versus difference, forms (arche-ioriture). the trace, produced in or constituting all of writing This is to say that the immersive gesture of folding, or the happening of the immediate moment, implicates simultaneously object and subject, Writing and frame theoretical the that signifying polar opposites seemingly substance, and be dissolution Whilst 'real'/'unreal' the there is a said of equation, it can argument. because have differ different they that these that there are modes of writing; and from fact (aside the that everything unique capacities and qualities in performance if: has before). So What different to gone we can ask, what next is the book should be the written counterpart of the unwritten does be not exist and cannot exist what world; its subject should felt by but that is whose absence obscurely except when Written, (Calvino, 136) 1982: its incompleteness? own which exists, in

further Derrida's use of the term of supplementariýy orientation on this assists point. When talking about the supplement Wid-lin the act of writing you can suggest Husserl's Firstly, to think sbowa pure selfthings. struggle of two can you of one by language face to it possible the seems the which extraneous of in present origin hence language, is The supplement, in this case seen as achieve such a presentation. Because there. an unwanted addition incidental to the pure self-present world out of this inside/outside

split, typical of the phenomenological project, self-present

deferred, an ironic state of affairs when considered alongside origins are infinitely doomed The "phenomenological to belief is enterprise real world. this in an ideal itself because 'the Min be for tbemselves, thing failure is gs no return to the there can , by The is 1999: 24). (Howells, itseýf tbin the additional concealed always concealed... ,g supplement.

31

Tra(itýTs offlesbstriated:arcbe-icrilure,signijian6e & viscerahýy ,

Secondly, in a reversal typical to Derr1da's logic, the supplement becomes essential to the very thing it is deemed to contaminate. Again this is a demonstration of the fold of writing as it emerges out of the unbounded MiX of thought and substance.Akin to diffirance,the supplement is thus a way of referring to an unacknowledged process of substitution. For example, let us consider the in the it is performative terms: the notion of present moment as understood driven Presentis so excessiveand out of an incessant logic of the ongoing that it is be through substitution; it can only necessarilyapparent only apprehendedthrough fact breathing, Such (talking, practice, in practice a any a supplement. Writing etc), being becomes it. the part present in immediately a of simultaneously a part of Whilst grammatical logic notices that this last sentence in effect says nothing being it that the than in red a similar argument colour nothing more was here hes but in the the senuiologythat illogic not in my writing simultaneouslyred from from defining In the this the substance. not world, and writing separates word for the complete self-present supplement as an extraneous or inferior substitute it real, one announces as that which shows up the essential insufficiencies of 4. "there In Derrida's to is never a painting complete words whatever it is supposed itself The because there thing is no possibility of original of the thing itself ... .... the image is the supplement" (1976: 412). It is supplementarity itself which is how being the the in practice midst, and caught in originary: origins are occasions, This interstitial "the finds this point is promise or in way. oneself caught up one language is trace that or speechor presence not yet profile of the singularity of the dialectical logic" (Derrida, 79). 1995: binary, beyond oppositional, or nor absence, In this way the tra(in:g of the point is the perfort-native. different Modes of arche-icriture angle upon which one can apprehend the offer a by is that csame)'; the that impossibility impossibility, this is conditioned it same yet 'same' Shding be the as selfthe same again. across one can read nothing can desire begun. The has loss to make the already always of which presence, apparent by ironically body, through the is present cut self-apparently our our materiality, impossibility to desire that with which one coincides Uohnson, 1987: xi). Merleaudoes body is that that the Ponty alluded to this when arguing not entail a a presence if is but immediately the real arises: world not self-present via the supplement, 4The moral question once more imagination. for for This through this as respect someone else, supplement our works then one can easily read is if (Derrida, 1976: 270). there paradoxical have a certain non-identification this respect we can only

32

Tra6iq, f ojflesh sln*aled.ý arche4criture, sýTnffiance& viscerafiýy

possible absence insofar as it can never be 'completely constituted' as it is that which seesand touches (1962: 92). This has its parallelsin the conceptual possibility of arcbe-iaiture: Without the possibilityof diff6rance,the desireof presenceassuch That by find breathingits space. means the sametoken would not that this desirecarriesin itself the destinyof its nonsatisfaction, diff6ranceproduceswhat it forbids, makingpossiblethe very thing that it makesimpossible.Perrida, 1981:143)

Whether you are immersed in speaking, writing, dancing, tasting, breathing, feeling, viewing, composing, painting, shooting, singing, screaming etc, out of the fold herald these single modes of arcbe4nriture express and one of the qualities that make up the moment. Such expression never encapsulates the totality of the differential itself, than the tracing it moment, and yet articulates more moment a of between "an inseparability representation and substance space/time which presents that rewrites causality" (Kirby, 1998: 61). In summary, these two aphoristic accounts uncover the assumptions that split by ideology to phenomena way of inhering of ideal exactnessand a a philosophical Without re-presentation. such assumptions one acquires an methodology of both habit "at the rule and the event, that thinks thinking once alternative of line This (Derrida, 1976: 119)'. of argument sets up a concept and singularity" by incommensurability threatened threshold of a conceptualisation generated and delimitable body the entity. of as a That was a way of putting it - not very satisfactory; Leaving one still with the intolerable wrestle ... With words and meanings. (Eliot, 1963: 198)

5 In a similar vein, the task here is to tease out new words that might possessthe different qualities of the body; last belong T. S. "last Eliot language to year's said year's words rarely means anything - as after all the existing language/And next year's words await another voice" (1963: 218). Academia is guilty of being silent over the feeling, is 'body', in fluid, the fleshy, that sensitive, channelling, so, many excitable matter organic, visceral, language" (as by 'contemporary "last Eliot's one could read provoked instead year's criticism' any of ways, forever it). be Crucially, the and ways we corporeality understand our awaiting of we will serious questioning that other voice.

33

Tracin* Ts ojflesh strialed.- art-be_j,-rilure, signýiance & ViKerafiýy

In the next section I will attempt to examine the abstract social and cultural trains of thought that circulate around and figure the body forth. I will do this by exan-uningfour signifying strategies.The first continues within the siignifying 11 regiime looks and at the way we assume the body's presence through speculation (in the senseof both literally sighting the body and in the terms of conjecture). The second briefly examines contemporary strategies by which the body is countersignified relative to these speculative, self-present assumptions, writing the body as an indifferent individual, as mere number within the societal machine. The third strategywill (as a foundation for the fourth strategy)examine the primitive serniotic that heralds the body as an originary source. Finally, a post-signifying regime is advanced that offers the space to open up awarenessof alternative performative non-representational ways of configuring the body, a tactic that explicitly works out of a conception of the world as written out of the arche-ioiturethat folds thought and substance.

SECTION TWO 2.3 Signifying

machine - Speculating (on) bodies

The spectacularbody is both the symbol and the instance. (Brooks, 1993: 5)

On the Renaissance stage boy actors played women (see Stallybrass, 1991). The body is here rendered, or gendered, visible through prosthetics (costume or here? But The is otherwise). actually sighted audience must ýbeculateupon what these bodies, and immediately it is apparent that there is unsettling play at work boy has has be his 'part' the that the to one concerned with actor which is not in body (the here between is The this site of indeterminacy itselo and the part! play fixation. difference inconsistent Such (sexuality itselo that produces our sexual has have been Gillian Rose addressed within geography. anaton-ucal considerations transposed such speculation and placed it at the very heart of knowledge having Irigaray's imaginary by "certain the notion of male as a siting production "bound verticality, solidity" into male topography, of one-ness, all of which is 'morphology"' genital

(1993: 66). Thus, Rose argues, this concept of morphology

demonstrates the symbolic importance of anatomy as it inscribes the body into a specific

cultural

coding, namely that of a masculinist 34

discourse. Yet

such

Tratingsqljlesh strialed. & visceralýty - arrhe4criture,siTnifiance ,

pronouncements covers over the indeterminacy that gives rise to such speculation. In other words, there is a play of meaning manifest here which operates a spacing between that allows for movement and articulation (see Derrida, 1981). In a similar

Restoration boys be the vel n, on to revealed stagewomen played who were women. , For example, in a bed scene', Mirtilla, in love with cross-dressedOlivia (crossdressed as a man), leads Olivia to her bed. Enter the Prince, who, in love with Mirtilla, is enraged and grabs Olivia, upon wl-iich "The Prince boldin Olivia by the bosomof hercoat,herbreastappears to Mirtilla": MirtiHa: Ha? What do I see? Two Female rising breasts By heav'n a Woman. (Stallybrass, 1992: 64)

As Stallybrass says "wbat is seen is most vexed, being the point of intersection between spectatorship, the specular, and the speculative" (ibid). There is an inherent danger within any emphasis on the way that the body comes to signify far Pivoting in that the to too something sees neutering of our sexed corporeality. this direction however maintains the binarized categoriesof either male/female or breast And body the is important yet an space essentialist/ constructionist. host There topics: is reproduction, maternity, abortion, etc. of symbolising a whole body balance biological the to and anatomical accounts of a need with their vital As has body Grosz "the transformations. argued, socio-cultural configurations and is the unspecified raw material of social inscription that produces subjects as subjects kind This kind' (Grosz, 1995: 32). particular question of a arisesout of a of aparticular body that the the as neutral raw matter problematization of assumptions Write body is fact the that the consistently caught within citation which itself is ignoring As, not neutral and only announcesitself Within specific citation- Situatingactivities. for example, the social cultural backdoth composing the codes of, for instance and for our purposes here, the Renaissanceand Restoration stage.

6 The object of the bed in theatre is a focal point of scenesof sleep, of sex, and of death. But also there is a focus so obvious that it resists interpretation as we question what the sceneis about: the bed draws attention to The bed is being thus process gender is a where made staged. visible and crucially undressed, undressing or body, deliberate the the of spectatorship easy a stagecraft presenting the crucible of therefore unsettles representation.

35

& iw*sceraljýy Tracingsojf1esbsin'aled. - arcbe4ailure,siý'gnýiance

Are we the points that organize the manifold into a field that we understand? And what are the positions of men and women in relation to the production of knowledge? Within the fold of this question the strategy of the screen becomes apparent. The screen, otherwise known as the corporeal schema or body image, is the mediating term that enables us to unite a consciousnessthat is not spatially located to external objects that are located in space. This is not merely psychological, for it suggeststhat "the body 'knows' what its muscular and skeletal actions and posture are in any movement or action, quite independent of any knowledge of physiology or how the body functions" (Grosz, 1994a:91). But the become 'How body distinguished from question of we aware of our as others, and in other words, locate our experiences? ' remains. To recognisehis (a child)imagein a mirror is for him to learn him By meansof the image taken that therecanbea viel, ýPoint on ... he becomescapableof being a spectatorof himself. Through ... the acqwsition of the specularimage,the child notices that he is for himself for (Merleau-Ponty, 1962: 136). and visible, others

Significantly, Grosz argues,Merleau-Ponty sites perception in the no-man's-land between mind and body, empiricism and idealism, pure physiology and pure binary Thus, that it precedesand exceedseither psychology, noting once opposite. for being there in is a sense of imbrication uncontainable in either sphere again (pure physiology or pure psychology etc) mutual implication is given to both terms. Merleau-Ponty's phenomenology is consciousnessincarnated such that the mind is 'beingbased the is subject a on corporeal and sensoryrelations, and embodied and The body (1962: 3). to-the-world' that is neither pure exteriority nor pure interiority is not therefore merely the work of a pure, knowing subjeCt7.Yet there is the implicit supposition of a separate bodily sphere and a conceptual one. The demonstrates illustration limb is that the as it a prime phenomenon of the phantom body is an active entity that gives form and senseto its own component parts and Heideggerian In Merleau-Ponty's terms, the ownrather to its relations to the world. body "applies itself to spacelike a hand to an instrument" (1962: 5; seein relation flat, here Euclidean Space 1991). Dreyfus, Heidegger, realm, is not a neutral to it (Merleaulimited "not is to them" to time, passively space submitting and actively assumes 7 Movement Ponty, 1962: 102).

36

TratinTs ojflesb strialed. - arche4oilure, si:'gnýfiance& visc-erafiýy

becausethe body's application to the half is (the half its realization of other world being the world itself, the material objects). The point (subj ect) organisng the in some way to Euclidean manifold (a topological space/surface that is -related space) into the field. We manifold something so as to see it again, so to have multiple forms, multiple folds of the same: flat, neutral space.The mathematics of possibility may allow space to have many functions, but these are co-ordinated around the sameorigin, us.

2.4 Counter-signifying

semiotic - strategic transformations

The glanceup from the screenhas replacedthe inquisitive look The the past. of screenrevealsone's past, one's data, a page from one's life, not the human face.On the screenis your infon-nation, Nýourcredit history (surpassingyour judicial history in importance), without which you don't quite exist as a trustworthy citizen (Silva, 1997:90).

The body in late capitalism is constantly territorialized by the abstract flow of desire desires Is the this the market. numbers, money and a citizenry we of the foisted body here, for body The the it is economic, global majority on upon us all? by, which such numbers are pinned, is represented or indeed reduced to, a sign that distribution body integrates the that marks a mobile and plural conquers and forming a mixed, distributed serruotic (Deleuze & Guattari, 1988: 118). This doubt body the towards the and ambiguity of semlotic prohibits any embrace - not by but do. to that we many of us possesscertainty we are warranted society pretend Reduced to a sign like a number, the body is figured within this 'normality' of because is it works Within the construct of certainty that supported and promoted does have? And body What the to what role models are we allowed capitalism. become becauseof this? In other words, the body is prized as an extension of work for production. For example, many commentators have described the gymnasium These Meccas exemplify the social new as society's newest place of worship. dwelling 'civilised' spaces,which, in the planned exhibition mentality of our more of cleanlinessand order, police and exerciseour corporeal state and many corporeal be both Body to the the in pristine, political in are as well as aesthetic spaces acts. body (via So, to the in appealing our commodified senseof self, images of sense. 37

Tratin gs ojjlesh stfialed.- arche-ictiture, siTnifiame & viscerahýy ,

magazines,billboards, TV and film) show the corporeal state physically honed for efficiency and preened for apparent purity and success. In this sanitised state the individual as a body is reduced to membership in a mass; in terms that Adorno uses, one re-emerges through a technological reconfigurement in a process of subjection that strives towards "the indifference of each individual life that is the direction of history" (1973: 362)'. Weber has bureaucracy "the that the remarked more perfectly is 'dehumanized', the more from business love, hatred, it in succeeds eliminating completely official and all purely personal, irrational, and emotional elementswhich escapecalculation" (1948: 216). Keith Tester unites these opinions under the umbrella of Benjamin's senseof the loss of aura exhibited in the technological approach of the C20th, the apogeal being (1998). First The central tenet of Tester's argument is World War the point that the problem of the body has "emerged out of the wreckage of the aura of the individual"

(1998: 17). Beginning with

Benjamin's commentary upon the

technology of photography, the images rendered of the body are transformed In that them. this way the the technology the transformation of captures alongside body, is configured within the social and individual, specifically centred on its In the time. particular, the progress of photographic cultural processes of body 1880, the technology after of its aura - that which is about the unique strips differences between durable "the things and the clothing of that and and the difference in an almost magical quality" (Tester, 1998: 19). The advent of this her body his or technological changecharacterisesthe individual's relationship With through the sense of the samenessof things at the expense of the singular and From Benjamin's 214). (see Benjamin, 1992: the photograph of of analysis unique Kafka, Tester sums up this state of affairs: Kafka was forced,thanksto stageprops,genreconventionsand the boy like look to exactly everyother requirementsof the technology (1998: 20) his has time. this taken at photograph who

One can read in for photography the late c20th technologies of surveillance CCTV, individual credit data information, National Insurance number bodily And loyalty the identification, indeed sartorial rermt policing cards, etc

8 The technologies bodies compounding

of mechanization

increasingly seem to predetermine

their status as indifferent

individuals. 38

the rcpresentative character of our

Tratin gf of llefh f1tialed.- arche-eý-rilure,fgnýiance & iifceraliýy ,

expression in the workplace. The body is transformed into a sign that operates within the cogs of the cultural and soc*al i mechanisms attuned to economic globalisation. There is a danger here of eliding the material practices that underwrite the surface appearance of people at work. So, wh-ilst the destruction of aura have body I the the reduction which counter- signifying of suggestedis exhibited in to a sign - expressesthe transformation of tradition and the patterns of living, one distorted, freedoms in "announced the can witness intimations of new comical and (Caygill, 1998: 32). In summation, terrifying patterns of modern experience" even the transformation of experience is always in train, and the counter-signifying body forceful direction in the the processesat work on exhibition of are a which we body. heading. however, Crucially, tl-iis the counter-signifying sen-noticis not are

2.5 Primitive, pre-signifying

semiotic

So 9"Ven am I to thinking With my blood9 I have that within which passesshow"'

How is it that our bodies cause us embarrassment?Why is it that there are fines drawn that separateour visceral, humoral, sensate,fluld experiencefrom the spaces for discursive because Does want of a structures, society operate only we inhabit? better description, cordon off much of the living, messy, aqueous matter that like Mary body? For where writers example, this permeatesacaden-Uia, exhibits our Douglas (1984) write an ethnographic distinction heralding a social and a physical body. We are embarrassedthen becausespecific historical and social forms frame body. fluidity for, the the material and visceral physicality of the place of, and places This is a Cartesian writing, one that seeks the reduction of the physical from the body into that the primitive semlotic turns a that messy physical, social, one Cartesian It the the emergence of to is split, control. alms society civilized body distinguishes the thus see the one can primitive; that as modernity", 9 Beckett (TextsforNotbing, 1995: 128). , 10Hamkt Act 1, Sceneii, 85; "Hamkt is full of some stuff that the writer could not drag to fight, contemplate, or bodies, fluid, The 48). Eliot, 1975: (T. S. our material of visceral affections and sensations manipulate into art" because because is into it fight dragged into through be is art already, art, so or manipulated that which cannot it the fold removes such division. hysteria his Histog Sexuaký, (1984) (cg Doubles') (1973) ('Man Things Order the The of and and of 11Foucault: of it). body humoral to the master the need and women equated with

39

Trachýgsojflefh striated: arche-icrilure,siTnýiance& vjsceraljýl ,

anatomical theatres of the c16th splitting the fold of thought and substanceby clinically opening up the humoral physiology of our corporeal innards into a visible, 'knowable' spectacle.Felt speculation is gone and the ambiguous humoral emotions found are out; a trend that reachesits apogean manifestation in the psychological discourse of shame publicised by Freud. The body is now primitive and the social civilized. This primitive body is overcoded, the substanceof its expression,multiple facing and polyvocal, off the territorialities of the State apparatus. However far a man may go in self-knowledge, nothing however can be more incomplete than his image of the totality of drives which his being. He can scarcelyname even the cruder ones: constitute their number and strength, their ebb and flood, their play and counterplay among one another, and above all the laws of their nutrient remain wholly unknown to him. (Nietzsche, 1982: §119)

However, as Douglas herself suggested "there is no reason to assume a primacy for the individual's attitude to his own bodily and emotional experience" (1984: 121). Yet in performative

terms the place accorded to the fluid, primary body

hermeneutic allows a certain set of observations and scenes. Thus, in The Vinter's Tale (Shakespeare, 1999), Autrolycus ambiguously perforrming a status below and farruly Perdita's himself from their company above adopted of shepherds, excuses by pretending Urinary need: I Will but look upon the hedge and follow you. (ibid)

As Paster comments (from which this example has been taken) "the phrase demonstration of rank, enacting more verbal refinement works as a perlocutionary from Autrolycus and arguably more of a desire for bodily privacy than would have been expectedin an itinerant peddler - or from a fellow rustic" (1993: 27). ... In vernacular sixteenth and early seventeenth-century speech body heart, liver, the the womb, and writing, whole interior of bowels, kidneys,gall, blood, lymph - quite often involves itself in the production of the mental interior, of the individual's (Maus, 1995: 195). private experience

40

fiance &' visce Tracingsof leshstrialed. siT*ni - an-he-ictilure, raZiýy ,

The body is "at once the subject and the object of pleasure", the uncontrollable (Brooks, the mortality" agent of pain and the revolt against reason - and vehicle of 1993: 1). The body revolts against reason, against a singular conception of what it Nevertheless, body functions the entails. as an attractive nodal point on which to hang discussion concerning the theorization of performance, as art or in start and 13

bringing in And First, terms this to two problems. points it social with a whole . host of questions that unsettles determinate argument, the body destabilizes neat language conclusions and appropriate are continually undermined. Determined because there are attempts at coagulating the potentially statements are only so differences flow beyond that throughout and quiver and volatile and unstable what feels like our embodiment - again it is an exhibition of that apprehensivehope of language. body, Second, the or any matter, Within we experience capturing cleanly the body as being inalienably our own, and what goes on in and through our body daily, in This 'goes then that to is manifested our is something us Without saying'. habitual and involuntary routines, all which goes to persuadeus that the body "falls beneath the threshold of significance into the domain of the merely natural" (Paster, 1993: 5; see also Paster, 1997 and Hillman and Mazzio, 1997). The idea of harking back to some this primitive state is not a temporal or psychological but rather a statement that acknowledges the essential, pure amniotic origin know, for to that there truth that is representation; is something unfounded urge that there is a naturaltruth to be discovered. Whilst this primitive conception of the body is the being open to C'thecoils of blood the the the intestines, stream, and the involved tremors of quick current of denied by 44), 1954: fibers" (Nietzsche, the proud remove of all of which are the bodily between discourse, the interaction selfthe si19nifying stratifications of "takes discursive its place in and through culture or its realization experience and leaves This 4). (Paster, 1993: ideology" us more politically conceptualized cognate, framework discursive does 'when influence our the the of pressing question with from You ' bodily the stretching imagine a spectrum can experience? awarenessof immediate encounter like a contact improvisation of two bodies reading off each

be has importance body interesting to that the spectated performativc of as a spectacle 12This points up the fold. body by a equally -a his his his instrument, is body that medium, of creative expression a chief means 13"The actor's constitutes have (Roach, 1985: 11). alike and spectators readily performers agreed" commonplace on which 41

*gnýiance d) strialed. & visceraliýy Trat-iqs oj.11c, sl, - arcbe-icriture,

other through movement and sensorary connection, to a level where the body is madeby the "trans substantiation achieved by the hidden persuasion of an implicit pedagogy,capable of instilling a whole cosmology, an ethic, a metaphysic, a political philosophy through injunctions as insignificant as 'stand up straight' or 'don't hold knife left hand... 94). (Bourdieu, 1977: Instead of looking for the your in your acculturated, referential aspect of our materiality, one might propose a refigured flows, that the ontology speaksof surfaces,intensities, colours and rhythms of the body at the moment it comes about and unfolds. This is to suggest that what is less inside is neither more or revealing than what fies at the surface. This is to body is that the accept capacities and conduits of our internal whilst anatomically body love, the to to pity, to take in the other is measurable capacity of our As Scarrywrites the "interior of the body carries the force of incalculable and vital. feeling, (1985: 215): instinct, confirmation" mood, tendency, aura, rhythm, Vitality lives body-grammar This to all communicate our ourselves. of our viscerality is the body it both (in through the takes place communication of our senses, senses)and become be in In immediate to terms of the moment, able affect and affected. we the place of the body in an event, this quality heralds signification; it is not because looks final Thus the section at post-sign1fyingregimes. of signification.

2.6 Post-signifying

regimes: "we must consider very diverse

domains simultaneously";

or the sign of Jonah

One sense and another in a common flesh. (Grosz, 1994a: 95)

Invisible The Visible (1968) Perception (1962) Between ThePbenomenologv the and and of Merleau-Ponty is noted for a shift in focus away from the corporeal schema by flesh "thinkable the itself', Without towards the more earthy concept of (1964). In "exemplar in this, sensible" name philosophy, something existing as an Merleau-Ponty presents "the condition of both seeing and being seen', of touching and being touched, and of their intermingling and possible integration, a folded both thing subject and object participate, a single commonness in which back on itself' (Grosz, 1994a:95). 1 want to examine the implications of this fold, linking the fold of subject and object with the notion of being able to see framed, it folded because the is culturally along experiential with something being drive be The fold thus to this present and of seen. materiality of seeing 42

ýiance &' Tra67'nTs si arche4ailure, gn stnaled. ojflesh msce ralio ,

courses through every moment (my writing, your reading), and this energy etches out the diagrammatic transformation, that in confluence, presents to us society and society to us. The weft of this fold speaks of the first problem of Deleuze's philosophy that I want to signpost in the way it leads us into a certain conceptual for doing method research and thinking academically.

Problem

1: The abstract

machine and diagrammatic

transformations

So, on one side we have the machinic assemblage,flow and bodies (physical intensity of systems), and on the other, the formalization of expression (semiotic systems) in other words, form, the sensing and the making sense,the a content and a The the referential. experiential and contents are not the dependent signifieds on the signifier; they are not the objects of the subject that enunciates. These two sides exist in reciprocal presupposition - the seen and the seeing. The conceptual architecture of this reciprocal assemblageis caught in the have Deleuze Guattari termed the abstract concept of what and draws In the machine. effect, abstract machine a single plane of between planes of expression and planes of content. consistency It is not physical any more than it is serniotic, it is diagrammatic, by by by function, by "it substance; not matter, not operates and form

functions are not yet 'serruotically' formed, and matters ...

formed" (Deleuze Guattari, 1988: 141). 'physically' & are not yet In other words, a function has only traits of contents and between which it establishes a connection - the expression happens that matters14-The connection is all and it is what diagram is therefore: but longer a map, a cartography archive an auditory or visual no field. It is an abstract the that is coextensive with whole social functions defined by informal It its and matter and is machine. distinction between form terms content and makes no of in discursive formation and a non-discursive expression, a

14A matter-content having only degrees of intensity, resistance, conductivity, heating, stretching, speed, or having 'tensors', in function-expression only as a system of mathematical, or musical, writing. tardiness; and a (Deleuze & Guattari, 1988: 141)

43

Tracigs offle.,-hftriated.- arcbe4crilure,siT gnifiance& visceraliýl ,

formation. It is a machine that is almost blind and mute, cvcn though it makes others see and speak. (Delcuze, 1986: 34)

To give an example,think of a potential diagram of the transformations occurring within primitive societies:there would be a network of alliances(forces gifts and counter-gifts) defining a practice, proceeding or strategythat come together to form a systemthat would clearly be in perpetual disequilibrium.

2.6.1 Antinomies surrounding

bodies

Yet in the act of writing this out in a meaningful way, we are still trying to square the circle. Our apprehensionsof the quixotic, unstable tracings of the material body by fluidity If body folded is the the are always shadowed antinornies. material of through our socio-cultural discourse and practices, from whence comes the affect lies Either lies the their immediate of moment? power in signs and relations, or it in force such that signs can never on their own create power, create affect. If the former were not so power as force could not be controlled, orientated, or determined as tl-iis would imply subordination to a sign system. Power would lies have If to there to in signs alone circumstance. power operate at a whim would be some capacity in the sign capableof quashing force - yet surely only a force can fact, direction; Force is not a gross raw energyWithout neither oppose another one. does a sign have the capacity to signify by itself. Rather than suggesta synthesis here one path is to argue that "there are forces that make the sign mean something for someone" (Gil, 1998: 9) - force can only exerciseits 'force' if it is translated as be does This through the serniotic sign system,rather it translation need not it so. following lead be the tacitly of another, or, of someone picking up might someone dance, There flow the rhythm and are apparatusesand etc. of movements in a forces in that particular ways; in a sensethese too are operators encode assemblages Thus, "while energy is related to the pure positivity within the particular moment. fault lines flux in force flux, this produced in implies and particular points at of a by body (Gil, The 1998: 10). some agent" is the perfect which energy is coded fault lines: half for half feeling these them their cause. causing and recording surface Making something of this syntacticalposition of the body as that piece of grammar 44

Tra6-in gs ol.'//eshflrialed.- an-be4ciiture,signýfiance& Pislvraljýy ,

which makes connections leads us into the question and the method of asking 'What can a body do?'This is the second Deleuzian problematic I want to turn to. Problem 2: What a body can do I have alreadymentioned the fact that we do not have a culturaltheoretical languageattuned to the affections and sensationsof the fleshy body, With this in mind I want to turn to the potential of the languagepresentedby Deleuze and Guattari in their comprehension of the body15.ý starting point in unpacking the esoteric pronouncementspresentedby these two thinkers is this Spinoza influenced quote: We know nothing about a body until we know what it can do, in other words, what its affects are, how they can or cannot enter into composition with other affects, with the affects of another body, either to destroy that body or to be destroyed by it, either to exchange actions and passions with it or to Join with it in composing a more powerful body. (Delcuze & Guattari, 1988: 257)

Buchanan has rightly argued that this way of understanding the body attempts to think an ethology (action and affect) rather than aetiology (cause and effect) (1997a: 74). This ethological accounting configures the body as aposten'on* affect of an encounter that it has the capacity to carry out. The body here is not presumed to be a knowable object but is understood as a part of a subjectivity that emerges out of the practice within an A event. result of such thinking is to be built off the premise set by following Deleuze from his the in out revised second words book on Spinoza: We speakof consciousnessand its decrees,of the Will and its effects, of the thousandwaysof moving the body, of dominating the body and passions- but wedonotetenknowwbat do. body can (1988:18-19) a

15One of the most controversial conceptions they present is that of the 'body-without-organs' (BwO). I do not in for, debate this Buchanan has this thesis, of the concept significance to as shown, the BwO "cannot be the wish basis of Delcuze and Guattari's understandingof the body, becauseit is in fact a consequenceof it" (1997a:73).

45

& Tra67'nTs siT*nýiance arrhe4ailure, ojfleshsitialed. viscerakýy

The body M this light is the new model for philosophy, the new centre for understanding human geography, and this philosophy for language needs a new understanding the and a new method practical awareness that it instils. I don't want it to be misunderstood that the new here is a better way of writing the body, the assumption there being that I know what previous body have been trying the conceptions and written accounts of to say, and that the alternatives that are to be proposed complete the task. So, in effect I want to distance the following discussion from teleological assumptions concerning knowledge production, the suggestion that any new claim places us further along the path towards an unproblematised notion of truth. Not dint by just of writing this within academic discourse these claims are necessarily tin-uted because they are necessarily language the implicated in and written out of constructing body. the previous conversation concerning

2.7 Conclusions:

What meaning in her breast?

In the last book publishedduring his lifetime, Italo Calvino createdthe characterof Mr Palomar(namedafter a famousEuropeanobservatory,or a pun on palo (stake) fluid, (sea) indicate to ample,infinite continuity). and mar a solid stakecontactinga In several,highly orderedmeditations,Mr Palomarpresentsa man "whosethinking seeksorder, meaning,purity, and control in a universethat is random, contingent, labile" book (Carter, In 1992: 139). the the repeatedword of complex, and - in the arche-icriture of one suchmeditation: Mr Palomar is walking along a lonely beach. He encounters few bathers. One young woman is lying on the sand taking the sun, her bosom bared. Palomar, discreet by nature, looks away at the horizon of the sea. He knows that in such circumstances, at the approach of a strange man, women often cover themselves hastily, and this does not seem right to him: because it is a because for the the woman peacefully sun-bathing, and nuisance feels he is because the taboo an intruder, and passing man like in acting against nudity is implicitly confirmed ... ... display I a refusal to see; or, in other words, I am finally this, but

46

Traaqs qlj7ejh strialed: arche-icnture,signýiana & vzscerahýy

reinforcing

the convention

that declares illicit any sight of the

breast (Calvino, 1985: 9).

Mr Palomar walks back passed the female bather, this time trying not to look breasts. denial her Ironically, breasts this consciously not the conscious at of presupposes an undue concern with them, thus, in this second encounter he optically peniates the entire scene,including the woman, with "neutral objectivity". This done, he further contemplates what has just gone before and becomes last has female level the thought that this this to the aggrievedat reduced encounter breasts. he bather Thus things, to to the of a mere pair of endeavours pass once bosoms, this time the more, offering a noticeable and appreciative glance at due, behind latest, The them their this relative special value. intention according female bather's bare (male) performance of an encounter With a most perfected bosoms, is to relieve the breasts from the semi-darkness of centuries of "sexiomartiac puritanism" and to instead enact, in a open-Minded manner, a display haloed (ibid). for "cosmos those the that cusps" rotates around of gratitude However: The moment he approachesagain,she suddenlyspringsup, huff, herself and goesoff, shruggingin covers with an impatient irritation, as if shewere avoiding the tiresomeinsistenceof a (Calvino, 10) 1985: satyr.

There is a duration to this process of signification: the bare bosom is not always latent in Virtuality rendered a specific essentialmanner, it possesssimultaneously a due But to a certain assemblageof at a given moment, of all possible presentations. have I This dominance. holds the point is relative players one serruotic regime wanted to make. Severalpoints coexist in a given individual or group, which are distinct in and not alwayscompatible always engaged several linear proceedings.The various forms of education or cnormalization' imposed upon an individual consist in making him or changepoints of subjectification, alwaysmoving higher, nobler one in closer conformity With the toward a from Then the point of subjectification issues ideal. supposed function of a mental reality a subject of enunciation, as a 47

rUNIVERSIOTY UNIVERSITY OF BRISTOL ,L 2M

M

& vifceraljýy Traciqs ojj7efbfftiated.- arcbe4crilure,fýgnýiance

determined by that point. Then from the subject of enunciation Issuesa subject of the statement, in other words, a dominant bound to statementsin conformity with a subject reality (Deleuze & Guattari, 1988: 129).

Can the breast be posited as prior to the social constructions placed on it prejoratively male constructions; or, is identity determined by the biological sexing body breasts? (optically) by Taking the the the rendered of presence of explicit latter point of essential sex identity the breast renders the body as the single forms There 'female', thus trumping is in this category all other of identification. beach layering figurative Mr. Palomar's story of of signification and walk, a representation. In order to reach a certain state of awarenessthe world is rendered through a flow of interpretation, which at the same time is altered according to a So, flow (Deleuze Guattari, 1988: 139). & to whilst the set of circumstancesalien its "body appears to have an essential truth which will overcome all disguise" (StaUybrass,1992: 82), the signification of the sign of the breast is usurped by the discourse. In by it to all of this there is a socially constructed meaning accorded danger of hoping to locate the 'truth' in our bodies: a failing that blinds us to fact limitation that the moment of embodiment is a moment of where we encounter the dangerous bodies the through interpretations always-atready applied to our desire. significations of prejudice and Perhaps, what is required is a humble senseof pragmatics: a belief that there is CCinvariant immune no

from

transformation"

(Deleuze

& Guattari,

1988: 139).

None of these semlotics or regimes suggested can be identical to the condition their possibility.

You don't represent the body, the body can not be represented:

for the to circulation try moment, a shore up, might rather you sorrow

been has that experienced, or rage,

signifying process

of

diagrammatic imperial

subjectification transformation.

signification,

&

Guattarl,

You cannot identify

field of a

As a postmatter.

instead the and enacts

regime this opposes a sen-iiotic of signifiance (Deleuze

flow of energy, and

in to order to intimate

liquid fleshy, being sensual, that is a part of our

sensibility

of

1988:

119) and

that

of

a

one regime of signs, that of an

for "there is such a rruxture within

the same period or same

language, than that period or more people, no a given say can that we people flight lines dominance (ibid, New 119). of of a certain regime" the relative assures longer blockage be by to no of sign, chased a negative positive a given are now 48

Tracings ojj7esb s1rialed. - arche-icriture,SlSnýiance& VISt -eraljýy ,

(scape-goatism'. Thus, at a ýýivenmoment a people (an event) effects a certain assemblagethnt n,,-11es the relative dominance of a certain regime. Tomorrow it will probably be different; if I did the painting again it won't possessthe samehue, the relative dominance of pigmentation and sensation is different; or what if Mr Palomar's second stroll passedthe naked bather is different from the first? There is no longer a centre of signifianceconnectedto expanding circles or an expanding spiral, but a point of subjectification constituting the point of departureof the line. There is no longer a signifier-signified relation, but a subject of enunciation issuing from the point of subjectification and a subject of the statementin a determinablerelation to the first subject.There is no longer a sign-to-sign circularity, but a linear proceeding into which the sign is swept via subjects(Deleuze& Guattari, 1988: 127).

49

CHAPTER THREE

Choreography

of affect and movement - the territories of

Body-Mind Centring This music rings out, thunders, vibrates Without speaking, declaims being makes noises or able to make out without us it is it it that to to is is passion, what seeming want say: fluctuating, ? Light, it thunder ecstasy,pain, mobile, ... dancesthe entire range of the possible. Using notes that fixed have meaning, the music expressesuniversals never a before 1995a) (Serres, that come words with meaning.

How are the different members of the body to be agitated? (Garrick, 1744); quoted in (Roach, 1985: 10)

Centrin ler7ilon*es Choreqrapb),of afjýd and movemew The oj'Body g -Mind

3.1 Introduction:

spacing through movement

By journeying both deep inside to our own experience and out through our own perceptions to the world we live in, we can begin to see who we may truly be, beyond conditioned selfimages and habitual patterns of thinking, moving, and living. (Hartley, 1995: xlx)

We need to work on new ways of apprehending the bodily experience that is our fife, do body, to this that this the reveals everyday and emphasizing with a sense that this forcefully shapes the knowledges that we create and five by. I want to distinguish tl-iis apprehension of bodily experience from accounts made by This the term means aiming at apprehendingthat academicswho use embodiment. beneath signification, that which subtends the word and that which which is before (the referential making meaning performatively strikes across and comes fact is have done). Whereas, the that embodiment about just senseof which you that when we encounter another body through our body we always-alreadyseeit, name it, and anticipate its expressionsl: The body's articulation to the world is only possible under two be has to oriented, if we understand the world conditions: it divided up into categories, domains, spaces;and it must allow for the circulation of the body's energy into the world via different to specific apparatuses, which owe their own existence bow, to the spinning wheel, and to the this applies social spaces: for to shamanistic procedures communicating with the animal (Gil, 1998: 152) world.

In this I am primarily concerned with a way of looking beyond embodiment body's the movement, towards an appreciation of the subjective experience of that I towards thoughts a sensibility to space of our move rhythm and energy. want 1997) (Albright, 'kinesthetic, of aural, somatic and spatial sensations' attends to the

1For example: "The body is always-alreadyengagedin a specific social situation by means of techniques or rule body's In historically the relations with addition, and geographically contingent. are which practices ... governed 45). by 1996: (Crossley, bodies practices" such mediated are always itself and with other

51

Body Centrin Choreo the tmýtones of and mopemeni of a&t graphy g -Mind ,

the immediate, lived experience or eventhood we are witnessing, walking, speaking, living etc. Explicitly, this chapter is about mobilizing research carried out on the somatic practice of Body-Mind Centering (BMC), suggesting that its practice offers practitioners a new language,vocabulary or cartography With which to understand their bodied lives. In relation to the performing arts it offers a conveyancethrough movement of the most intangible emotional experience expressed in physical And, health energy and rhythm as an unconscious communitas. as a somatic practice it also works towards a therapeutic awarenessof the emotional scars and blockages that are held within the bodies experiential tracings (from a cranial sacral but This injunction, 'don't to the touch there). powerful me simple, understanding facilitates (ultimately a more alternative cartography of expression understanding) fluid immediate, precise awareness of our and excessive somatic sensibilities enabling us to approach all our experiencesWith our physical as wen as our visual, faculties. aesthetic,and intellectual The body in tl-iis light is the new model for philosophy, the new centre for language human and a geography, and this philosophy needs a new understanding There is for that it instils. a understanding the practical awareness new method for history themselves of practices that present whole

such experiential

interpretation towards a new methodology, and what's more, all such practices are written out of the numerous spaceswhere people come together to immerse in BMC 2, dancing, etc. shiatsu, naturopathy, acupuncture and such pastimes as yoga These practices build off a growing emphasis pertaining to notions of 'self-care' body, focus Mind, emotions, physicality upon the whole person and the need to dubbed become As the many they one of as easily their such environment. and including healthcare, holistic Age New and somatic cultures, activities making up BMC. focus I Firstly, Chinese the art of upon that of want to medicine. "The most elementaryprocessesWithin the living cell" are also a "writing" and one whose "system" is never closed. (Kirby, 1998: 61; paraphrasingDerrida, 1984:9)

Pran, Asana (a focusing in posture) physical and ýVama seriesof exercises upon 2Where people occupy themselves breathing). the of rhythm (exercisesstabilizing 52

Body-Mind Cboregraply of aftcl and movemew Centring the ler7iton'es of -

Deleuze makes an initial track into his understanding of the body via Spinoza's thesis of parallelismwhich rejects immediately the body-rfýind split of the Cartesian subject. This significant moment within Spinoza's writing denies the dominance of either mind or body over the other, advocating instead that "an action in the mind is necessarily an action in the body" (Deleuze, 1988a: 18). In relation to the historical concerns of Descarte's mind-body subjecthood and Spinoza's philosophical conversation with him in Etbics, the principle of Morality founded upon the endeavour of controlling the body's passionsby the mind's consciousness Increasingly, collapses. many writers place their discussions away from the Cartesian but fail fashionable fervour to extend the problematic their subject in doing impact implications of the that this might have on everydayinstances so into of action. Sublimated within many discoursesby which we operate day to day is the structural glue premised upon this moral rfUnd-body split. Instead of this prevalent dualism does be divide between there to mind-body seem an argumentative notions body do, of what a can morality implicated, and the workings of the body's different fluid and energy flows as they are differentially channelled throughout the distinct anatomical compartments and linkages. This latter corporeal realm speaks body, body the that the the of is Within affective agency itself; and and is indeed this spaceand its relation to our understandingsof the mind, is that which is at the heart of BMC. BMC is a form of dance activity that explores the interrelationship of Mind and body in movement as it embracesthe interplay between thought, feeling, sensation has As its Bonnie the practice it person of a recogn1zable origins in and emotion. Bainbridge Cohen. In the years between 1962 and 1972 she worked out from her dance teacher and occupational therapist in a quest to understand profession as a further, or through a different perspective, the haptic practices that facilitated the found her This immersed in her Cohen, (see 1993). patients recoveries of investigations of neurodevelopment therapy, neuromuscular reduction, the Japanese art of KatsugenUndo, Laban Movement analysis techniques, Bartenieff Fundamentals and dance therapy practices; whilst at the same time she engagedin (see Hartley, therapy martial arts work, and cramosacral yoga, meditation, vocal 1995). One of her pupils, Linda Hartley, makes particular notice of the general demeanour of Cohen, especiallywith regards to her sensitivity and "unusual ability depth in the total pattern of a person's movement and postural to perceive 53

ChoreoTrapýyof a§ýd and movemeni- the ler7ilon'esoj'Body-AllindCentring

expression as well as the flow or obstructedness (sic) of the mind which the pattern reflects" (Hartley, 1995: xxv). For the purpose of explicating into the space of academic discourse my experience of practising BMC, two framing points need to be made. First, the ability to engageeffectively With the processesinvolved depended on being able to stay present in the 'not-knowing' of the beginners Mind. You had to be open minded and courageousenough to trust the environment, and the new feelings that become body. Second, as Hartley notes in her book you aware of Within your own Wlisdomof the BodyMom*ýT, the principles and methods formulated by Cohen were deN-elopedas a language through which one could communicate and teach the somatic experiences uncovered. As such the techniques that are practised guide rather than instruct, and are attuned to the potentially unique expression of the individual body. What we experienceand observeis a particular quality of feeling, awareness, perception and attention when we embody a body pattern movement or system;this is the 'mind' of that pattern or system,and is an expressionof the integratedbodymind. (Hartley, 1995:xxvi)

One of the first dilemmas to face me was the incongruity between my desire to investigate the active subjecthood of the body in opposition to the predominant Cartesian body-rrund In the the the mind-body split of subject. equation of BMC body the that that the that is is is it experience at centre of it is noticeable first. fact This BMC the that comes out of announced speaksof the 'Mind' as a body system. For trained practitioners it is an awarenesssynthesized out of the feeling, intuition, imagination, the intellect, processesof sensationand emotion, all body-mind bodyUnder to this the experience. of which n-dx affect our notion of being interactions is nund our sense of whole understood as a set of complex intertwined. mutually The chapter is divided into th-reesections.The first is about situating this type of is in to that an alternative methodological stance, one relation neither research proscriptive

nor

descriptive but

is instead ethological. This

ethological

instancing the to introduction, is reiterate not about empirically the methodology, for is terms theory, of seeking this in validation things nor are about the raw way 54

Choreýgraply of affict and movemew- Me lmilon'es oj'Body-jWind Centrin,

instance of empiricism 'effecting' an anything-goes contingent theoretical stance. Rather it is about understanding a way in which both empiricism and theory can be explicitly realized in the very enactment of the practice the research is encountering. In this fight, the second section is about taking up my research experience into the practice of BMC and translating it into a potential cartography through which to intimate the spatiality of the body-in-itself. (The research involved three intensive weekend training courses into one of the systemsof the body distinguished by BNIC, that of the organs [the others being the skeletal, the fluid the the the muscular, systems], and one weekend endocrine, nervous and detailing foundational for BMC, the that session all work involving vocabulary involved In BNIC total this the three practitioners call planes of movement. which hours. ) sixty-four contact In conclusion, a third section makes an argument for validating the alternative fact the that people are concerns of this ethological methodology in terms of lives. Placing BNIC their to such an argument make senseof practising and using it is within acadernia to operate the syntactical space, or spacing process, as a begin looking to that in invest transposableresource -a way of an alternative can logic for understanding the way in which the world, and our encountersWith it, are literally 'going on' through our bodies before signification.

SECTION ONE 3.2 Thought spoken out of substance: 'What can a body do? ' laneficpropositiontells us that a body is defined by relations of That between particles. motion and rest, of slownessand speed important The functions by form by defined or a is, it is not .... living life, individuality, not as a each thing is to understand form, or a development of form, but as a complex relation between differential velocities, between decelerationand A accelerationof particles. composition of speedsand slowness form In will on a plane of immanence. the sameway, a musical depend on a complex relation between speedsand slownessof how but It to of is just matter of music a particles. not sound live: it is by speedand slownessthat one slips in among things, One never commences; that one connectswith something else. 55

Centriq Choreqrapbyoj'aftct and movement the terrilon'es oj'BO(ly-Mind -

one never has a tabularafa; one slips in, enters in the rmddle; one takes up or lays down rhythms. (Deleuze, 1989: 123)

One never commences, one takes up or lays down rhythms: this is the subject of this chapter. Moving aside from the issue that the subject disappears as one understands that the agent of commencement is not within you, what can social scientists say about the connections and interferences by which we encounter and become? This vexed question haunts our discourse;we to meet what we are about in becoming. how be So it the that middling is a are caught might possible to feeling, forces those that make us speak only of the intimate, and write with rhythmic gerund of the verb - middling, talking, writing, dancing, moving, jumping becon-ung-space This figures body in its that the is an intensive place etc. laying down taking connections; in its up and of rhythms. In confronting this in thought I want to plug into two planes.The first is by far the primary focus of the body blood, that the that the is plane is itself chapter, and organic cell, substance, fluids, flesh, organ structure, smell etc. This presents the researchthat I have done laid detail is BMC, the this on somatic and performative art of and out in and in latter be the thesis to the in preparation of an ability culmination of advance of attentive to all our performances in terms of the affective economy that writes them (Melrose, 1993). The other plane of thought takes up the question posed at the end of the last chapter - 'What does a body doý' - and uses it as the starting Deleuze-Spinoza This for the terrain is of point a new ethological methodology. (seeBuchanan 1997a, 1997b; Doel 1999), an ethologically mapping of traceswhere action and affect takes precedenceover an aetiology of causeand effect - where we ical Through Taussig, (see 1992). this etholo91 speakof an effect and a zone of affect insights for I that the affective the the to acceptance of argue stance want intensities uncovered in the work of BMC.

Problem 3: Ethological mappings A coupleof contextualobservationsshouldbe madewhen Spinoza, Deleuze's reading one in regardto specific of utilizing its placein Deleuze'sown philosophicaloeuvre,the other to the brings Deleuze-Spinoza, to thought this that encounter, qualities Deleuze's to thought thought. two published as in general, E, Spinoza, Philosophy in (1990b) %pressionism and works on 56

Cboreýgraplj), Boýv-Mind The let7ilorief Cenlfiq qffea and movemeni of of -

SpinoýZci-A Practic-al PIVIosoply (1988a),do not present formalized wholes, but rather unravel in the style of "a seriesof interpretative strategiesin the processof development" (Hardt, 1993: 56). T his style is crucial as such seriallyongoing and interpretative thought is the pathway necessaryfor an awareness of the intensities that perform our senseof being a body that is alwayson the move. So, first, in relation to Deleuze's philosophical world, Deleuze-Spinozacreatesa flight into flight politics, a whose tra*ectoryis biasedby the previous encountersWith Bergson's ontological positivity and Nietzsche's ethical affirmation. Now, with Spinoza,a new singularity of thought presentsitself, and furthermore it achievesthis thought by and through being immersed within a field of practice.This immersion is likewise important, for working on the body as an affective field is not to turn one's back on a politics and an ethics.The affective languagethat emergesout of working through the body is one that writes an ethically Mindful ontology of practice. Ontology inheres in ethics, which in turn inheres in politics. Spinoza's politics is an ontological politics in that, through a rich analysis of power and a conceptual elaboration of practice, the principles that animate being are the very same principles that animate an ethics and a practical constitution of political organisation. (Hardt, 1993: 57)

To emphasize,and to shift focus awayfrom the latter sphereof a practical constitution of political organization "the principles that animatebeing are the very sameprinciples that animate an begins from bare indetern-unate Spinoza's the ethics" universe form of predication, attribution or determination itself Goughin, 1990).For example,stop here and now and think what is happening:are you sitting down, what does that feel like, how down doing, be right now, what are you come you can sitting bring things you to this practical moment in time, what other Through Deleuze's its this thought, through evolution of etc? drive and application, there emergesa spaceof thinking that (as of a contemplation out of initial situations unravels describedby the loose questionsabove).Such unravelling 57

Choreqgrapby The Centrin tei7ilon'es oj'Boýv-Mind oj'a#ýcfand movement ,g

envelopesexperienceas it diverges from its immediate relations with other qualities or forces, breaking, asjoughin deftly puts it, "out of that 'space'of relations and provoking a reflection in which Nveconsider reorientations or reinscripfions of this and ithin a 'virtual' matrix of possible unfoldings of other terms -\,. these terms and their relations in time" (1990:9). This fine of thought is very much leading us towards Deleuze'swork on the philosophy of Leibniz as presentedin TheFold(1993).The direction of this thought consequentlysearchesout Wider concerns folding back upon our understandingof being the/a 'subject', folding our being as "the locus of orientation of space of present appearancesWithin the virtual matrix of all unfolding in time" towards its "own practical activity of interpretation, evaluation or orientation of the terms of experiencewithin the has universal matrix it itself unfolded" Uoughin, 1990:9).

From such foundations the chapter orientates the presentation of the study of BMC by asking the question: 'What is it to understand?', 'What do we mean when we say that we understand something or comprehend what is happening?' The philosophical tone of Deleuze-Spinozawidens the horizon of a possible answerby levelling the relationship between the commonly held notions of explication, Consequently, legitimate BMC the emanation and expresSjon3. practice of offers a 3 As my intention is about opening up spacesfor future theoretical and empirical investigation I do not want to dwell on this aspectof Spinoza'swork. This is not to say that it holds huge importance especiallyupon the ways in which social science can utilize this parallelism to instance the ethical importance of what, to many, seem to be highly removed and esoteric contributions to the politics of the social. On this see Moira Gatcns excellent book ImqTinagBodies., Etbics,Power,6- Corporra&y(1996b)- especiaflyChaptersSevenand Eght. For now this quote from Deleuze illustrates the potential in investigating this area fiirther: "The practical sigriificance of parallelism is founded is domination in the traditional the the principle morality on as an of which manifested rcversal of enterprize of the domination of the passionsby consciousness.It was said that when the body acted, the mind was body being in (the inverse did the turn the the rule relation cf. acted of not act without upon mind acted upon, and Descartes,ThePassionof theSoul,articles 1 and 2). According to the Etbics,on the contrary, what is an action in the body body in is in is in the the the passion as passion well, and a necessarily a action what an mind is necessarily fewer There I 1. is There things the that one series over of another in are mind exceed no our no primacy mind. ... body in knowledge. it is by So things the that there exceed than arc our one and the samemovement consciousness body beyond if to the the power capture the given conditions of our knowledge possible, of that we shall manage, beyond (Deleuze, 1988a: 18). the the mind given of conditions the powers of our consciousness" to and capture

58

Cenlriq tet7ilon*es the Choreo oj'Body-Mind movement and qIfect of graply ,

way into an understanding of our physiology and the affects this understanding has on our knowledge (where knowledge works as something that depends on being in a world that is inseparable from our bodies). Key issues are announced in this methodological move that sites the affective economy immediate to our knowledge typical embodiment as counter to more notions, those of realism and idealism. Firstly, speaking of affect in opposition to effect is to appreciate that the by interpretations which we make our moves onwards are moments of enactment the "bringing forth of meaning from a background of understanding" (Rosch, et al, 1991: 149). And that secondly, affect is foremost becausethis bringing forth is only from from "ongoing that that interpretation in it results emerges so our our (ibid; Rabinow, 1997). Yet thirdly, continuing capacitiesof understanding" seealso the fold of significance and substancefrom the previous chapter, the experiential of fold folds duration to that the is say out after its as embodied action,which is affect follows: double movement, as understood as a First, that cognition dependsupon the kinds of experiencethat body from having a With various sensorimotor capacities, comes and second,that theseindividual sensorimotor capacitiesare biological, themselvesembeddedin a more encompassing 1991: 149) (Rosch, et al, psychological and cultural context.

In this regard, the chapter is concerned with promoting the exploration of these being. This fluids and viscerality of our capacitiesas understood within the structure, live, is is about understandingthat our embodiment crucial to the world in which we discerns live how the that the comportment and our in Viscerality it way and in we knowledge production through which we come to know that we are in a world (see beingheart beat kinaesthetic The 1994b). Lingis, 1994aand of this embodied at the In is for is, terms spacin geography, what technique understanding in-the-world as a ,gbecominT here Guattan Deleuze and movement. of the notions of we are speaking and of Histog, Philosophical A Place. The Fate book bold his Casey, Edward instructs our of in done, have "the Guattari he believes Deleuze to and thought not to overlook, as don't 309). 1 (1998: dwelling 'built agree quite places"' of settled of potential placial ... Spinoza Deleuze The him. the is disagree encounter in might explain: aspect of with or becoming Deleuze-Spinoza, pure or it is merely of so not a question whilst all with fixity likewise the caution certainty, against overemphasizing should one movement, 59

Body-Mind Centring the terrilon*es Choreýgrapby of movement oj'4ýcl and -

dwellinT Deleuze 'importance-through-pertnanence' and spaces. notions to an of settled in happens in body's the the that understanding through eventhood, settlin , it ,g spacing and movement - rest and motion - as it encountersand seeksout continuity 'the-being-able-to-go-on' relations are etching its out present whatever with body in It the moment. is important to emphasize vital quality of our all of this; therefore we firstly ask 'What is it that drives us to settle, to have feelings,affections hold There lived ' that things is a and intensities still? arcl-iitecture nurture us and before there is a built one and it is this architecturethat is the focus of BMC.

SECTION TWO 3.3 The visceral art of Body-Mind Centring: a new expressive language of the planes of movement Underlying the forms of our expression is the process of how develops Development occurs in infant. as an our movement successive stages and any interruption to complete a particular lead to alignment or movement weaknesses,problems stage can different Those in sequencing, in perception and in creativity. basic movement movement stages are composed of reflexes and building blocks the they of our movement are patterns and 1999) (Hossenlopp, vocabulary.

The primafaa'eof BMC is the basic unit of organic life, that of the living cell. From development inpotentia the whole of the moment of its conception the cell contains its in form, differentiated the unfolding process that pursues and its more development there follows a pattern "that can be observed in the evolution of all This 24). fife" 1995: (Hartley, terms movement in of only not is expressed animate but also in synchrony with a "development of consciousness", with a "cellular development" "each there physical of that stage subsequent with such awarenesS114, kinship but biological in in terms in with more 4 The notion of 'cellular awareness' chimes character not Nietzsche, his likewise This life' (1997). a 'a to with encounter emerge out of Deleuze's notion of seems Nietzsche's thinking: in Hcidegger's intimated of own understanding moment theessence Niet.Zscbe's tbinks the 'biological', of wbatis alive,in thedirectionof commandiq tittle is borizontalSo direction , the the perspectival in offreedom. and g, of andpoe#Ziiý , Nietzsche's thinking in danger of biologism that on the contrary he rather biological is interpret in the true and strict tense - the plant and what tends to 60

Cboreo §ýi Trapbyof a -t and movemeni- lbe let7ilon'esoj'Bodg-Alind Centring

is a manifestation and expression of "an increasingly higher degree of perception, awareness,and consciousness" (ibid). It is easyto conceive this quality if you think of our own growth from embryo to newly-born child through to adolescence. Firstly, I want to outline a possible sensibility that of thinking through planes of movement - through which to intimate this non-verbal aspect of our expressive identities. The suggestionis that these planes of movement have inherent affective qualities that sketch out our corporeality with specific correlation to energy qualities, our use of movement and space, and our general relational demeanour and mood. Latitude and longitude are the two elementsof a cartography Lafitudeis madeup of intensive partsfallin undera capatio,and longuitude fallin parts of extensive undera relation.Peleuze & IT Guattari, 1988:261/256-57)

3.3.1 Latitude: the horizontal plane of affect The sum total of the intensive affects it is capable of at a given power or degree of potential (latitude). (Deleuze & Guattari, 1988: 260)

The important point is to ask whether something, some quality or affect, exists as knowledge beyond any particular performance or encounter? If so, where is it

the animal

-

non-biolýTicalyl, that

determinations in Ansell-Pearson,

of perspective,

is, hA(manly, prc-en-iinently

horizon,

commanding,

in terms

and poctizing.

of

the

(as quoted

1997c: 114)

Ansell-Pearson has provided excellent commentary to these historically uneasy passagesof Nietzsche and Heidegger, signalling the anthropomorphism not as a criticism of Nietzsche but as a particular quality of his writings that here significantly reflect modernity as "fundamentally metaphysical, resting on a voluntarism, subjectivism, and anthropomorphism"

(1997c: 115). In this, and in Heidegger's reading in particular, the

here dislocates from is "kind 'machinic' life that the itself conception of evolution of presented philosophy of from life blindness", Deleuze's logic free the to of anthropocentric something naivety and which necessary thinking realigns us to (ibid). However, Heidegger's critique of Darwin's theory of evolutionary adaptation - the between in Darwin's the relational encounter conception of animal and created world serious underestimation is 'present-at-hand' hand' 'pre "that that to adapting a also sent-atemphasizes world of an animal as something feature becoming intrinsic 'movement' Ansellis (see the the of the 'environment' an of of organism the Pearson, 1997c: 117).

61

Me Cboreqmapý)y Cenifing lertilon'es oj'Body-Mind qf affecland moi)emeni -

located

body? the the the in architecture in syntactical in of event, expression? -

materially or immaterially (felt)? Is the point of registration one of constraint (natural) and convention (cultural)? Do we have to accept the notion of shared cultural resources, a set of qualities that are instantiated in performance? Affect is be to not confused with emotion. Affect will often, in its intensity, be a floodgate to an emotional experience, but it is not, in its intensity, something that can be owned and recognized as such (Massumi, 1996: 221). When one speaksof emotion, BMC do practitioners many as of after working through a particular quality of the body, you are qualifying the intensity by working it through a semantic and serrliotic framework, allying it to "narrativizable action-reaction circuits", and giving it a function and a meaning (ibid). I want to reflect this latitude as the horizontal plane prevalent Within the BMC. It practice of speaksprimarily of the mobile sensibility that we experience lying in in to out earliest years - immersed our mother's womb, and affect relation flat on our back before we develop the capacity to crawl. As a sensation it has a full, drowsy into through the image quality often expressed of wading a seato very be submerged within its deep expanses.It has strong associationswith our earliest bodily terms of comportment, it is rotational navel pattern of movement, and in deep described in the action of nursing, cuddling, resting within appropriately As such it is on this plane that evocations of our experience of trust oneself etc. in relation to an understanding of more general and support are achieved, and from "we that this plane are able to give and receive weight, and movement, it is (thus, this) is the plane of attention and the ground to gravity ... relate positively for the other two planes to develop" (Hossenlopp, 1999). Let me example this through what is known as the naval radiation pattern. If fives first few infant their the you will notice a radial months of in you observe an head, back its in, it "as horizontal throws snuggles pattern to their movement: and locally, leg, in these actions appear to originate not or thrusts out with an arm or body" (Hartley, infant's but from limbs, the the navel center of the muscles of the body individual Movement 29). the 1995: parts, radiates outwards through differentiating the qualities of affect (to a greater degree as the infant grows up), from body is integrated the the garnered whatever awareness via as inwards and has The body body's to in relation is a created. continually movement the venture (sudden touch, sound gravity, or soothing) - and crucially multitude of stimuh 62

Centri ChoreoTraphy the terrilofies oj'Boýv-Mind of aftl and movement q. -

responds to the stimuli by moving toward or drawing away from the perceived source. These two simple responsesclarify a whole host of emotional reactions and acknowledgements that define us throughout the many encounters that make up lives. In relation to the basic demands of life as exhibited in the unit of the our desire, life' 'immanence (see Deleuze the that the to organic cell, is of a common all 1997), to be nurtured and survive (and ultimately therefore reproduce), is expressed in this movement towards something for support and the potential for bonding, and the movement away in the act of defending one's personal survival. This tendency develops as a result of the omnipotent 'at-one-ness' experienced in utero being immersed in a self-sustaining where our early sensory experience is about form loving "it thus the to that is in universe; our potential and trustful womb has 39). The (Hartley, 1995: relationships its roots" complexity of relationships in later fife (and I speakhere of relationships in terms of affects and forces as opposed to those describing the personal nature of our social narratives) implicate these formS5. but foundational movements in more chaotic and muddled simple However, at the heart of all movement this tendency of attraction and repulsion This that orchestration is prevalent Within the orchestrates every spacing we make. does Here not merely space structure and presentation of space as theatrical art. function in order to perform a setting or a socially specific locale for the expression here hope I Garner, I (see 1994) to of make clear am not Writing as of a story functionality - but rather spaceis a performative exhibition of bodies encountering. In this way drama is an art of space,in it spaceemergesout of the five performance between here There the representational is an uneasy mix as an act of spacing. form and the underlying emphasis of qualities as pronounced in theatre as an art The felt for to performativity ongoing action. an embodied and my argument for development for the attraction and the of an attentive empathy argument is So, Lotman bodies they outlines: as encounter. repulsion of as Behind the presentationof things and objects that form the figures the of the text perform there is a environment in which

5 It is in this way that the practice of BMC becomes a potential site of therapy: "In going back to re-experience 'mind' Navel Radiation the pattern - to the extent that we as adults can of early and the movements, sensations, before, incomplete have that to or reintegrate where connections do this - we complete a stage was a chance integration, Experiences disturbed positive relationship, of and pleasure can been support, have subsequently. 39). (Hartley, 1995: be encouraged and strengthened"

63

CboreýTraplyqI-q&I and motemenl- Thelet7ilories

oj'Boýv-MindCenlring

system of spatial relations, namely the structure of topos. This structure is the principle governing the way the figures are organised and distibuted within the artistic continuum. (1972: 330; quoted in Pfister, 1988: 257)

Furthermore, this topos records and develops the affective intensities of our experiences, allowing our body to hold within it traces of previous experiential encounters -a tracing of intensity which, whilst asocial, is not pre-social. As MassUrni puts it, this intensity 'Vnclkidessocial elements, but rfuixes them With belonging to other levels" (1996: 223). Intensity is indpient, and this elements incipience exhibits tendendes. Although the realm of intensity that Deleuze's philosophy strives to conceptualize is transcendental in the sense that it is directly not accessible to experience, it is not transcendent, it is not exactly outside experience either. It is immanent to it but in always it not of it. (Massurru, 1996: 226)

In this abstraction a potential is unleashed,to develop an appreciation with the capacity to apprehend alternatiý,e meaningful spaces;it is not about subtraction, an irrelevant Thus, Massumi uninformed, unempirical, wordiness. strongly points out that "the implied ethics of the project is value attached - without function, with desire only to the multiplication of powers of existence,to ever-divergentregimes of action and expression" (1996: 227). The aim is to seethat the experienceof the body as it is achievedin BMC is the tension that plays out the contention

of Judith Butler's

that whilst the subject is

performed in submission within reiterable acts it cannot be reduced to it. The body is the excess, it is our unique experience, our unique desire (and there is a collective, empathetic

does that not assemble through space

meaning and signification

but

through intimate bodily acts). This is not to deride the huge significance of the fact that there are representational

discursive artefacts, objects and material practices

lesser that are, to a greater or extent, involved new types of subjectivity.

in producing

effects of power and

A whole genealogy can be traced charting the emergence

BMC. But the practice, the institution, whilst of the practice of

has an historical

do body but the people these where explore spaces in ways, also, to edge, there are reassert the transhistorical

philosophical

point, there are spacings that are the body 64

Body-Mind ChoreoTrapl! Centrin lenilon*es The of and momment y oj'q#ýcl ,g

through which subjecthood is achieved and spacingsthat are the very dynamism of experience: movement, speed, rhythm and affect. Not something essential but something that is very durable, durable yet little explored hence the sensethat it has so many unchartered qualities. To continue in breaking this down, it is not that these qualities have not been experienced many times before, many aeons ago, but that they have not been chartered consistently. This comes back again to the question as to what counts as knowledge and that is historically situated and geographically placed in those 'empty spaces'where these affects can be explored. But a question or vital problematic still remains: Where is affect situated?The force of sensation is often that which defines the notion of affect, sensationbeing the affect of an event eternal to the body 1

hence The to the and sub*ect. j

for the things outside its control (too notion of stable subject is made untenable The easily) sway it. classical model of understanding premised upon the visual breaks down and mastery achieved through one sense,that of the gaze, competes with the subjective appeal of the other senses in a modality of subjectivity by the materiality of the world itself (including the way out vision influenced 'touches' things). Affect then doesn't distil these senses,rather it speaks of the And them polyphonic in its allegianceto unique and event of a combination of all. but is in the in-betweennessthat sensation,its place is neither internal nor external, from drawing Affect the is is a part of us, and it is apart world. us, us into ever-new but keep then, the that move: unlocalizable not connections our subjectivity on longitude It this that the performs movement of this intangible nor unintelligible. is being through the vertical plane of that is spurred into cartography, a movement relationality, the plane of intensity.

3.3.2 Longitude:

the vertical plane of relationality

The sum total of the material elementsbelonging to it under given relations of movement, rest, speedand slowness (longitude). (Deleuze& Guattarl, 1988:260)

In BMC the vertical plane stems from the spinal reaching out movement where as desire discern begin to the to and action of taking things in, to, in more infants we focus bodies immediate terms, our attention on other and our expansive and social have intention, BMC termed this the practitioners plane as of where environment. 65

Choreographyoj'affýct and movement- the ler7ilon'esof Body-Mind Centring

-in movement the vertical plane supports our ability to perceive and express ourselves in the outer environment and to other people" (Hossenslopp, 1999).This intention is less about thought, less derived from the mind of the subject, than it is about the body-mind interface of desire or appetite. Appetite or desire is not an internal, innate quality but an emergent onto-genetic expression of the realm of relations, connections, associationsand couplings. Thus: We neither strive for, nor will, neither want, nor desireanything becausewe judge it to be good; on the contrary, we judge something to be good becausewe strive for it, will it, want it, desire and it. (Spinoza, 1996,Etbics,111,9)

Or: Now, the appetite is nothing else but the effort by which each thing strives to persevere in its being, each body in extension, But because thought. each mind or each idea in this effort prompts us to act differently according to the objects encountered, we should say that it is, at every moment, determined by the affections that come from the objects. Peleuze, 1988: 21)

This appetite, or prompting to act differently through forms of relationality, is Nowhere the intensity repulsion. of attraction or more obviously are the about tendenciesof attraction or repulsion seenthan in the act of eating.This act signalsthe flows (energy 'plugging-in', to the plugging-in of sustenance more general quality of desire do Mustration the to so. of and substance),affection and information, and an In the space of BMC one can appreciate this action as an early developmental development It that we this pattern of our movement pattern, that of mouthing. is in in begin initiate infants to to our own movement a purposeful way. as are conjectured We begin to move our body With intent through space,developing our capacity to (this in to changewithin our. UnMediateenvironment and response our own actions Alphonso for his imperatives Lingis, argument with resonateswith the recent work of [1998] and dangerousemotions [2000]). Significantly, the mouth and the sensoryorgans in the head are amongst the first fact in the develop in reflected way many embryos show signs of sucking a utero, to 66

ChoreqTraphy #ýcl ' The lerrito Cenlrin nes oj'Bod oj'a and movemenl y-Mind g

their thumbs. This is in fact preparation for the vital few hours after birth, and henceforth, where the body, for food mouth, and searches now that the navel connection is severed- in other words sustenancehas to be sought and we change from 'being' to 'doing'. This movement of the mouth connects with our immediate potential to develop overall body movement as well as the ability to vocahze our needs. Hartley describes this life-enhancing process in detail, and this clarity is worth quoting in full: Motivated by the need to find food to survive, the mouth will reach towards the source,drawing the headwith it. Movement initiated at the mouth in this way will reverberatedown the spine. The action is initiated in the jaw; while the chin or lower jaw is partially resting againstthe mother's breast for support, the upper jaw is primarily responsible for the action of reaching for and grasping the nipple. In this way the headrocks forward and back with the rhythm of sucking; as the mouth opens, the movement of the skull leversinto the first vertebra and then sequentiallydown the spine to its tall ... this action underlies the first Push pattern from the head,down through the spine. As the mouth closesand the skull circles up and forwards again, the whole spine is releasedand lengthensin response.(1995:4748)

This pattern exhibits an active searching that acts as a foundation for the behaviour likewise for that that which fulfils needs subsequent reaches out desire. attraction coloured with necessityand/or This longitudinal realm choreographed through intensity explicitly starts with the body, in the body; or as the body emerging. Gil offers this emerging body as an ccenergy,as a kind of floating signifier that manifests life in its unpredicatability, diversity and spontaneity' (1998: 154). But he too asks, in order for there to be a body, that there be some metamorphosis of energy, that there must be some following of regular rhythms. He offers the idea that we have modes of correct behaviour and the observation that there seem to be 'implicit

spaces' where

developed. I individual expression are want to consider this notion of creativity and if it First, behaviour. that extend what we and argue it infers notions such as correct appropriate response, or channelled negotiation of an encounter that allows a 67

' oj'Boýy-Mind Centrin Choreqgrapýy oj'qyýcl and momment- the let7itones , ,g

successful continuation or conclusion? This makes apparent that we ought to be clear whether this need for some metamorphosis of energy is because of an injunction or an imperative. It is a mixture of both for between these two a space opens up that allows for the development of 'singularities, the spaceof the life of the body' (Gil, 1998: 153). Thus: The singularity of the 'individual' is not that of an 'F or a distinct body - With its organs,skin, affect, and thought separate from the rest of the community but that of a body in communication with the whole of nature and culture, and all the more singular to the extent that it allows itself to be traversedby the greatestnumber of natural and social forces. (Gil, 1998: 158)

3.3.3 A synthesis of these two planes: the sagittal plane So, finally, these singularities are paced out on the saginal plane, a plane of body the that movement moving: spacingout the terrain that unfolds emergesout of through and with it. This spacing is the act that is moved by our desires.It is the (whereas on the vertical plane we are plane of our affections, our affecting others by In bodies intensities them). this way and are affected of other open to taking in the have dynamism: is the ability through the this the realm of our movement which we desire dynamism fift This to push againstsomeoneor the to push, pull, is and jump. des-ire fully; it feel to take someonewith you, the the-ir/its affect more is something to rather than through to hold something close, to push someone away throqb Cboice it is In the through this appraisal semantic choice need or attraction/repulsion. This body tangible the reflects our into expression. metamorphosis of the energy of during initiated in the moment of at and spinal growth pattern, that which is effect birth. Again turning to Hartley, this processis describedin the following way: "as the head of the birthing child pushesinto and through the birth canal and the tail of the by feet the the the of womb, walls contracting pusl-ýing the against respond spine and 53). (1995: head the to new world" transforms into a reaching through push of the This pattern is intrinsic to all our future perceptualactivity in that the extensionof the through the of our senses; proprioceptive stimuli occurs axis, vertical our spine, development is infantile stage of our space only actively this early, at although This horizontal integrates plane. push the movement pull all of and on experienced 68

Choreqraply oj'qjýcl and movemeni lertiloties Centfiq the oj'Boýv-Mind -

three of the illustrated movement patterns and represents the basis for all further body movements which, feeding out of the characteristicsoutlined above, effectively operate on three planes - the bon'ýqntal,the Petticaland the saTittalIn co-ordination with each other these three planes present the three-dimensional expression of ourselves through movement: "the more fully we integrate these three planes, the more rich and rewarding our movement in all the dances of life win be" (Hossenslopp,1999).Thus: You are longitude and latitude, a set of speeds and slownesses between unformed particles, a set of nonsubjectified affects. You have the individuality of a day, a season, a year, a life (regardless of its duration) fog, a swarm, a -a climate, a wind, a pack (regardless of its regularity). Or at least you can have it, you Peleuze & Guattari, 1988: 262) reach can it.

3.3.4 Practising BMC: pathways to affect The habits we acquire from experiences of being-in-the-world channel our deadens I this, to in the potential of affect corporeality set ways and want argue, that we possessat the interface that is our capacity as a body. When we experience the heightened intensity of bodies through art - theatre, music, painting, dance there is an empathetic yearning for connections that we too possesswithin; a denied forward. Unfulfilled potential possible world even as we make our next step lost, has been it is is never completely merely not yet experienced,or it experienced forgotten. have forgotten how Thus: In then to play. and a sense,as adults, we It is possible for us even as adults to remember thesepotentials for movement experience,thus clarifying and strengtheningthe foundations upon which our present movement, perceptual, based intellectual psychological, and spiritual experiencesare We find that this re-education of underlying developmental patterns not only gives more inner strength, clarity, and but to aliveness our movement and perceptualresponses, it also frees more of our energy for creativethought and activity. (Hartley, 1995: 91)

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BNIC is about working at the deep level of the body where emotional feelings, memories and associationssurface reawakeningsof past experiencesthat have been stored within the tissuesand fluids. Responsesin tl-iis vein can be gentle and subtle. Also coloUring the affections that we experience are less comfortable bodily sensations, such as pain, nausea, or deep tiredness. In heightening your own awarenessof these sensationsthrough practising BMC you learn to appreciatethat Charting the body has an e,%pen'enfial anatomyas well as a physiological one. and exploring this anatomicalmap of affect is the focus of the remainder of the chapter.

3.4 Experiential

anatomy

The groundwork of BMC is basedon our experiential anatomy, an awarenessabout body that combinesan understandingof our varioustissuesand structural our own bones, fluids, components - such as muscles, organs, and our nervous and endocrine systems- alongsideour personalexperienceof their individual cellular bodywork develops The BMC that to the affections. practice goes make up Within his her differentiated Catherine individual an or own awarenessof embodiment. Hossenloppdescribesthis life processin theseterms: Each tissue crystallizes a specific energy from which arises a BMC particular quality of movement and a specific Mind state. teaches you ways to contact directly those different tissues and to initiate movement from each of them. In doing so, we learn learn to to get in touch with specific aspects of ourselves and (1999) them to others. express

Practising BMC is an individual process through which practitioners actively facilitates body that a changein their awareness in a process engagewith their own being, knowing Using this way of and of themselves and their environment. bodies, between by practitioners promote change embracing the energy Within and focusing energy attention and creating movement in specific tissuesof the body. In hands hands, in their two in people meet can manner, through a on contacting flow become individual's the to energy of other aware each allowing energy (harmonious or congested)in order to facilitate the ability to conduct attention to body's My the the different pattern of affective economy. of experience of areas the lives that these practices often cautiously approached; are understands everyday our 70

Cboreqgrapb oj'qftcl and movement- Thelet7ilon'esoj"Body-Mind Centring ,

my own understanding of 'common-sense habit' meets any encounter such as this with scepticism. Perhaps a major causeof such apprehension lies in the fact that we don't have a language to discourse about the feelings of our affective body. Or more pointedly, we are not accustomed to using language to communicate these because bodies affections intuitively our are read out of the connections made with-in our affective economy; to reiterate from earlier, interpretation is enactedout in practice. In a way which exemplifies this, Golden comments that she got a sense of the practice when she understood what Bainbridge Cohen had called 'the art of embodying tissue: First we focus attention on and initiate movement from each f[Wd in turn, then we combine them. 'Now become more rarefied, density: change synovial With CSF. Now keep the lightness but allow some lymph to come in so you're no longer nonspecific'. Each time she gives a new direction, the quality of the movement (1993: 86) the the and of in energy room changes. -

In a similar manner, the BMC practitioner leading the workshops I attended, Catherine Hossenlopp, would embody in her bodily expressions(rhythm, gesture, for 'being the to motion) in', quality of movement pertaining example, the horizontal plane (in the contents/organs) or the lungs. By aligning this kinaesthetic horizontal lungs, 'being the in' expression with your own awarenessof plane, or field. begin develop body's The to the you and expand awarenessand perceptual feeling the rhythm and sensuality, of the space you are taking up and creating, focuses your being-present through the particular quality of a specific body component or plane. Once we sensethat we have initiated movement in an organ, it is important to let go of the careful intending and sensing full be The to releasedinto process. energyof the organs needs be the mind must also able to and spontaneousmovement and feel At the movement. this point we simply move and move. Through their physiological functions (respiration, digestion, flow of energy,rhythm, movement, and actualphysical etc), form to the one another, organs systemswithin a connections Through function, their contemplating structure, and system. movement we can gain some idea of the emotional attitudes that 71

BodV-Mind Ceniting Choreogaphj, the leniton'es of movemenl and oj'q#ýcl -

Each organ embodies a individual organs reflect and support. love fear polarity such as acceptanceor rejection, and or hatred, courage and timidity, joy and anger,sadnessand sympathy. When we bring our awarenessto a particular organ we may be feelings; experiencesuch we may also able to perceivethe have toward those feelingsand the relationship and attitude we organ itself. (Hartley, 1995: 196)

The task now is to open up a space of comprehension within the medium of best do by I delving In BMC think to this the it is writing, and in. presenting straight into the organ system,I begin by mapping out the experienceitself as that research by folding description [italics], this wl-j-ichwas experienced me With a programmatic of the methods involved [Roman], and illustrating the 'results' - the experience-in-itself Catherine BMC Hossenlopp, through the trained instruction practitioner, of a [bold] and the vocal reactionsof my fellow students["Roman"].

Contact On thefirst day of the three-weekend BMC courseI attendedon the OrXanSystemCatherine The býgan led us in an exerciseto enhanceourpresentawareness with a method of our skin. by this awareness the simpleact of touchingthe areasof skin on our gentleway of stimulating handsandface; thus in effectwe began tofocus our attention on this realm of our being To . further this processwe exposedmoreareasof our skin to the air, rolling up our sleeves and hands to this the g contact strokin rhythm of allowing and slowly with our making contact dictateourgeneralboývmovement to make sweepinggestures me started mere standing as we Cathetine invoked its to the us senseour surface. surfacel our and caressinT with air, swooping The via our skin. wewerenowe,%petiendng environmentthroughthesensationand energvjocus felt I had I I felt light a greater and spaciousand as movedaround qua14 o7fthe room if itfelt Through this to as we were movement of the whole room available me. awareness becomingveg opento the surroundingsand as Catherinevocallygesturedto us to bting the floor feeling the the to down the to roll upon ground, whereme started and on movement bodies hair, to mope (includinT differentsurfaces skin, clothin ,e allowedour eachotherto extend, freely with the sensationsthat contactevoked.Moving around in this way seemed liTht degree, the to parts the the to of all surface open and quafiýl same whilst not necessarily I to brought this As boýv. movement a closeand regrouped, certainy1felta refreshingsense we 72

CboreoTraply0ý'qffict and movement- the terrilon*esoj'Bo(yl-Mind Centriq

of clanýy in my awarenessof the ipace about me and the Wbole seemedcalmer and 'group somebowmore tbere.

The physical boundary of our body is linked to our skin. To many, an held is appreciation of contact with another person in the act of touching - In the differentiation feels body 'felt' the physical sense of the word one of one's own from that of others. As infants our early experiencesof touch are often the first intimations of selfhood. Even as adults, therapy can be achieved through the by defining is is Yet touch stimulation of contact self and other. way of what what the skin is not a mere boundary, its membrane Eke quality acts like a 'Mobius Strip' folding the inside and the outside (here one might think of the membrane of our digestive tract that flows from the bps of the mouth down into the body in the form of our oesophagus and then out through the intestines into the rectum). Hartley describesthis quality in the following terms: It is an elastic and highly sensitive organ that links our inner learn to world to the outside world and enables us perceive and The both environment touches our skin, simultaneously. about and its qualities are transformed into messagesthat we interpret (1995: 133) heat, pressure, etc. pain, comfort, cold, pleasure, as

In this way the boundary associatedwith the skin is no longer termed in a be but the through to which medium a seen as rather comes restrictive way boundless. potential to exchangeis

The organs Our first sensations and experience of life can be understood as primarily feeding in involvement the of sensations the of out emerges world our organic by being Our the breathing there digesting, is stimulated of sense and moving. and these that processesentail. pain comfort or perceptions of pleasure, They can evoke or reflect the pleasurablypowerful stateof fullness of being, the frustration of being unable to let go, the being being fear the empty or abandoned, joy of of pain and The the senseof and express evoke organs on. so alive, and

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differentiated being in its myriad of feeling qualities. (Hartley, 1995: 184)

Method I- familiarization

of anatomical placement and physiology

At this point through the study of anatomical diagrams you accuston-ýze location the yourself with of the organ, visualising and feeling its presence via body. Then you enhance the intensity of your mentally placing it within your own sensing of its presence through touch and by way of breathing from the organ mentally you focus your breathing and thought on the place of the organ. This breathing

technique can then be instrumentally

furthered

by allowing your

breathing to translate the sensations of the organ into hissing and into sound. Then both focus both have the partner with a you on organ as above, and once you a having however the sense of awareness of organ's sensations, vague, one of you both their hands on to the area of the body around the location of the organ places hand front back the the the the the above organ, or with one on other on of With body. As contact is made in this way the recipient continues to breathe, hiss and hes benefit in The BMC the this through the in manner sound organ. of practising further focused helps keep "a to the partner's presence attention and will way directed" (Hartley, 1995: 205). the concentrate energy where

Method H- holding This can only be effectively carried out With a partner. The supporting partner

focuses hands their attention upon then as above, and makes contact with their feeling the 'weight' of the organ so that in effect they hold the recipient's organ in filled balloon body tissue the midst of its surrounding with water in as if it were a from facilitating hands. In this movement this manner the next method of their be organ awarenesscan guided and amplified.

Method //I - Initiation of movement As you he on the floor, now reasonablyattentive to the awarenessof the organ's body that to the to seem to rhythms move allow your with start sensations, you found have As in from the the illustrated above, the organ. you energy emanate here distinct the the three into extends planes, vertical, that emerges movement horizontal and the sagittal. Allow yourself to let go and be moved by the subtle 74

Choreography Body-Mind the lerrilon'es Centfiýg oj'q#ýcland movemenl of -

initiations that now seem to slowly flood through your body ever more vibrantly; thus your whole body (or just your arms, your torso, etc) might start to rotate, roll, reach upwards, or curl up in stillness slowly rocking to an almost imperceptible beat As etc. you start to move via the sensation of the organ, its intensity, weight and rl-ivthm, you can "work with changing levels in relation to the floor, through lying, sitting, squatting, hands and knees, standing. Explore the dynamics of gravity and levity, support, and mobility acting on the organs the as organs initiate and support these changes" (Hartley, 1995: 205-06).

Method IV - Dance and improvized movement (contact or solo) Here you extend the expression of the organ to its fullest potential, actualizing this quality of yourself and experiencing the energy that resonates from that place. In this way you enhance your body memory and understanding is it of what your body is capable of This movement expresses the full energy and power of the organs moving you through space to and from the floor with speed or deft touch, freely to allowing you jump, roll, run, balance and so on. As Hartley herself noted, I and myself experienced in my own body and through being with others, you "follow the organs' own momentum, rhythm, direction, and quality of movement, let be and yourself surprised" (1995: 207)6.

Introduction

by way of introducing the digestive tract

In accordancewith the Spinal pattern of movement, that of push and reachingout to take in or grab something,you can sensethe impulse of the movement travelling through the digestivetract from our frontal mouthing posturethrough to the abdominal breathing When and pelvic organs. in and focusing attention on this pathway through body fingers food (perhaps the tracing takes,identifying your coursea piecea with your the spaceof the stomach,the valves from the stomachto the small intestine and from the small to the largeintestine,tracing the bulk of the colon as it moves up your body 6 Another method that is having a growing impact (Method V-

Expression in drawing and Colour) can be

drawing This is directly the temporary and reflection practice conclusion of experience. of your carried out as a feel focused have in the the the awareness within of an organ, energy you and experienced still after or whilst dance. The style of such expression is naturally one of abstraction - the abstraction of a particular quaht-yof feeling, image landscape. This functions in personal a the even or grounds experience and colour, mood, energy, is However, had fashion. in this that the not something time to take my research opportunity or therapeutic a and investigate.

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Cboregraply oj'q§ýcland momment- thetertilon'ej-oj'Body-Mind Centriq

on the right side crossing behind the liver as it moves from your front to your back beneath the diaphragm, emerging on the left sidc before it angles down into your rectum) you can sensethe feeling of the digestivetract and observethe many different qualitiesof movement containedthere.The digestivetract is an open organ systemthat is continuous with the outside, reflecting our intimate relationsl-ýpwith the external This digestive the world. tract's concordancewith all levelsof our need quality exhibits for nourishment physical,mental, spiritual and emotional. How we acceptor reject, digest, assimilate,integrate,choose (what is to be retained and what elirrunated),and let go in terms food, of are attitudes of the digestive process.Whether we enjoy food, our attack it, play with it, dislike it, or give it very little attention, may all be signsof our underlying attitude towards nourishment and nurturing and ultimately the meaningand value of life itself. (Hartley, 1995: 198)

One can think here of how an actor preparing to play Falstaff Might, for an early his his kindred intimation of character, concentrate on corpulent posture and its appreciation of gastronomic excessand belief in the warming qualities of a good hope O'sherristhe in sack', of rousinggesturesthat might accompanyingsuchan attitude.

Liver The liver is consideredby the art of Chinesemedicineto be the 'General'of the body, being responsible for a lot of our decision making processesby facilitating liver, The balance the overall physiologically, of our internal constitution. filtering distributes body's the the economy of nutrients, synthesizes, stores and These body's the nutrients are then system. many unwanted waste products out of hence 'General' body its the status. aswhen needed, processedto the rest of

liver, Catherine In our openinTfocus the that the the energ of quafiýy and explained on session liver, as it e,%presses aseýfin the work of BMC, IS onethat speaksof independence and 'energv is its freedom.In this theaffectsthat resonatefrom to presence' oneof clario an access is Catherine 'energy boundaries. described have beinS that this he4vyou to it as clear asa into the self ... an energy quality that is not heavy but more of weight, of by She this particular a sharper evoked appreciation affection of authority" confidence, 76

Choreqgrapby qfq§ýct and movement- the lerriton'ef oj'Bod-Mind Centfin , ,g

talkin aboutit as 'the spirit of support, it is not something that pu Hs you ,g down it is about getting things done whereby action is freer and you ... see them through" As such,in termsof our relationshipwith the world aboutus it

speaks ofplannin andtakin responsibiliýy,g ,g Gall bladder Whilst it is extremely difficult to physically locate the gall bladder by way of touch, my experience of focusing my attention on this organ illustrated the ability to feel an organ's location through the organ's unique cellular breath. This sensation is effectively the resonance coming off ftom the organ as the cells 'breathe' fully into their own spacein your anatomy. This effect can be clarified if deflated balloon being filled with air. Physiologically the gall bladder imagine you a host secretesa of enzymesparticular to the digestive process.This biological action bladder's the mirrors gall relation to our ability to maintain a steady balance of overall well-being. Being located in the solar plexus, this characteristicis reflected in the way, when focusing cellular awarenessin this organ, you can discern feelings of frustration despair in anger, or response to our ability to cope with the everchanging array of everyday responsibilities. Within the map of the solar plexus the bladder is, as Catherine put it, "the moment of choosing"; 'to have gall' is to gall have the nerve to do something. Closely linked to the gall bladder is the pancreas, likewise bodily health by the which stimulates overall maintenance of our issuing digestive into the enzymes process, specifically those that break down fat. However, unlike the gall bladder it is more a soft tissue, and hence an expansive, flat, long thin organ existing anatomically as a and organ, all of which is wide yet from Catherine the that reflected in it. quality of cellular awareness we receive introduced the pancreas to us as that part of the solar plexus that is intimately bound up With the process of "taking care of yourself".

idney " As Catherine put it, thekidngs areabout'ýenerosiýy The Iddneys are the anchors into our potential, our strength. They announce the fact that you are there,, that you are,,that you are you. They are about being honest, and honest with yourself, being congruent with yourself They are about limitations Also is taldng there and your strengths with you. respecting your 77

Body-Allind Choreqgrapý)y Cenlrin The terrilon'ef mopement of and oj'q#ýcl g

sometimes a very strong feeling of frustration attached, that you can't quite get out .... On top of the Iddneys rests the adrenals, the drive to get out motivation, drive, addiction, but without the Icidneys there's no support you ... can easily go into overdrive, become run down, empty (yeh? You know 1poup. (she lets her whole upper body and head sag) ha ha!). There is this drive and the fear of stopping because you know you are empty and you fear the collapse.

Lungs In relation to Chinese medicine the lungs are seen as the channelsinto the body of prana or cbi, that is a major part of our vital energy. In this way these organs operate as a linkage between our inner and outer environment. The motion of breathing also pertains to our ability to think and meditate; thus breathing is often held as a natural pathway between a conscious and an unconscious state. On the plane of emotions the lungs express sadnessand grief, the silver lining to such evocation is a sympathy for others as well as a belief in some new hope. These derived from the general states of inspiration and exhalation: attached notions are let loss life to death until we when we exhale we go, we experience a in releasing inspire again and renew ourselves with the oxygen required to sustain life. The back to exhalation also serves as a way of connecting ourselves nature, we give dioxide, fife bonding kingdom to the molecules, carbon in a chain of viroid plant us hence breath In the the sentiment of sympathy. represents summary: each cycle fife; "space is (Hartley, inspiration is in which potential manifest" of each a pause,a 1995: 202).

last At the begi .nnin of the middleweekend, two some monthsonfrom our meefin and after ,gg [dance and contact iMproVization] we with eachotherin movement reacquainting ourselves 'beiý,: the together the and of g-wherecame in centreof roomandsharea quietmomentof reflection how lives the two past pon wefelt that morningcomin g months, our in we-are-now reflecting u life how hadfelt in from our differenttempos meeting eachotherjustthen: of and we

Catherine: Is there anything we'd like to share? (Pause) "It's nice to find some fightness"

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Boýy-Mind Choreý_graplg ler7ilon'es the Centrin of of ajýcl andmoiement ,g

"I feel a bit foggy from all the driving [She had driven down from the north of Manchester that morning to be in Bristol, a good four hours driving time before we -startedat 10: 30]; but I am beginning to feel quite quiet inside, and contained" Catherine: How did you feel meeting people in movement? "I found it quite hard feel I the transition into the opening out. if as work with ... felt I needed to be in that heart the organs has stayed with me, but that it ... protector"

Catherine: [Paraphrasingthe main intent of Catherine's following words which are in effect answering the feelings just expressedand linking them more generallyinto the overall experience of BMC by way of direct relationship to this and the last Right, having done weekend's work]. some work on the organs, that quality of being in a specific organ remains with us, however faint. In relation to the organ we are working with today, that of the lungs, there is a relationship that links back to the quality of the kidneys [which we experienced last time]. The energy of the lungs translates into feelings via the kidneys. "I have been thinking about the expansion into the organs, it gives me greater but I clarity, when interact With someone else,part of me wants to withdraw ... to be more authentic to how I am" "I find it just about possible to work with two intensities, say like being in the heart kidney" the in and Catherine: The strength of oneself, of authenticity to oneself is stronger than know 'Ah, know important it is that's to that to this weekend, and strength, being in body open to supports you, and supports you me' - the lungs! So to experience our we are going relationships. [Now basic anatomical details are clarified: the left lung is smaller than the right, having only two lobes compared to the right's three. This we experienced by handling and examining the lungs of a pig. Herein we felt that the organ was non79

Choreqraphyoj'qjjýctand mopemeni Body-Mind the CenItin terrilon'es of ,g

contracting (ie not muscular), that its physical quality was 'sponge-fike' and soft, and yet with a strong, slimy membrane by which it was possible to discern the lobe compartments. In the body we are told that the lungs are protected by fluid, the pluras, and that we can feel the lungs directly - place your two main index fingers above your shoulder bone on your front torso and breathe in deeply - thus demonstrating that the lungs extend from your diaphragm right up to shoulders. We were also informed that it is the diaphragm that controls most of our breathing (around 60%) and is thus responsible for initiating the movement of the lungs]. Catherine: Their job is to take in information

from the air - taking in new sensations from the outside ... and to have the courage to take this in we ...

often have the choice to take in information.

Thus the grouppaired off and workedthroughthe methodsoutlinedabove.Oncethepaener fi) had lunTs in hadjound the their the receivinT contact cused ener xy and suffidentimpetusthereto dance, into For a whileall of us weremovingin thespace them theroleswerereversed. move of the levels directions This to the that room ener ýy and wejound within us. movement opened up spaces , led between / This d in to that prima te and encounters us met ri y rms of rhythm. ynamicwas Catherine "Guantanamera " by to the this peý`ormed enhanced as addedmusic scene case as - in Thedanceandqualiýyof themovement PeteSeeger. li ýghtyet wasC3 generally with an undercurrent of . A coupleof thegroupmovedPegslow/y. Thy kept vegmuchwithin potential,a verýiginousjorre. One their ownboývspaceeventhough My mopedslowlyaboutthedimensions the the of room. of , by bad the themselves sidemallsand was clearlyovercome some alonTside oneof group nested , I had beguntojeelasif I wasopento all aroundme,movin 'nitially in .onalfeelings. pn .Pateemoh Cý ,gi I likefree dancinT tensionlessgestures, in sweeping moves, usingmy armsto archmy and whatfelt However, balls ftet boývaround- swirl-like I suppose this the much on of my and Peg felt I feel be the to movin through the grace and overpowerinT, openness, whene,%plored, gan ,g , be balanceof beingon the ballsof myfeet seemed the to looseits confinuiýy and movement:gan to later IThis feel increasing# course, on myfinal weekend was experienced sensation aTitatedwithin. in This it the time the three throu planes when occurred Th of movement. y speci/icall whichworked Du fm * focus this to the plane. the n hT movement exist o solel y on peeical midst of allowinT _y It like I hei fe had ýbtened it I that awareness was a of all wasaroundexperienceoncea,gain byall thepotentialsensations that my body couldlay meopento. I waspresented bein bombarded ,g kaleidoscope fiZ. As I the this of Uv colours. energv of vibrant moved via a of with an imaTe 80

ChoreýTraplyoJ'affect Centrin the terrilon'es oj'Bod-Mind and movement ,g

force, the objectsand the stnictural detailsof the roommereseeminUlannounci sensational q. themselves to me in the weight of their 'bound-tip'energv.The ope rpoenf w ri g eeliq wasmuch , became Ifelt I had thi'stime,and as themovement that stronTer to makethe muchmorePITorous de6ision to stop- therewasa stronTfearthat I wasgoingto beoverwhelmed, consa'ous and that *g to causemeto blackout].Dun*n the dance the nauseathat wassweepinT through mexasgoin , ,g lunTs, Sh' bein the partner, I.nitiatedvia a za/supractitioner,pickedup on my qTitalionas we my ,g Thus jeefi, dison*entafion by the to -ed what we were Pocafi, ý, T. attempted anchor my holdiq1touchin the confactpointsof the elbowsandjoints of the thumbthat are linked to the ,g P190 luqs in theanatomicalmapof Chinese Steerin * I the the medicine. ur andflowof energv was jeefiq, out and throuThthese pointsand with mypartner,itfilt asif calmness returnedandmore This by Cathe important/ little to ya sense of control wasfadlitatedfurther rineaskin us adda of ,g had the di:*gesfiPe tract to themovement the that to that soas experience effect on our movement. WlhencombininT both,themovement begantofeel somehow It purposeful more wasslower,or at leastitfelt it, therefore if themovement itfeltfuller the wasstill at samespeed, and with more Havin broughtthedanceto a closewegathered presence. onceqTainin themiddleof theroom. , "It felt wonderful, twinkling, asif I could go higher and higher- where'sthe ground, ha ha!"

"The quality of the body felt like I iMagine being a parachute would, and yet also lungs balloon, hot felt digestive the the to are tract the air where it a akin with form basket" for is the the of some grounding in canopy and there this need C: Yes, I like that. You do need the anchor of the digestive tract, your basket. It enables you to say 'fine I'm safe, I can say no' "I had a senseof completion when we were in both ... it made me feel quite tall ... if lengthening my was structure as aware of the spine ... there to support me, a ... lungs felt I the my without if empty it could as so softer and yet very supportive, deflate I them that much" could collapse, "Yes, its sounds hke the buoyancy"

81

Centring Chore, the ter7ilon'es ply oj'Bod y and moi)emenl oj*q&t ýTma -Mind

"I felt the support, the senseof interchange, an alivenessin the membrane, in the having fiver, from a1veoh, a certain kind of tone the support my also with and ... the diaphragm-'

C: There is an expansion, a breathing from your back, there is the support of the kidney and it is as if you are massaging your kidneys

"I also felt, in the midst of my twinkling

(1auThs)that the lungs gave me the space

feel my tiredness I needed the earth so much, down in the ground, yet also to ... ... knowing the vastnessof space,the potential to swim with the air"

"I was sensing my own need to protect and be quiet - after all that I've recently done; a lot of it has been in public, my work"

C: I'm sure everyone will have a different sensation due to a different relation different digestive the the relation with the moment, and a system at with both are to do with interchange, with heaven lungs at the moment ... knowledge - and earth - nurturing.

Heart býTan Catherine On the last Sundayof our three-weekend the workshopin the usual course, in thoughts the the the tgetber our sharing silience, room of middle a in circle mannerand mesat presence. andeachother's Catherine: If I can ask the right question I have done half the job, if not By in lie does body for now we the power of the not answers. more than that, have all experienced the body as different layers - emotional, physical, if I loop, like It's the touch a are all of which ongoing. spiritual and mental, If it be that it the the move. you others; might others can touch all physical helps it be So it in to total. talking about a are them way we all think of can I If If I different touch touch in being one, all give you weight. systems. the I level; can ask your emotional mental so you and you meet you, see you or 82

Cenltiý ChoreoSrapl! The ler7ilon'es oj'Boeýly-Allind movement and qfqftl y ,g

be there with your feelings in the act of giving weight [this refers to one person having contact with the other in a similar way to that achieved in Method 11,and in the way you meet someone in movement through their comportment and stance towards you] and I'm looking for the whole person to be connected not just one part. In the harmony of the many different systems of the body, the organs and the fluid system speak of the emotional body, the nervous system speaks of the mental body, the muscular system presents the physical body finally body is in So the the and spiritual endocrine system. when you open up the pathway of movement [through the expression of the digestive system, etc] you can manifest your emotional or spiritual self within that.

"I've found the sense of anaton-&al clarity really helps, to have this anatomical feel here (she her to Points it it presence clarity and gives a sense of and now -a ... indicate times to thisfeeling)- it torso,pushiq herhandinto herstomach a coupleof asagesture for be distinct to the emotions ... which otherwise seemed space opens up a from" knowing they are or are coming confused, not where "It's never once and for all - 'Oh I've got that now, I'll stick that in my pocket'. Its had had " [This participant several previous experiences of very changeable. his 'Contact had BMC the insights with own work as a combined and working With ImproVization' instructor] "This rich textual of planes -a celebration of diversity in the many ways in which levels" different we can accessthem, all the Catherine: To meet other people's energies is very important - that can It if it's almost as you've made a third thing -a meeting place. change me in your pockets! can remind you of what you've got it's intensity The bit knowing been that "I feel as if I've more about myself. a huge basically. I've felt enriched by that, in quite a humble way; but then who's an " expert?!

83

Choreqrapýyof affýCtand movement Centiiq terrilon*ef the oj'Body-Mind -

Catherine: Yes, as a dancer I was interested in integrating the mental with the emotional and physical. It is difficult

to really embody and feel the

experience for dance. Through the work of BMC I realized what was inside me and what was out there, and how to integrate this with my work, that I need not have very strong boundaries. My dancing and movement had more It colour. was more vivid. I was starting to ask could I do that, get that sense it is quite controlled, you could feel by it - so these different of colour, There is qualities of self. 'Oh, now I need to be more ... now I need the a whole repertoire of colours and the organs help us to get in there.

"There are so many places in the body where that is located, that colour or quality. It is as if you can turn the tap on! There is this spiritual aspect, something almost divine the the organ, within architect, the creator, the structure - as if there is an hand behind it" exquisite

"It's like a miracle; it's all inside; the structure -I am amazedat what is happening" Catherine: Yes, so this has been about the development of perception of the body. the organs, of "And we experienceit from the intensity of probing the organs - is it?" (Manyin the aTreement) group nod, murmur , Catherine:

Yes. And also you then realize that where your intensity

is is

for like Shaman isn't but is It the this the presence of mind, where you are. Sometimes body. is in the presence doubts, dislocated

There in the way. the mind gets are

from experience, like a sentry guard, this figure from the

back in it isn't feeling true; when comes past telling you that what you are looking. you are not

"What do you mean when you speakof the mind?" feel 'liveness', I Catherine: call the mind where you authentic to experience; between is It the that present moment. and connection you at. are you where 84

Cboreograpby oj'affict and movemeni- the ter7iton'esoj'Body-Mind Centring ,

Of course it means different things for different people. There is a way it can function as a 'ghost' saying Just don't be silly' - taldng you away from the present; yet I can feel it. At that moment my mind goes out of my body, thus part of my vital energy is then out there.

SECTION THREE 3.5 Legitimating

the vitality of this research

Let me legitimate the acaderniccurrency in utilizing the art of this somaticbody (so it through the practice situating within apparatusesof subjectivation as not to body biological determinism that the the in get caught in extreme of either by that the apparatuses which we make sensingis all - or social constructivismforemost). These apparatusesproduce paths,the criss-crossingof which senseare becomesthe basis for modes and processesof subjectivation.Guattan identifies human distinct First, the groupings types. three circumscriptionof one ofpoxer from the outside,"either through direct coercionof, and panoptic grip on, bodies, here So, I (1995: 19). that to suggest through want minds" imaginary of capture or knowledge, body explicitly Within the acaderructask of producing working With the For for disruption example, of the embeddedprocessesof subjectivation. makes a dominant the the senseof perception: think of the codificationof visual senseas Why is ability, as in the conception of an able-bodied capacity to a person, necessarily always premised on a visible increasing focus We our research on need to categorization? awareness of a continuum of abilities rather than on an either/or situation around the capacity of one of our senses (Albright, 1997: 35).

This to present a is Second, paths of knowledTe pragmatically. articulated are deterritorialized and reterritorialized mode of understanding, one that emphasizes In particular us. around the world immediate of the ways we make sense being BMC in that is about this making is sense a the practice of association with but from body Within feelings the only resonating not of energies and tune with the This bodies. is about from the proXiMate relationships to things, spacesand other that do is quite something the moment, sometimes present knowing what to in 85

CboreýTrapby Centring the lerritofies oj'qffýcfand movement oj'Body-Mind -

literally about going With the flow of the events surrounding you going With the feel of the proximate spacingsof rhythm, movement, intensity and rest. Finally, Guattarl identifies paths that are of seýflreference: the development of -processual subjectivity that defines its own co-ordinates and is self-consistent ... but can nevertheless establish transversal relations to mental and social (1995: The 19). stratifications" notion of transversahtyis significant in the work of Mix Guattari. It is derivative of a psychotherapeutic concept for the 'group' describing the way a individual affirms himself/herself through the language and expression pertaining to a particular group thereby constituting a 'subjective' unity for the group in terms of the social (see Stivale, 1998: 19-20). Crucially, transversality opposes hierarchical groupings that sanctify and enable one person to behalf do So, (as Deleuze through this third speak on of everyone else. asks we pathway): What does it mean to speak for oneself rather than for others? It's not of course a matter of everyone finding their moment of truth in memoirs or psychoanalysis; it's not just a matter of first But the person. of identifying the impersonal speaking in fight forces as soon as you try to you confront and and mental do something, not knowing what you're trying to do until you begin to fight. Being itself is in this sense political. (1995: 88)

So let me conjecture: the practising of BMC is not about discovering an absolute moment

of truth - captivating

fact from

biological brute, some essential, natural,

for is body. Rather this through vocabulary yourself it speaking about within your BMC, in the group practice of shared performing identify visceral,

(therapeutically

in the vocabulary or indeed,

is It a personal attempt or on stage).

With those impersonal

forces that arise in the moment

fleshy and feeling body.

It is an identification

transversallY associated with the wider organization

body the of to work

through

and

being a

that is simultaneously

I In the next section of society.

by do be I three these how this active making this will argued. can want to illustrate BMC, not only as a worthwhile pathways in talking about

its empirical practice in

but the it moves our understanding in way also existence, practical and towards a more general and open mode of representation. and making instrumental

the terms that I have borrowed 86

body the of

This is about unpacking from Guattari

his and

Boýv-Mind ' Cboreq Centriq the tenito nes of graply oj'affectand movemenl ,

work with Deleuze. This then announces the next problematic encounter with Deleuzian thought.

Problem 4: Transversal pathways The four crucialtermsfor my argumentnot only strikeagainst our geographicalimaginationaseither familiarmetaphorsor as but id-iosyncratically obtuse, will alsoconstructthe ladderthat enablesthe theory I want to describehere;the four rungsare: paths,apparatuses, subjectivation, and territori'ali. Zation. In speakingof paths, and pathways,we are firstly ain-ungat pushing through the implications of the terms of becoming. Guattari frequently threadshis thoughts through the belief that "there is no Being alreadyinstalled throughout temporality" (1992:30). He propels the alternative dynamic topography of The point is to becoming in the notion of pathice,%pressiondestabilizethe notion of spaceand time existing as separate empty containers: the partnership of time and spaceis not definition does of the it impose a grid or imposed, and nor framed. Rather, thinking of paths, world as something already Let's think about tl-ýs the the world. one appreciates spacingof lose to potential a senseof terms in of residing within a 'coming follow Thus to into to path a a we need ourselves. be has The to there made:thus the path isn't yet, it existence'. become through enunciation ontothe pathway subject and genetically. Secondly,this onto-genetic element spins a net much like a durable to the world, consistency more a weaving spider's web, frames loosely our actions and channels producing a netting that Consequently, themselves. we as social scientistscan the actions apprehendand work with the notion that there are apparatuses that strongly influence the production of the social and the These a are apparatuses individual subjectivity. therein of sense between the that multiple exchanges offer activities complex of define They in many ways nexus of individual-group-machine. in relation to meaning and production the conditions of It these that our of understanding is vital subjectivity. 87

Body-Mind * Choreýgraply of qftl and movemeni Centrin the ler7ito nes of T ,

beyond apparatusesmoves just equating them with juridical laws, organizational contexts, familial habits and so forth. We definitions following: here to the need include in our many of "human inter- subjectiveinstancesmanifested by language; ... institutional interactions of different natures; machinic (for apparatuses example,those involving computer technology); incorporeal Universesof referencesuch as those relative to music and the plastic arts" (Guattari, 1992:9). However, here I want to focus primarily upon the final apparatusof incorporeal universesof reference. Thirdly, we must be clear about the term subjectitation.The distinction it heralds from the notion of subjectivity is that it requires us to think through the co-management of the production of subjectivity. Subjectivation is the virtual plane of potential subjective positions, wherein the actuality of such find dependent the positioning is apparatuses in which we upon ourselves, and the criss-crossing, polyphonic combination of for that produces specific pathways subjectivity. such influences Subjectivity is then an emphasis upon the founding instance of 1992: 22); (Guattari, in other words, an emphasis intentionality how, and what it takes, upon that instance when we understand be be It 'go to to clear that intentionality on'. should also able does not therefore reside in a pre-given subject(ivity) but is forth brought in the actual something that is enacted and For task. the example: perforn-ung of A child in the dark, gnpped with fear, comforts himself by his halts Lost, his breath. He to song. walks and singing under he takes shelter, or orientates himself With his little song as best he can. The song is Eke a rough sketch of a calming stabilizing, (Deleuze & heart the of chaos. calm and stable, center in Guattari, 1988: 311)

The subject is not then an "ultimate essenceof individuation, as a pure, empty, prereflexive apprehensionof the world, a nucleus (ibid). Rather it is a performative of sensibility, of expressivity" is I that to territory, and one want emphasize mapping of a (on Grosz, 1994b). this see conceived out of our viscerality 88

' ChoreqTraphy J'affect Cenlrin the lerrito nes ql'Body-Mind o and movemenl ,g

Finally, it is helpful to recoup these disparate and unfamiliar Following concepts by appreciating the notion of tenitoriafiýZqfion. Deleuze & Guattari, the factor of transformation is defined through its two-fold biological distinction, with the notion of territonahty being a transformation of isolation or separation rather than the other definition, that of a process of mutation (1988: 548n2l). A deterntonalization

-a geographical metaphor -

and yet Within it a wan-nth of intimacy, of suspense,ofsubjectivit y that you grab to stay warm, to feel good, to feel sheltered (see Guattan, 1997). The bodies perfon-ning the dance, the movement, or the rhythm, are equivalent to a moment-by-moment senality that presents a senseof subjecthood.

Through these pathways the perforrMng bodies - our bodies, the body of the bodies BMC the the the performer walking across practitioners empty space,and of logic the to the enunciation of subjecthood as correlative emergenceof a - produce of non-discursiVeintensities and the incorporation of vectors of partial subjectivityThis is the logic of an alternative cartography, a cartography that charts the planes of movement through an understanding constructed out of the vocabulary of BMC. In witnessing a performance registered at the level of empty space, this between bodies the intimate space and the spacing through opens up a space bodies - within which to apprehend the sensethat makes us understand what is Cgoing on'. This is about witnessing our bodies through our visceratity and understanding empathetically the cartography of affect that a particular move makes.

3.6 Conclusion:

geographies

of affects and relations

This is a space of choreography; the spacing and choreographic presentation of immediate context. It is a landscaping of moves and relations that "can withstand frame" 1998: (Pardo, illustrative be 'text' impact to an reduced not the and of .. feelings, landscape. Rhythm, 20); that is not reduced to affects, movements, becoming thet'r plane, and own conquering into conjuntions, entering emotions, ccautonomousfrom dramatic action, impulses, and situations, and independent of An 319). Guattari, (Deleuze 1988: & landscapes" independence of and characters for be the the to there cultural potential outside you offers which character 89

Centring Cboregrapbyoj'afficl and movemew lbe lerrilon'ef oj'Bo(yl-Mind -

ascription of your body, thus no longer as disabled, as weak, as muscular, as tall, as defined. It handsome, white, as male, as is about making an as always-already apprehension of that outside. It is about being aware, of listening to the alternative body. logic Close feel through non-discursiVe of making sense your your eyes and the air, the environment, the other bodies, on your skin. Let knowledge breathe, feel and desire openly. What writer has not dreamt of fteeing himself from meaning in order to compose music?What is the point in wrifing if one hearsnothing? (Serres,1995a:126)

The des-Ireis to suggesta new way of becoming, one that is driven through with the blood of the body, made tangible by the excitations of touch, apprehendedin the dynamic balance of movement and made actual in the affection of interrelational intimacy. We can now shift the boundaries of the apprehensionswe held in the the performance within the stageof the empty witnessing of are making body beyond the the initial register of into the realm of space and move delivers body that the immateriality, us to. which

90

CHAPTER FoUR

The materiality and immateriality of objects, or craftsmen and apprentices Before the Law stands a doorkeeper. To this doorkeeper there comes a man from the country and prays for doorkeeper he But Law. that the says admittance to the The it thinks the man moment. cannot grant admittance at later. be in "It is he if then allowed over and asks will " doorkeeper, "but the moment. not at possible", saysthe The doorkeeper giv i es him a stool and lets him sit down days for he door. There and years sits at one side of the The man, who has furnished himself with many things for his journey, sacrifices all he has, however valuable, to bribe but doorkeeper doorkeeper. The the acceptseverything, keep "I to taking it you alwayswith the remark: am only from thinking you have omitted anything" [ ] ... Now he [the man] has not very long to live. [ ... ] The doorkeeper has to bend low towards him, for the difference in height between them has altered much to the man's disadvantage:"What do you want to know now?" asksthe doorkeeper; "you are insatiable." "Everyone strives to reach for happen does it how "so that all the law". saysthe man, for begged has but ever myself these many years no one has doorkeeper The " the that man recognizes admittance? be "No ] [... his admitted ever could else one end. reached here, since this gate was made only for you. I am now going 3-4) 1996: (Kafka, " it. to shut

immaleriahýy Themalen'afiýy qf'objecls,or 6raftsmen andapprenlices and

4.1 Introduction This chapter aims to chart reconfigurations of the object through a theoretical space left in the wake of the dissolution of the subject/object divide. An attempt is made to degree the Write object at zero as it existsin the syntacticalspaceof performance,and to show how, Within the spaceof their own scene,both the material ob)ect and the into immaterial The realm. object of affection perform an opening an aim is to present an enunciation that suspendsthe habitual ways in which we encounter time initially falling love, through the to in and spacein order sketch out, notion of some potential openings apprehendedand made apparent within the affective economies forward from last Benjamin Through Walter the the and carried chapter. work of Gilles Deleuze in particular I want to show that this speculativeendeavour is not little (and this is a very unfortunate just) appreciatedwithin the confines of new, just back by I thoughts in the empty space of placing these academia. conclude by how illustrating performance a particular theatricalperformance,and therefore the latent potential of performance art in general, has the power to put us in direct be that contact with which cannot grasped,the immaterial.

4.2 The object in general: Italy 1924 - an erotic event: dissolving the body, text' distinctions and city separate which categorical We live today in the age of partial objects, bricks that have been in longer believe leftovers. We bits, the no and shattered to like fragments the pieces of an that, myth of the existence of be last for turned to the one merely waiting are statue, antique back be together to create a unity glued up, so that they may all longer We no that is precisely the same as the original unity. believe in a primordial totality that once existed, or in a final Guattari, date. (Deleuze & future totality that awaits us at some 1984: 42)

Benjamin, Walter in Italy begin not Just By way of introducing the chapter we with Asja Lacis love: "This Benjamin but Walter is Benjamin, named Walter street in any "who As)a Lacis, Benjan-uns As Missac pursuit of Street" (1997: 45). comments, by leaves living the his astounded one become had with another man, muse while I Burgin, (1998: 56).

92

Themalen`akýy and zmmalen'akýy oj'objecls,or crajismenandapprentices

behaviour of this bashful (1995: 5). Here is a man whose and obliging suitor" thoughts were becoming entrenched in the cultural-theoretical currency of material fragments and whose body was falling in love, becoming captivated in the immaterial. An early textual piece by Benjamin offers illustration of the erotic event that foregrounds, what commentators like Caygill (1998) have termed, Benjan-Un's speculatiN-e methodology: "eros, love, tends toward none other than the joint death lovers" (quoted in Missac, 1995: 5); death the ultimate expression of love's the of immateriality. The issue here is the relationship of (or between) materiality and immateriality Always held Ever-after sense of immaterial an and -a within a material, grounded Now. The ground of the Naples essay,an early experiment in Benjan-un's methodology (see Buck-Morss, 1989; Caygill, 1998), and walked through with Asja Lacis, is indicative of an early directive Benjamin had hoped to his in achieve critical writings. In preparatory notes for his ArcadesPrqiect,Benjamin "What (and finds the writes: the child weakly remembering, man) in the old folds he held the that mother's skirt of on to - that's what these pages should contain" (quoted in Hansen, 1987: 185). You cannot describe what the material of the mother's skirt evokes, this evocation is immaterial and heartfelt. As I hope to work through in this chapter, our impressions of an object have two sides: "Half in sheathed the object, extended in ourselves by another half which we alone can (Proust; recognize" quoted in Deleuze, 1972: 26). What is clear is that the equation direct ive Benjamiin to the of an object and subject is inadequateif we are emulate had hoped to achieve. In his remembrance for Benjamin's work, Nfissacportrays this affection for the immaterial in these terms: The things Benjamin says about the relationship between eros and sexuality in several short texts represents merely a new far dialectic the the that played such an the aspect of of near and important role for him in so many respects. This dialectic Baudelaire's 'A his poem interest in une passante' explains last discussed his he texts: there is always in one of which ... love. to the woman one wants something inaccessible about (Missac, 1995: 5)

This "always something inaccessible"quality Will theoretically link the chapter to level, 'apprenticeship different Proust's the Deleuze's work on to signs'; or, on a 93

immaterialilg Thematen*aliýy oý'objecls, or crqjýsmen and andapprenti,, es

contents of the chapter are united in their pursuit of the status of the object and sub)ect reconsidered in the fight of the state of being in love. Benjamin's writings at this time are on Naples, and, like the majority of the he his accounts makes about particular experiencesof urban centres, the city and the experience itself are expressedthrough the experience of other cities (not least his home city of Bertin). The otherness of such experiencesis not registered solely in terms of either spatiality (other places) or temporality (other times) but on other (other is the the space-times): actualities virtual writing experience of city a "negotiation not exhaustedby actual past experiencesof the city, but also of those did happen" (Caygill, This 1998: 119)2. not ever otherness experiences which demands "always that that something inaccessible", a quality an alternative echoes logic dialectical framework the than too of subject and all easily assumed analytical first Naples begun by Benjamin The the theoretical in presents nuances object. The I this to that this present in chapter. stale analytic want reconfiguration of be firstly Benjamin's the twofold, presented as a object will work is critique of dialectical im,ýge;these: but objective imagesare not subjectiveimpressions, human buildings, The gestures, phenomenaexpressions. language 'read' in which a as a spatial arrangements- are historically transient truth (and the truth of historical transiency) is expressedconcretely, and the city's social formation becomes legible within perceived experience.(Buck-Morss, 1989:27)

Secondly, the object is composed out of the folds of "perceived experience" description for looking of physiological or phenomenological than a where, rather is focus of grounding the specific cultural-historically the upon perception, Ben)amin's here The that is argument through encounters. concrete perception in (in Naples, Naples in this of precursiVe work these especially images, on writings 1924), are taken directly from the experienceof walking through concrete, material from directly the of the encounter The pulsational image is apprehended spaces. (as in theoretical in this posterity to moment inscribe attempting everyday, and

fact that, in in in happening, experience is concrete material to so close 2 [An actuality that so close 'so in hover it did That it happening. it regret: perhaps sadness, makes not see could terms, you metaphorical ] lost I my memory'. sad,

94

The malen*alýlyand immateriality ofoýjeas, or craj?smenand apprentices I

critique) the desire captures, however transiently, an aspect of the immaterial quality of the moment. Thus, we: sentiently experience a window, a cloud, a tree not in our brains but, rather, in the place where we see it, then we are, in looking at our beloved, too, outside ourselves. But in a torment of tension and ravishment. [.. And no passer-by would guess that .] it is just here, in what is defective and censurable, that the fleeting darts of adoration nestle. (Benj'an-un,quoted in Taussig, 1993: 38)

4.3 Walter Benjamin:

of historical-cultural

the viscosity

material

Walter Benjan-un'stouch upon the object is invested within a wider concern for the The intimations that lace his many fragments of writing unravel out of past. ruminations on loss - on a sense of loss that is felt through change and within memory, a loss felt in the present in preparation for going on in hope. Specifically Benjamin's descriptions one sensesin or stories around objects the perception of loss as it emerges in (modernity's) 'Chokerlebnis:the disorientating indifference be As the technological exhibited in channellings of experience. presented Will throughout this chapter, subjectivity is finely woven into these configurations of the object and one recognizesa melancholic subjectification in, as Lash puts it, "the midst of jolting experiences of rapid succession of objects in the wasteland of technological culture" (1999: 313). But my interest is not With the status of the subject as it is caught in a maelstrom of socio-cultural change,an argument that is but hyperbolic in any case, somewhat With the processesof subjectification that, through materiality (people and things), speak of the immaterial. Etched into the for intimation the subject, an intimation of the object is an encounter with Benjamin's spiritual essenceand of Deleuze's concept of univocity. This intimation here It beyond between the the the the now. and object, subject and is a space and hope. speaksof In the case of Benjamin, then: in his famous ArcadesPrqlectthe dream world of "a (by is itselo as mortified world of things, a world of the c19th presented The from (Frisby, 1985: 210). their out origins" relfications that are cut off -ripping AbsmZen "a from is process of unraveuing their normal connections of things fragment is (Lash, fragments" The 1999: in 325). not an then recasting and 95

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objective quality, it is poetically spun out of an intimation of time, death and memory. These immaterial vectors are the processes that objectify the fragment producing the object not as self-evident thing With an essential quality, but as a moment of affective force. The immaterial aspect of the material thing is the focus here, that is not to say that if this is disregarded you cannot conceive the material object as something whose duration makes it appear to last for all time. However, consider this: is not the immaterial aspect of the material in evidence in disused/unused/rrilsplaced/recast the qualification of commodity; and is not this immaterial agency being evoked in the presence of the object itself'? The spaceof Benjamin's theoretical argument, this dependence on an immaterial aspect to the for, to totality object, precariously alludes an ideal in Benjamin's own appraisal,the forage for "the crystal of the total event in the analysis to task of Passa gen-Vork was (Benjamin; Buck-Morss, 1989: 74). particular moments" in of small, quoted However, it is not Benjarrun's intention to ascribe to a teleological topography of the world, rather, in consistently looking to the forgotten and the rejected Benjamin's narration exhibits signs of a messianictopography: The elements of the ultimate condition do not manifest themselves as formless progressive tendencies, but are deeply form the Present in of the most endangered, rooted in every excoriated, and ridiculed ideas and products of the creative (Benjamin, 1999: 37) mind.

By turning to the cast-off objects of the 'History of Progress' Benjamin effects their redemption,

loss violently correcting the

by the them acted out upon

dominant constructions of experience. The allusion to an ideal totality, of to a sense foundation the to this the theoretical justifying attention the in of absolute, arises in Caygill have do tension this to show us? sites such objects ruins of time - what Benjamin's early textual fragments: Benjamin's difficulty at this early stageconsistsin discoveringa immanent be it by the to possible present which would method

is, functional, does their that their utilitarian values not emphasize 3 "A relationship to objects which fate In then, loves this area, the their the circumscribed stage but them scene, of as studies and .... usefulness it may be surmised how the great physiognomists - and collectors arc the physiognornIsts of the world of 62). 1992: (Benjamin, objects" 96

. Themalen`afiýy immalm afiýyoj'objech-, or craj?smenandapprentices and

absolute without translating it into an ideal totality in the manner of Hegelian speculatiVephilosophy. (1998: 9)

Benjamin's attention to the discarded is worked through by adhering to the belief in, what Caygill has called, a notion of speculative experience. Such experience requires that the transcendental subject is dissolved into the temporal landscapeof its objects. So whilst this inevitably draw us towards an expressionof an immanent totality of spatio-temporal experience,it also speaksof an experiential complexity that exceeds any opposition of subjective and objective temporality. From this, Caygill notes that the expression of an immanent totality figures in Benjamin's arguments in two distinct ways. The first understandsthe concept of an immanent totafitý, as something manifest in the proliferating and complex patterns (spatio-temporal demonstrates Whilst the of actual experience experience). second belief in the complexity of time and space as something that exhibits a an implicit dissolution towards a state of totality, towards an ultimate redemptive immanence dissolved] into "ail [is that the emanations conditions of possible experience such (see Caygill Caygill, 1998: 6). the goes on to argue that, on the whole, of absolute" Benjamin resists the latter figuration4, arguing instead for an immanent totality as The thought. art of the speculativeis the willingness to make out what speculative has been excluded becauseof particular conditions of legibility or a specific set of "m-imanent In delineating totality is this possible experience. vein, an conditions from to it is possible in which experience rhythm a or warp a manifest as a contour, begin a reading, rather than a moment of spirit which would mark its seal and 7). (Caygill, 1998: completion" When we encounteran object, do we enacta moment of irreducibleobservation?Is Is thing law partly that thing a the us? confronts that of there a outside exists of objects independent being-there the of string of its of that is in of ways it some in objective is it there a generalmovementof realization: that its material give chanceactualizations by does it is Or, of way possess apprehension thing partly subjective; also a apprehension? beyond particular? the registerof the sensualencounterassometl-dng thought-a speaking immanent Benjamin to side-stepthe absolutenotion of an Illustrating the tendencyof

Man; Lan On La, Such in the notion of the in of guage ý:guqTeas and on the notions of voice 4 Except, significantly , (see Mimetic Faculýi On in lalýTuqTe the Violence; to pure Critique the referred notion of and divine violencein of Benjantin, 1997 and 1999).

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totality he turns to the concept of an urpbenomenon which removesthis part objective,part subjectiveequationby arguing"a timelesslaw within a temporalobservation".This argues that the generalrevealsitself in a particular form: "the point of emanationis actually appropriatedby the object" (Simmel;quotedin Buck-Morss,1989:72). The highest thing would be to grasp that everything factual is alreadytheory. T he blue of the sky revealsto us the fundamental law of chromatics. One would never searchfor behind the phenomena;they themselvesare the theory. anything (Goethe; quoted in Buck-Niorss, 1989:72)

The material, whether that be the molecules making up the sky or the contours fundamentalist immaterial. In the this of an actual object, speaks of staging and biological concept of Goethe in the realm of history, Benjamin's materialist flanks emphasis an all out advocation of an essentialist and transcendental descriptive historical his Yet, images or monographs presentations of metaphysics. Buck-Morss interpretation. still proffers a theory that shines through without for this problematic and paradoXical theoretical suggests an attractive analogy Benjamin's conception, that of the crossing of switches: situation within The method relies on juxtaposing binary pairs of linguistic signs from the language code (here history/ nature), and, in the process of applying these signs to material referents, crossing depends The this on manoeuvre the switches. critical power of both the code, wherein meaning arises from binaries of the the referents, and of independent signifier/signifieds do not submit to referents, the materially existing objects, which language signs meekly, but have the semantic strength to set the (1989: 60) signs into question.

This strength for setting the signs into motion is the significant aspect within Lash for terms the to itself object the it priority gives the object this conception of 'object-ism': has thought a theoretical as on our this the effect conceptualization "speech felt the acts of the material focusing of our intellectual and capacities upon Benjamin foundations But 325). (1999: the theoretical are what objects themselves" for further I 'object-ism'? the this to is this not want exan-une this uses to configure (this 'speech that theoretical held the is act' a equation of understanding commonly 98

The materiafiýyand immateriality ol'objecls,or craftsmenand apprentices

analogy muddies the waters but I want to show that ultimately it is a useful one). It is possible here to turn to The Task of the Translatorto witness an important extension of Benjan-un'sbasic line of thought: The concept of fife is given its due only if everything that has a history of its own, and is not merely the setting for history, is credited with fife. In the final analysis,the range of life must be determined by history rather than by nature, least of all by such tenuous factors as sensationand soul. The philosopher's task consists in comprehending all of natural life through the more encompassinglife of history. (1992:72)

Firstly, this hints at Benjamin's conception of historical materialism, the "basic from diary Benjanun to principle" of wl-iich,it is important emphasize,quoting an early for but "is (see Buck-Morss, 79). History 1989: entry, not progress, actualization" Benjamin is not predicatedon a socialDarwinism - the historicalchartingof the speech act of the object itself is not consideredin terms of its ability to channel,or perfect, history, Benjamin's functioning. Crucial take to and the on an understandingof social his how (and he theorists thoughts to might utilize work social modernity ascribes way following "hw-nans implicationsin these the term) to comment on such a as words: are but development tens of thousandsof years ago; a speciesreached the end of their humanity as a speciesis just at its beginning" (Benjamin,quoted in Buck-Morss,1989: 64). Benjamin's interest in history is humanity's imperfect, chaotic assemblingof here humanity as a speciesspeaksof technologiesof experienceinto everydayworlds; in 'modernity' "definition Benjamin's Take the new the context of as of experience. in 'having207), Frisby, 1985: (Benjamin; been has a there" quoted in always what for d-iis is experiencethrough objects: example,mechanical never-been-modern'world, reproduction, rhythmic channelling of energy through experiments with electronic image-scapes, the many organic or through virtual the spaces new channellingof sound, here My (often to is argue point the ntual). of guise within undertake comportmentswe hui-nanity5, focus or in on a non-linear trajectory of that 'object-ism' is a theoretical broadest (understood sense) its in technologies the in obscure interest other words, an is the world constitutedand understoodwith no necessary through which experienceof BMC (Such made the of thoughts presentation chime should with outcome perceived. 5 Beside the point and non-teleological.

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in the previous chapter.) This broader currency of humanity, of the cultural-historical, is encapsulatedwithin the materialitself; a belief in this is exemplifiedin Benjamin'smost central concept, that of the dialecticalimage.

4.3.1 The Dialectical Image The concept of the dialecticalimaTe"refers to the use of archaic images to identify historically is what new about the 'nature' of commodities" (Buck-Morss, 1989: 67). Under this conception a dialectical image does not exist as such, it is only so by way of some critical practice - "the Ilseof archaic images". An uncomprehendedsymbolism enslavesus Without ceremony dream. In this way rare sometimes, on awakening, recall a we shafts of insight illuminate the ruins of our energiesthat time has passedby. (Benjamin, 1999: 6)

The work of Benjarrun's later, more famous Arcades Pry'ect,embodies the same theoretical stance as this extract typical of his earlier essays,but differs in many of its modes of expression. One such difference is in Benjamin's use of image; a shift (repugnant) "small that in use machinery that allows the coincidental, the effects a discontinuous,and maten`a14 to be incorporated into the very roots of thought" (Foucault, 1981: 61). This shift in use is the practice that produces the dialectical image. What we need to ask is what does this dialectical image speak of in sociotheoretical terms? Firstly, it presents the counterevidence to the idea of a is itself The history. image a material re-view of the wreckage progressive course of face is, in It destruction turned its affect, a acted out in the past. of the material "where History': 'Angel it the of represents towards the past where, metaphorically, be to sees one single catastrophe which relentlessly us, a chain of events appears his feet" 1992: (Benjamin, before hurls them piles wreckage upon wreckage, and 249). The image is analysed as that which has actually taken place and acts in opposition

to the mythology

futurist of

history that as writes emancipation

Secondly, irreal perfection. progressive, What differentiates imagesfrom the 'essences'of in (Heidegger historic their seeks vain index. phenomenology is for history phenomenology abstractly,through to rescue historicity). These imagesmust be thoroughly marked off from 100

Themalen*aký, oj'objects,or craj?smenand apprentices and immalen'afiýy

humanistic categories,such as so-calledhabitus, style, etc. For the historic index of imagesdoesn't simply say that they belong to a specific time, it saysabove all that they enter into legibility (Lesbarkei6at a specific time. And indeed this entering into legibility constitutes a specific critical point of the movement inside them. Every present is determined by those imagesthat are synchronic with it: every Now is the Now of a specific recognizability .... It isn't that the past castsits light on what is present or that what is present castsits light on what is past; rather an image is that in which the Then (dasGewesene) and the Now (derjetýZt) come together into a constellation like a flash of lightning. In other words, an imageis dialecticsat standstill ... The image that is read, that is, the image at the Now of recognizability, bears to the highest degreethe stamp of that C) critical, dangerousimpetus that hesat the sourceof all reading. (Benjamin; quoted in Fynsk, 1992: 116)

From this lengthy quote I want to remark upon two distinctive attributes dialectical to the the assigned notion of image. First is the concept of legibility, a concept of relation: the coming together of the Then and Now as a constellation, dialectical Significantly Benjan-un designs this conception as something as a image. by "specific constituted a critical point of the movement" inside the dialectical image itself, in other words legibility is independent of any mediation to an intending consciousness. It is possible to see in this independence, despite an from 'essences' the assertion away of phenomenology, a contemplation of the demonstrated As (1999) Benjan-un Lash this concern notion of essence. observes, language for On his those in some of on example, earlier essays,particularly Benjamin is L.aq.UqgeasSuchandon theLangouqTe It that ascribing to ofMan. is evident have humans, things a spiritual essence. events and an ontological assumption that In opposition to sermotics, Benjamin argues that the essenceis communicated in language,by which he means in language itself and not merely through language for Benjamin instrumentalist Therefore, in the sign in terms. solely conceived language does not merely refer to a meaning but carries the meaning within it. So, lies "that Lash's borrow this in what is essenceas mediator words, we apprehend to left over after languageplays its instrumental function" (1999: 321). In pursuing the 101

Thematen*aliýiand immateriafiýyoj'objecls,or craflsmen andapprentices

direction of Benjamin's thought here, Lash influences and goes on to note the cabbalistic dimension to Benjan-un's concept of this spiritual side of language. Through allusions to the cabbala Benjamin portrays the communication of essence in languageas the moment when man names a thing. Thus: The previously hidden essenceof a thing, ie the deeply mediated essenceof a thing, becomesimmediate in the cabbalistic,the magical dimension of language.(Lash, 1999:322)

Such thoughts are also employed in Benjamin's essayTheTask theTranslator of It is plausiblethat no translation,howevergood it maybe, canhave any significanceasregardsthe original.Yet, by virtue of its translatabilitythe originalis closelyconnectedV. 7iththe translation; fact, this connectionis all the closersinceit is no longerof in importanceto the original. Wl'e m,? y callthisconnection a naturalone,or, ý, (1992: morespedfzcaý, a tital connection. 72;my emphasis)

The original, here of course a written text but by extension a work of art, an has life by This translatabihty. object, continued way of its quality of translatability is the original's vital connection such that "even in narrowly prejudiced thought there was an inkfing that He was not limited to organic corporeality" (Benjamin, 1992: 72): there is somed-ling more than the material now. So, the concept of legibility 'true translation' "does not cover the original; doesn't put the original light, but lets language, its the through pure under strengthened own medium, only fully more reflect onto the original" (Benjan-un,1992: 79). Second,I want to unpack the conceptof relation that underwritesBenjamin'snotion doesn't historic historic "the the index of images simply say index of images:to recall: of legibility belong they that they to a specifictime,it saysthat aboveall that only enterinto at between (that The (Benjamin, 80). 1992: time" possibilityof relation a translation a specific defines o, (Relationsbe it "the ' for its gn. instance)is a moment of createdness and original (Fynsk, Furthern-iore: 1992: 118). the of relation" structureof openin ,g in The very notion of a Relafionsbe: proposed order griffis clearly in differentiate the the essenceof that to communication occurs language (where language communicates itseýfand not the some from any act of signification or signified content) 102

Themalen'aliýyand immalefialiýl oj'objects,or craftsmen and apprentices

communication effected by an intending consciousnessor depending in any way on such a consciousness'.(ibid) The concept of relation is the immediate expression of the thing itself, this is the object's speech act. The particularity of this object formed speech act is perhaps best illustrated in a fragment from Benjamin's earliest commentary. Shortly after The Otins completing

German Mourning Play Benjamin started to write about the of

the space between the divergent manners of two German Romantic novelists, Adalbert Stifter and Gottfried

Keller. What interests me here is the revelation of

the object in this spacebetween their two styles of writing, it is this spacethat the (speech) Benjamin how Stifter's 44only object acts. notes writing creates on the (Benjan-un, 1999: 112; see Caygill, 1998: 65); this is then seen to visual plane" depicts Keller's contrast With writing style which a senseof revelation as something "that must be heard" beyond that which is seen. In Keller's configurations such a revelation is consequently not something fully understood. Benjarruintalks of this description because "sensual the the in it revelation as pleasure of object gives ... back the gaze of the viewer, and in every good description the pleasureinvolves the two gazes wl-lich seek and meet each other" (Benjamin, 1927; quoted in Caygill, 1998: 65). Out of this Benjamin conceives of the notion of a community of between the object and viewer, a spaceemerging recognition - the space of gazes field of recognition - which standsin opposition to the auratic, given that out of a And it before is this community of the auratic speaks of a space recognition. delineating Benjan-un the one of the vital characteristics recognition that gives to Limited describes the the individual with intertwining of concept of the ep'c,that it literary This far exposition is configuration of the object through reaching. what is for tool then transposed as a conceptual an exposition of modernity through the high capitalism: analysisof the cultures of early and The immanent critique of literary modernism required an latter the analysisof the experienceof modernity, just as for the immanent critique provided the condition of possibility (Caygill, 1998: 63).

has it does it (it designate does "A so only after a thing external to not name 6 Fynsk goes on to clarify this: fink (Ibid. ). Included for Benjamin fall itselo" is the to as the which into fallen the structure of signification, in relation to the Fall. limits thought conceived as the from to of outside, thought 103

Themalenafiýyand immalerialilyoj"ohjecls, or craj? smenand

apprenlices

SigtUficantly, it is the concept of a modernepicthat gives to Benjamin's analysisof modern experience the notion of montage that so defines Benjamin's writings on experience as situated and orientated through the period of c19th to early c20th. In effect this concept configures a way of understanding, and thus conceiving, modern For experience. example: Marfeilles- the yeflow-studdedmaw of a sealWith saltwater between the teeth.When tl-ýsgullet opens to catch running out the black and brown proletarian bodies thrown to it by the ship's companiesaccordingto their timetables,it exhalesa stink of oil, from This baking hard the tartar printer's ink. urine, and comes kiosks, lavatories,and oyster the on massivelaws:newspaper The harbour bacillus stalls. people are a culture,the porters and decomposition the products whores of with a resemblanceto human beings.(Benjamin,1997:209)

However, Ben)amin intimates something more lived than recognition, usurping the community of recognition with Proust's 'convoluted time' of memory (1992: 200). Here Proust is initially cast recounting a life lived through an individual's life. Yet the e,%perience the of this, and its remembrance of experience of a (Proust's idiosyncratic tempo and configuration through the practice of Writing detail), is not spun out of a condition of remembering but rather out of the actual forgotten: having experienceof When we awake each morning, we hold in our hands, usually lived life, few fringes but loosely, tapestry of of the a weakly and (Benjarnin 198) 1992: by forgetting. for loomed us as

As Caygill observes the "infinite is present in this experience" of remembering: "For an experienced event is finite - at any rate, confined to one sphere of key because infinite, to everything it is a only is event remembered experience; a differently: Let 198). 1992: (Benjan-un, this before me put that happened and after" fold in is the the and the material of time the of experience the convolution of bare the than now. immaterial, there is something more

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4.3.2 The absolute, the mystip, the invisible, the immaterial as univocity; or, "No one else could ever be admitted here, since the gate was made only for you. I am now going to shut it"7 What should be there is missing. Quietly, almost painlessly,this discovery takeseffect. It afflicts us in a region we cannot had been stricken by the separationlong before identffi-, as if we realizing it. (de Certeau,1993: 1)

In TheA4sfic Fable,de Certeau's theoretical encounter With the Christian mysticism of the c16th and cl7th, creates, and/or uncovers, a poetical annunciation of departure language itself"What be perpetual there is missing". The within should "region figure desire. It is an expression this the spaceof we cannot identify" is of be fulfilled, holding, but for the to the of want expression of an almost, and an fleeting Then. is Now Whilst the there intangible, moment, constellation of a and a lack be found, do One I that sense of a of a cannot not wish to emphasize this for less in it many ways is relevant than two other components of this aspect, departure. First, in the qualities of mourning, poetical annunciation of perpetual bereavement and melancholia that haunts the mystic discourse,there is a sentiment does Eden, but to past, reflect celebrated an not wish a of nostalgia, one which find does its topography Within the recessesof to; it nor which you want to return de Certeau Rather, understandsthat these our memory, of an individual's memory. boundaries "statues bring to the the to of an erected mark world mystic authors 'elsewhere'that is not remote" (1993: 2). We do not lack this 'elsewhere'but we can have no clear expression or representation of its existence;we are immersed in it Before in from Kafka's "man himself In the country" as the already. an allusion of doorkeeper by door" himself "near finds de Law, Certeau the the who the guarded Is "but being it this the to moment". at not possible enter, presents the situation of be he later 20 day to hope able perhaps, will that soon, some years one a messianic door desire is the door. Or through to the go it the eschatological, through go happened: has it because but in from "elsewhere", already not a remote way comes It is a testamentary:a kiss of death. It appearsonly at the dying before door to that is the the man, closes when moment

Law Before 4: the 1996: Kafka,

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Themalen'akýy andimmaleriali9lqý'objecls, or craj? smenandapprentices

say,at the moment when the demand is extinguished,not of itself, but from the lack of vi forces to sustain II it. (de Certeau, 1993: 3)

It has happened already becauseit arisesout of the moment birth of your when your name is written down. However, we need to take a step to one side of this for argument it is not my intention, nor was it de Certeau's, to engagein issuesof theodicy. The death of the man 'before the Law' speaks of materiality, but the death itself harnesses the forces of immateriality, the line that is Outside of thought8. just as in Chapter Two, where thought and substanceare intertwined such that the gerund of all verbs speaks of an arcbe-icriture; just as theory and practice are evoked in the moment of the performance in Chapter Three where in practising the somatic art of BNIC meaning arisesby being playful in a childlike ability to be 'open-minded', so here materiality and immateriality are mutually bound. The immateriality is apprehended in that state of it 'being possible to enter but not at the moment' - it is our materiality that allows us to know/ sense/apprehend the but hold least. This connection can be immaterial, we never actually it, not yet at discerned in Benjamin's latter, diluted senseof a spiritual absolute pertaining in the fragment his material whereupon conceptualization of the "magic of languagewas longer lofty heights but to the no confined of romanticism and symbolism, came to lowest, basest levels (Lash, 324). So 1999: the the too we inhabit of material world" have the thematic consistency of the chapter: Eros, the kiss of death, the joint death of the two lovers. The testamentary quality of this moment of death is in latter 'a Life ' Deleuze in In Deleuze's the of of writes evidence witness work. ... the dying of a living thing: No one has related what a life is better than Dickens, by taking account of the indefinite article understood as the index of the A transcendental. good-for-nothing, universally scorned rogue is brought in dying, only for those caring for him to show a sort of

8 "The thing is, Bichat put forward what's probably the first general modern conceptualization of death, like fife. it, Instead it taking classicalthinkers, as a point, of presenting as violent, plural, and conextensive with he takes it as a fine that we're constantly confronting, and cross in either direction only at the point where it line Outside". (Dclcuze, 111) 1995: it the to That's confront means what ends.

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devotion for the slightest sign ardent and respect,an affection of life in the dying man. Everyone is anxious to savehim that in the depths of his coma even the wretch himself feels something benign passinginto him. But as he comes back to life his caters grow cold and all his coarsenessand malevolencereturn. Between his life and death there is a moment which is now only that of a life playing With death.The fife of an individual has given way to a fife that is impersonal but singular nevertheless, and which releasesa pure event fteed from the accidentsof inner and outer life, freed, in other words, from the subjectivity and objectivity of what happens:HomotantumWith which everyone sympathizesand which attains a sort of beatitude. (Deleuze, 1997:4)

"Taking account of the indefinite article understood as the index of the transcendental" - is this not the kiss of death, the revelation that appropriates all but that which is your particular gate?That "something benign" that passesinto the life, to all, it is a and it needs no subjectivity nor objectivity to wretch is common discern what happens. This quality of a life that evokes affection from all is the in Deleuze's that it is is immanent everything; concept of univocity, immaterial mist failing love itselffalling love, for the in it is in it is, example, the condition of "Imagine a piece of music that expresseslove. It is not love for its depend love The upon quality of will a particular person .... Although " personal,it is not essenceand not upon its object. in "When like God the music transcendent, it is us. individual; it. humanity, it that cries with it is the whole of nature cries, is Truly speaking,it does not introduce these feelingsin us; it be like the passers-bythat n-uight introduces us rather into them, 110) (Deleuze, 1988c: dance. " nudged into a

live does performance, a Why the performance of a piece of theatre, a piece of It dance economy? affectual and empathetic evoke an moment of choreographed fife. in 'of-itself' intimate those is, I argue now, becausethese are arts that qualities being idealistic, in an that it speaksof there The danger is that this is romantic and In turning the transcendent, in world. metaphysicality essential,universal and even 107

The malen*aliýy and immaten.alýlyql'objecls,or craj?smenand apprentices

to Deleuze in more detail, again starting with the ob)ect and the state of being in love, I intend to show that this is not so.

4.4 Gilles Deleuze: the sensation of attachment 4.4.1 Lines of apprenticeship The analysisof the object is carried out in the styleof an apprentice.The taskis to encounterthe object not in relation to the past (its past, our past, the past)but to the future Journeythat is our apprenticeship.Deleuze instructs us in his own du temps absorptioninto the 'Search'that is Proust'sA la Recberche perdu:Proustand Sýgns (1972): The Search is given a rhythm not simply by the contributions or sediments of memory, but by a series of discontinuous disappointments, and also by the means employed to overcome them Within each series. (Deleuze, 1972: 26)

There is no linear progression to our apprenticeship-,it is a journey of setbacks, disappointments. It is a journey where nothing is certain at the regressions and start; there is no Logos to this world, no departure points inherently validated in their capacity to imitate, already, the goal (Deleuze, 1972: 97). The chapter turns to Deleuze to assistin learning a capacity to misapprehendthe dialectical concept that Benjamin's dialectical seemingly pervades use of image. The 'Search' is this fine of first beware law known before the the rule is: apprenticeship, and its already before dialectical by discover "this the trick is application, actualization, which we from by derive have things only only what we already given ourselves which we before Law, have (Deleuze, 94). 1972: Like the the there" man put what we already don't forget for one moment that you are always aiming to go through the door, but also don't not realize that this might never actually be possible. An adequate "to be "to to to this attribute to the sensitive signs", apprenticeship is starting point bears" (Deleuze, 1972: 26). the object signs it

Problem 5: The symptomology

of signs

We havean habitualtendencyto turn to the objectin order to decipherment of the signsit emits- our passion,our seeka intelligence,our perceptionandour self-worth,actiVely (ibid). this into slipping of an encounter encourages way 108

Themalen'aliýyand immaten.afiýyql'objects,or crajismenand apprentices

Deleuze calls this inclination objeah)ism. The impression between 'subject' and 'object', the betweennessof an encounter, is "half sheathedin the object, extendedin ourself by another half which we alone can recognize" (Proust; quoted in Deleuze, 1972:26). This is a sign, it half designatesan object, the other half signifies something different; one half is the material actual, a sensationaldesignation,the other is that something beyond the Now, the immaterial. The former is the objective side, "the side of pleasure,of immediate delight and of practice" (Deleuze, 1972:26). This objective half of the sign speaksof recognition, through it we recognize things but do not know them. The performative spaceof this part of the encounter is the site of pleasure,the site of immediate delight - immediate in the sense of seeingthe object, of recognizing the object, of identifying who/what is designated(a lover, a friend, an apple,a revolver). The object is not touched, smelled,tasted;it is not known. This side is the "splendor of the sign" to which our expressionsof the object can be nothing more than our homageto it.

Initially in our apprenticeship we concentrate on this half, "Missing the finest encounters ... the imperatives that emanate from them" (Deleuze, 1972: 26). This sight is the sighting of a first love: I told myself that this was indeed the woman whom the name for Duchesse de Guermantes desi ýgnated everyone; the fife this name signifiedwasactually contained by inconceivable this body. (Proust; quoted in Deleuze, 1972: 27)

The objective side seesthis love as unique and in this uniquenessit is cast as belongs loved The to that person and only they truly the mysterious. one ennts sign from The seeing this mysterious apprentice must move understand and possessit. disappointment its discover: the to to in quest uncover world as something homage is to the that the world mysterious and no amount of mysteries teachesus believes belongs beloved it" (Deleuze, 1972: "restore to the to one what object will 27). Thus the "hero of the Search" does not know at the start of his apprenticeship:

109

The maleriafiýyand immalenaliýyql'objects, or craj?smenand apprenlices

-that the truth has no need to be spoken in order to be manifest, and that it can be attained perhaps more certainly without waiting for words and without even taking them into account, in a thousand external signs, even in certain invisible phenomena, analogousin the world of charactersto what atmospheric changesare in the world of physical nature". (Proust) (quoting from Deleuze, 1972:28)

But the young lover must not despair in the tasks of the I-lip, for love apprentices itself is hinting at the other side: "the sign is an encounter rather than an act of recognition, and it can only be felt or sensed: signs act directly on the nervous system" (Marks, 1998: 38). The state of disappointment draws the apprentice, through experience,into the art of signifying something different; drawing them to fleeting a appreciation of the anti-Logos of the world: The following experience will be familiar: if one is in love, or just intensely preoccupied with another, his portrait will appear book. Moreover, he appears as protagonist and in almost every And from this it follows that the faculty of antagonist .... imagination is the gift of interpolating into the infinitely small, for inventing, of every intensity, an extensiveness to contain its fullness. (Benjamin, 1997: 75) new, compressed

This is the irrational hue of the lover's world; a portrait that exemplifies the antiLogos. And yet, in the infinitely

drawn larger into the out small one is world,

hoping to take from this moment of intensity some meaning. In other words, the lover is attempting to find recourse in the extensive exterior of the world, to find his her According intense Deleuze, to these moments predicament. empathy in or are sensuous signs that set up the potential disappointment

failure, they actualize our of

by inviting us to seek meaning in the object that bears them.

However, the compressed fullness is there in the moment, not before nor everbere. be The No but It is the possible moment. one elsecould ever admitted not at after: disappointment is the abandonment of interpretation. (Deleuze, 1972: 31). Disappointment is a fundamental moment of the searchor of disappointed realm in of signs, we are apprenticeship: each

110

immateriafi4. Thematenalýly ol'objects, or crq1? smenandapprentices and

does the when not give us the secretwe were expecting. object (Deleuze, 1972: 33)

And thus with all objects the subject intervenes: '!/or thedisappointmentof theobject, , beattemptstofind a subjective The (ibid). sign is more profound than the compensation" And but in it the object ernitting it, is still grounded in object. similar tension, the sign's meaning is more profound than the subject interpreting it, but it is half in But is incarnated a seriesof subjective associations. what there except the object and the subject?

Problem 6: The essence of the phrase of the sign dutempsperdu, In Proust'sA la Recherche the hero goesto the theatreto hearBerma'stalentin her performanceof Phedre,but Berma (her he talentin isolation) is neither what experiences Berma "Phedre Phedre. the is a role,and unites character nor herselfwith this role; not in the sensein which the role would is be the it a on contrary, still an objector somethingsubjective; (Deleuze, by 1972: populated essences" world, a spiritualmilieu 36).Deleuzeproposesthe essenceasthe alternativeto the level however, "only It the of art that on object and subject. is, (1972: 37). the essences arerevealed" Again, we should be cautiousWith this advocation of essence. Firstly, Deleuze is not proposing some essential,transcendental direct In have existedand alwaysWill exist. quality that will "But Deleuze once writes, continuation to the previous quote, they are manifested in the work of art, they react upon all other The (ibid. ). learn that they were alreadyincarnated" realms;we in be has happen, has to actualizedonce; other to it incarnation Secondly, it we words takesplace in the material concreteworld. in it are askedto consider why is that the essenceexists only art? it different? Deleuze that is Why are the signs of art suggests This immateriality their them that gives superiority. their leads theoretical the to is of central one what up argument Si Proust in is contained gns, all of which and of pronouncements la Recherche du from A tempsperdufollowing phrase this

ill

Thematen'aliýy immalerialitv and ol'objecls,or craftsmen andapprentices

As if the performers not so much playcd the httlc phrase as executed the rites neccssary for it to appear. (quoted in Dclcuze, 1972: 39) The 'little phrase' is that of a piece of music (Vinteull's). Deleuze points out it can be "decomposed

As

materially: five notes

very close together, two of which recur"; likewise the notes, themselves material, are "merely the 'sonorous appearance' of an entirely spiritual entity" (1972: 39). But the 'it' that appears is immaterial.

It is immaterial because you cannot uncover the

in sign's meaning something else - the something else always pertains to matter, and as such the meaning conceived is refractory

to this sense of spirit, of immateriality.

The signs of

art provide the unity of the immaterial sign and its spiritual meaning; this is Deleuze's interpretation

Proust's 'essence'9. of

This definition makes it clear that he is not talking of a universal claim for essences,there is no such thing as an essencefor all things. As Marks observes, Deleuze "compares Proust's essencesto Leibniz's monads", the sharedassertionof different Viewpoints expressing difference in such a way as to undermine "the privileged value normally associated with conversation, communication and friendship" (1998: 20). The monad, or the essence, "has neither doors nor being difference the the itself, viewpoints toward a world windows: viewpoint different the supposedly same are as as the most remote worlds" (Deleuze, 1972: 42). There is no link - you are unique, this is unique, that is its essence.There is no because be There there thing is such can no communication. as intersubjectivity but 'in-between-space' there the is no you or me, or subject and object, only where friendship friendship: is Take into consideration only the encounter, the situation. As in to the emission of signs. not thrown aside, rather it is reconfigured relation Marks Writes, "we all know that we 'click' with some individuals and not With friendship others", we are charmed through our sensitivity to the signs of functioning "at a level of perception which occurs prior to signification" (1998: 38).

9 In other words, "What is an essence, as revealed in the work of art? It is a difference, the absolute and ultimate being, is Difference what makes us conceive being". (Dclcuzc, 1972: 41) what constitutes Difference. 112

The matetialiýyand immalerialilyoj'olýiecls, or craftsmen andapprentices

Prior to signification because there is no shared map of meaning with which to happy feels it it happens communicate, it Just right, is a or a sad encounter. and

It is easyto comply With a gross misconception of this argument, and this error One Leibnizian the two works on accounts. understands world of monads as a This relativistic world. is a world of absolute non-communication, one that is by difference. does Deleuze's individuals of irreconcilable chartered argument begin with the notion of an individual subject expressing an absolutely different does "so expressed not exist outside the subject expressingit)) world, a world which (1972: 42). But, Deleuze continues, "what we call the external world is only the (ibid; my disappointing pny'ection,the standardizin limit o1 all thesemorldse,%pressed' ýgf emphasis).In extrapolation towards the concept of the essence,the essence: does not exist outside the subject expressing it, but it is Being but or of of expressed as the essencenot of the subject (Deleuze, Being to the the region of subject. which is revealed 1972: 43)

The subject does not come before the essencebut the concept of essenceis for does The the it world not therefore constitute subject implicated in the subject. by by a a process of individualization, is the essencethat constitutes the individual In the subject. process of subjectivity actualized in the essence'simplication with Cber7yOrchardThe Chekov's the theatrical spaceis

this way the individual matters do loss? How deal do how down, you With that you the cherry trees are chopped deal with lossýThe world is never the sameagain.Individuals matter. At first the piano alone complained,like a bird abandonedin its It from heard, iolin tree a neighbouring replied countrysi the vi been, had if beginning like asyet, the of the world, as there was Earth, to this closed in world rather them or on only the two of in logic by that a way such the a creator of all the rest, constructed (Proust; this sonata. only the two of them would ever exist: 44) 1972: Deleuze, quoted in

lovers, death the two the of Only the two of them would ever exist, eros: material and the immaterial. 113

The malen'aliýyand immatenalityoý*objecls, or craj?smenand apprentices .

4.5 Conclusions:

The dialectical

moment/image/object

Arcadia -

As a conclusion, I want to pull all the threadsof the chapter together through a theatrical examplethat servesto illustrate how, in the location of performance,a spaceemergesWithin which it is possible to site the presenceof the immaterial. This a-risesout of the ability of performanceto put in the samespacecharacters that do not sharethe sametimeframe. So in the extract that follows, from Tom Stoppard'sArcadia, note that Valentine, Hannah and Gus do not interact with Septimusand Thomasinabecausethey do sharethe sametime in history: (Tbedraiving Sidley Park-) room, SEPTIMUS: This is not science.This is story-teffing. THOMASINA: Is it a waltz now? SEPTIMUS: No. [ I ... THOMASINA: Yes, we must hurry if we are going to dance. VALENTINE: And everything is mixing in the sameway, all the time, irreversibly SEPTIMUS: Oh, we have time, I think is no time left. That's what time means. VALENTINE: till there ... SEPTINWS: When we have found all the meanings and lost all the mysteries,we will be alone, on an empty shore. THOMASINA: Then we will dance.Is this the waltz? SEPTIMUS: It will serve. The herseýý She from thepaq. pours (FIANNAH, goesto sit at Thetabk,plqyhý truant morewine. ,g decanter, books, Hannah's tea research tablecontainstbegeometrical glasses, mu,g, solids,thecomputer, Sunday dahlia, lamp, papers the the ý books,thetwoportfolios,Thomaxina's the Septimus candlestick, oil ha Au Lord be is per, It doorway. GUS appeariin the gmstus; ps takesa momentto realizethat the not ... ) him. HANNAH sees notuntil Be faith. blind in it the have I Take with SEPTIMUS: careful alpha an given your essay, flame. THOMASINA- I will wait for you to come. SEPTIMUS: I cannot. THONUSINA- You may. SEPTIMUS: I may not. THOMASINA: You must SEPTIMUS: I will not. ) table. the (Sbeputs thecandlestick y on andtheessa THOMASINA- Then I will not go. Once more, for my birthday. (SEPTIWS andTHONUSINA slarl to valt.Z together. HANNAH-) GUS comesforward, stallfihg HANNAH: Oh! - you made me jump. fastened with a He is carghlg an old andsomemhat tatteredftiff-backedjoko (GUS looksmýplendent, ber. ) HANNAH thispresent thrusts at to and tapetiedin a bow.He comes Oh ... hiqed, boards It it two containing to down table the of only comixts open lays andslarts (She on thefolio draviog.) Tbomasina's Thank looking for GUS) I (To that. you was ,sepdmus with Platus'. 114

Thematen`afiýy and immaleriafiýyof objects, or craj? smenand apprentices

(GUS nodsseveraltimes.Tben, be bows her. Regeng A bow,an invitationto to ratberawkwarýly, dance. ) Oh, dear, I don't really ... (After a momentshesitafion,shegetsup and thg bold eachother,keepig decorous distance between a them,andstart to dance,ratherawkwardly. SEPTIMUS andTHOMASINA

danceflaentý, ) to to tbepiano. continue END

We are in the midst of a theatrical illustration of Stoppard's characteristic style of 'double vision' where the action of the play is filtered through two different framing devices: two different perspectives, or different levels of are presented in one moment. There can be many different perspectives (this is an example of Deleuze's Leibnizian world) but, even in thought,

theatre's aesthetic and structural polyvocality, this complexity requires skilful handling when dealing with Just two: the temporal division where Septimus and Thomasina are in 1809, whereas Valentine, Hannah, and Gus are in the present. Hannah, an historian, is one of several academics who have descended Sidley Park in the hope of finding archival evidence to support a current on historical thesis. Specifically, she is looking for proof of the 'Sidley Hermit' as he is to be the "peg for the nervous breakdown of the Romantic Imagination. I'm doing landscape and literature 1750 to 1834" (Hannah in Arcadia, Stoppard, 1993). There is evidence that the 'Sidley Hermit'

fragments existed of letters, bookkeepings but definite. material, shooting records, estate nothing Immateriality takes its place, not only in the present of the historian's task, but in the situation of the past for at around the same time as the hermit Sidley Park was damaged in a fire which is about to be caused, in the time of the theatre performance, by Thomasina, the candle and the dance. The object Gus brings to Hannah is a drawing by Thomasina of Septimus,it is draws love (with She her falling in Septimus). theatrically a presentation of state of Septimus with his tortoise 'Plato', the same tortoise Hannah finds in the historical fragments alluding to the existence of the hermit. It is clear then to the audience that the hermit

is Septimus, an existence brought

his distress in after on

Thomasina's tragic death in the fire that is about to happen/or has happened. This drawing is, in these terms, a dialectical image of that 'always something inaccessible' love both falling in is through the its in the creation immaterial, state of that quality A historic the two in present. importance possessing material object its through and 115

The malen*afiýyand immalen.afiýy oj'objecls,or craj?smenand apprentices

immaterial resonances.This revelation, not actual for the character'sbut virtual and apparent to us the audience, is like being nudged into a dance -a movement that connects both the Then and the Now, a movement beyond the here and now of materiality. In this scene, and in the sceneof the chapter, the spaceof performance evokes three openings into the immaterial. The first opening is the achievement of the dissolution of the object/subject and material/immatenal divide, a blurring of the boundaries of orientation such that the body, the material and the force of fold This has been into utterance a moment of immateriality. portrayed throughout the chapter in the example of falling in love where it can be argued (Ideally) that both space and time are folded such that Here and Now feels like an Always and Everafter: the poignancy of Septimus'sdance with the soon fated Thomasina 'we have dance/until left'. having Only time to there time will is no established a topography for this almost vertiginous state of immateriality can an encounter with back from the immaterial to the material towards an performance move This the the appreciation of scene of movement is that of the second object itself. less the material world no grounded than opening: a speculative apprehension of the fact that the material world is incorporated into the very roots of thought. Materiality is necessarilyshown to be folded with the practice of thinking. This is the performance of thought as it encounters the object - in other words, it is the drawing Hannah; Thomasina's dialectical image, the that the a gives image act of dance to the music of time. This is both the gap within which sensingswitches to happens doesn't (this thought it Just occur on one plane of sense making full Performances the point therefore illuminations, profane of are simultaneously). is Finally, 'This be folded not science'. into our academic stories is they need to there is an opening onto a senseof opening itself, the opening that is the power of the sign. This is a symptomology that is clinical in the way it indicates that which is is fact the the of stage on there characters missing that is the what not apparent; directly fable; the that Arcadia who cannot interact; a mystic on acts elsewhere an disappointing: This for be but we will is correspondence. recognised cannot senses its immaterial, have that the is nature. of apprehension partial a only ever All of us carry invisible dreamsaround us; .... The dance begins. Our hands slide off one another; our glancesmeet, laden, emptying themselvesout and smiling from the ultimate 116

Themalen'alýlyand immalen'alýlyoj*olyecl,, -, or crql1smen andapprentices

heaven.Our bodies make careful contact; we do not arouseeach have bound from dreams We other everything in our gay .... colours, masks,alternatelyWithholding and promising naked flesh. In everything there is something monstrous that we have to keep quiet about. But we hurl ourselvesinto the rhythms of the violins .... When was time ever overcome?Who knows who hour. Otherwise (were this there an "otherwise") we will meet at be here, but just we would alreadycomplete .... The music transports our thoughts; our eyesreflect our friends around us, how they all move, surrounded by the flowing night. We are truly in a house Without windows, a ballroom Without world. Flights of stairs lead up and down, marble. Here time is breath It in us, and captured. sometimesresists,moves its weary know We that all the mercilessrealitiesthat makesus restless .... have been expelled still flutter round this house.The poets With their bitter smiles, the saints and the policemen, and the waiting From time to time, music penetratesto the outside world cars. (Benjamin, 1999: 16-17) them. and submerges

Following this music to the outside world, the next chapter sets the scene to become disappointment, despite to the academicsneed make the argument that, better Witnessesof the immateriality of the world.

117

CHAPTER RVE

Events: witnessing the inhuman

The bright fields look dazed. Their expressionis changed. They have been somewhere awful And come back without him.

The trustful cattle, with frost on their backs, Waiting for hay, waiting for warmth, Stand in a new emptiness. (Ted Hughes, The Day He Died, 1995: 190)

"Event(s),

64,65,132,171,176;

174,185ý 214; communicating

and accident, 53-54; communication of, the univocity of being to language, 248;

compatibility of, 177-78; conjunction of, 183; death as, 156; difference from things and states of affairs in Carroll, 9-11; distributed constituting

metaphysical

in two series

double 241; surface, structure of, 151-52;

5,210; 351n3; Epicurean effects in, castration of, notion of, 344n4; eternal truth of, 161; as the expressed of proposition,

184,186; and experience,,

170-71; Freudian theory of, 226; heterogeneous series of, 70; ideational./Mcorporeal, 8; infinitely

divisible, 8,113,114; lack of present

language, logic 3,181-185; 63-64; 111; in, of, and metaphysical surface, and 221-22; modality of, 33-34; movement and, 276-77; nature of, 94,95; Oedipus and, 212; phantasm, 213-214; in proposition,

12,34; problematic

33,171; 87,104; 54,56; relation of, reahzation of, as mode of, 22,107,167,176,180,211; 245; as, sense representations of 38,148-1535,226; signifier as, 37-38; singularities

37, series of,

as, 53,56; singularity of,

152-53; in Stoic ethics, 143,144,146; surface-, 167; symbolic relation with 178; 220-21; 240; thought, seealso and unique, state of affairs, Actualization

" Pure Communication event. of event; of event;

The Sense, Logic 1990a:376-77; my emphasis) Deleuze, (Gilles of

E,venls. ' human - wilnessiý thein ,g

5.1 Introduction:

The wooden horse of representation

There's a profound link between signs, events,life, and vitatism: the power of non-organic life that can be found in a tine that's drawn, a line of writing, a tine of music. It's organismsthat die, not tife. Any work of art points a way through life, finds a way through the cracks.(Deleuze, 1995: 143)

The performance in the empty spaceis an art that points a way through the cracksof life, our organic organization of a way through the organization - representational (systems of signification and validation), social (Capitalization) and biological (survival)' - that keeps that 'always something inaccessible'away from view. This is the limit of representationbut not representation'slimit; the latter is the spacewhere representation leads us into an encounter with that which is always inevitably It somewhat inaccessible. is the spacewhere we apprehend that 'inaccessiblequality but for a fleeting moment and through a personal register,which meansthat after the find difficult be to testify it experience we it's witness - the organization of and lets hope felt down. And there the that is in such representation capturewe are us yet be for line that that there to it can made make sense is a not alone, other people, of drawn. limits life be If that representationat its present missesthe non-organic can in through that to it, maybe art, and performance particular, reality we seek capture "stands as both the medium of this failure and the agency for the hope of its restitution. In the moments of representationalcrash performance opens meaning have been I This (Fleathfield, 2000: 21). the said, spectator elsewhere" and sends I looks human by how the to that this condition of what which geography, struck due life', 'living described be through of escapes think can as the appropriately 2 The efforts made to map the emotions, passions,responses,perturbations emphasis. life brings forbearance that are that come with the encounters and events and

importance I here: by their the social be at a don't these overrides I mean way of each to misunderstood want level the personal level. For example, instances of this personal level include: the Mability to Put into words a from for the (representation); time of orchestration felt the personal away space and need reality personal feel finally (social); to the 'rat' the a sense of individual needs of and Capitalism and the race mentality belonging aside from the obvious hand to mouth requirements (biological). Of course this is a caricature Capitalism for level to invent such spaces personal investment because performatively we utilize the social though! this colonizes quickly Seamon, 1980. Seamon, Buttimer Chapter 10, 1979, 1977, Tuan and and and in particular 2 See for example, 119

Emnls: wilneisin Meinhuman ,g

underacted and underprized. You only need to think of what has been achievedin the arts - the lilt of music, the brilliance of pamt and form, the lyrics of novels, or the light fantastic of dance to appreciatethat there is a world of feeling to be extracted. This is not to say that practising geography should be a cathartic experience;more that these seeminglyephemeral,intimate moments should be given the right place in the geographer's consideration. There is an urgency here: Cassandralike thin in number but powerful in voice - Nigel Thrift urges geography to stop looking at i ing the right place to description things in the usual way and to focus instead on giv (1998).And he provides a legend for this alternativemapping: The difficulty

-I

might say - is not that of finding a solution

but rather of recognismg as the solution something that looks as if it were only a preliminary to it ... This is connected, I believe, with wrongly expecting an explanation, where as the solution of the difficulty is description, if we give it the right place 'in our (Wittgenstein, from Thrift, 1998: 221) considerations. quoted

In many ways, and in several places, this thesis is all about responding to this The call. stance of this chapter is the argument that the geographer's art should have the ranTeof description to encompass the 'dazed look' of the fields, and that cnew emptiness' of the world experienced and expressed by Ted Hughes and so begun by from This 'habits task many others. is moving aside of thinking' our (Deleuze, 1994). One of the reasons that geographers have avoided the field of the human condition,

described as above, comes with

the accepted practice of

knowing the individual as a rendering subject of rational occurrences and rational choices of which contained within

Additionally, take no part. emotions can

the assumptions

host by this practice are accompanied and performed of a

focus for technologies: groups, interviews, questionnaires methodological example, These deviant, the ethnography of participant observation. and, potentially more (a hidden ill-equipped, the name of convention technologies are or misused in deal be), the to world of with that study can an empirical ratifies what agenda immaterial feelings, human Thus the task the of researching individual emotions. hence deemed in discussed too the previous chapter, are subjective and registers But I to there that is space an alternative want argue unscientific. and unverifiable feelings, lay focus the these importance and immaterial to out of and upon which 120

Events:witnessiqtheinhuman

that is the space of the event. So the task of thinking otherwise can be presented with more definition: to become better witnesses, better 'describers%of the spaces bring events into relief - spaces such as that 'new emptiness' which the poet hangs 'affectively' over life. But I have to make a further claim: that suggested as description Nvellas we need experimentation and this brings us back to geography as an art or as a discipline that can offer so much to the question of the human by condition way of the arts. Experimentation is needed in part becausewe do not have the experience, as a discipline, of the skills capable of accomplishing the yet finer details of description that are more attuned to these event spacings,and partly becausesuch description in itself requires the courage of experimentation. It is a question of style rather than of competence: In each case style is needed the writer's syntax, the musician's modes and rhythms, the painter's lines and colours - to raise lived perceptions to the percept and lived affections to the (Deleuze, 1994: 170) affect.

It is a question of looking at things in an unusual way: to look instead at the between spaces individuals; to seek responses beyond the lived perceptions or affections; and to make our perspectives Vibrate in order to rend the percept from perceptions and the affect from affections (see Deleuze & Guattan, 1994: 176). So, this chapter charts the move from

an interview

that asks about the lived

perceptions of the knowing subject in a specific place - 'What do you feel about down for body ' to that meal? method your you sit a a aims in mediaresand when towards a documentation of the percepts that shape the events spacing the particularities of a place - 'Can you tell me about a room and something that happened there?' Affects and perceptsare thus the generic and immanent life 'life' is an on constructed elements constitutive of a .... between knows that only relations of consisteng I.mmanentplane affects and percepts,and whose composition, through the blocks of sensations,takesplace in the indefulite and creation of (Aeon). (Smith, 1998: the time pure event xxxv) of virtual

121

Epenis. theinbuman - witnessing

The alm is to turn to the notion of the event to show that the difference between geography as a social science or as an art collapseswhen the validation of what counts as knowledge is rethought. In particular, I have my sights on the representational understandings that have predominated geographical imaginations knowledge by those that views restrict attaching its validation to either an essentialism that ignores the post-structural developments in c20th philosophical thought, or to an empiricism that does not question its own foundations. In the rest begin by I the of chapter working out of these two attachments In order to reveal a space in which to think anew alternative geographical imaginations worthy of Subsequently, the witnessing event. in the spacecleared by this opening discussion,, the chapter is divided into three sections. In the first section I seek to show how the concept of the event has haunted many of the c20th continental philosophers, how, for haunting this purpose involvement reveals an ethical and our now, for the inclusion of ways of witnessing the 'inhuman'into argument and injunction Next I situate the spaceof another piece of researchshaping our researchpractices. the directions of this thesis and the particular concerns of the thoughts delivered to by This the itself researchtook the shapeof observing event us an encounter with the processesinvolved in the creation of a spaceof performance. This is the art of devised theatre (see Oddey, 1998; Etchells, 1999,2000; and Ghoulish, 2000). This by four days two-week a residential workshop involved observation work of a director; Clarke, Guests Paul Uninvited formed live newly art performance group JessicaHoffman & Ben Slater, actors; Thomas Keller, computer programmer; Liam Fahey & Jessica Marlowe, sound. The residential was a part of the process of devising a live art digital performance entitled GuestHouse:"a tour of an 'impossible building' composed of rooms gathered from elsewhere;a fragile place where stones Their Clarke, 1999). (Paul own are continually told, traced and rubbed out from for, recorded the piece comes of, content research and subsequently by they simply started interviews conducted with members of the public where happened describe that 'I'm to something room and a to you ask going saying: first fold person of my empirical, there'. I present the observation through the these the of that capture theory of make sense notes and the interventions of the noninhuman, that witnessing about ostensibly are observations, observations final light, the In life. the event of the concept line this pursues section of organic that attempts the to an endeavour bring on show, experimentation to consistency M

Ei)enli.- witnessintheinbuman ,g

to reveal how working with Deleuze's philosophy produces a conceptual for space evaluation.

5.1.1 The problem of the transcendent set-up; an essentialism Thanks to an arrangement which is like the symbol of all perception, each one feels himself to be the centre of the theatre. (Proust, quoted in Bennington, 1988: 12)

One of the main consequences of this predominance of representational understanding is that there is a totalization of thought In the very artifice through which we present that which we are attempting to understand. In his earlier work jean-Francois Lyotard used the term of a theatrical set-up or dirpositifto act as a motif for much of his critique of this representational system of Western philosophy. The theatrical metaphor portrays his view that the representational system operated like the theatrical machinery that hes hidden from the spectator off-stage: For the sign is, as Pierce said, something which replacessomething for else someone. Hide-show: theatricality. (Lyotard, DesDiposififs Pulsionnels, 1979: 95; quoted in Bennington, 1988: 14)

That someone includes us - the social scientists, the researchers and the writers. In some way we are all false witnesses to what is there'. So, even though the philosophical

drive moves against the apparently sterile set-up of totalising

representations, the presentation of ideas is trapped within the structure it is trying to critique. In my opinion,

this sterility is only apparent. Significantly this

from from both the side of representational theory sides: appearance is valid because of the belief in the representational structure as being able to give an because from theory the side of non-representational of account of everything; and 'The danger the of getting carried away with an absolute critique of representations.

3 For example, Lyotard uses the example of the historian who "is supposed to undo all the machinery and And down having knocked theatre. is the It the yet of walls excluded, was what restore and machination, Pulsionnels, Dispositifs 1979: Des (Lyotard, director" himself historian than no more another is obvious that the 180; quoted in Bennington, 1988: 10).

123

Evenis. Theinbuman - witnessing

apparent sterility comes from this last point, that in getting carried away with critique you fail to appreciate that the building blocks of representation ate not sterile in themselves; it is only when they are used as part of a system. In other words, not all theatre is 'realist'; and hence the research of this chapter into the performance art of devised theatre. The representational system, its structure and regulation of meaning, is not complete - it needs constant maintenance,loyalty and faith by those who practice it. In this regard, its power is in its pragmatic functions: (that easy communication of ideas restrict their potential extension), and defensible (a sustainable, and consensualagreement on understanding certain kind of

hence understanding, and a certain type of

knowledge). The non-

representational argument comes into its own when it sets out to suggestthat we, lazy don't thinkers if we revisit the performative and researchers,are as academic in fragile to that is more attuned its constitution. space of representation a manner For me the project of non-representational theory is to excavatethe empty space between the lines of representational meaning. The representationalsystem is not it belief Rather, that that it offers complete understanding- and only it is the wrong. flawed. that is critically offers any sensibleunderstanding at all As there are evident gaps in the representation of our understandings,there are forgotten, also many uncharted, or perhaps

for orientating out cartographies

here be (Links find to the made the can ourselves in we which world appreciation of forget Modestly, Three). Chapter that BMC not should we in made cartography of the task of the researcher,, the academic, and the philosopher is one that only Assessing 'eventhood' task this the the world. of arrives at a partial apprehension of knowledge, belief 'truth' less and in absolute that comes with a therefore lies in the behind hidden knowledge focus the gaps of the upon in we which more in spirit As Deleuze have it, puts possible eruditions. to all covered representation's claim thereijA theatre of multiplicities opposed in everyrespectto the identity leaves the intact neither theatre of representation,which nor the nor spectator, thing nor author, the represented, of the through of vicissitudes which, representation nor character, knowledge become or the object of production of the play, can final recognition. Instead, a theatre of problerns and alwaysopen draws the into characters setting and spectator, questionswhich 124

Events. theinhuman - witnessing

real movement of an apprenticeshipof the entire unconscious, the final elementsof which remain the problems themselves. (1994: 192)

In other words, this is about the researcher'stask to invent concepts that have the potential for making coherent grasps of the world's theatre of multiplicities and that have the power to deal with these open questions. (As I mentioned 'in the human I that this task think is is in introduction, something overlooked geography). As researchersthe task is not to be found wanting in relation to the open questions that this unconscious movement of the world asks of us. Rather it is about happens (Deleuze, 149) be "of 1990a: to to worthy what us" attempting -a clear from Deleuze's theory practice. indication in work of not separating In turning to the potentialities of the Invented conceptual sphere of the event, this chapter therefore asks the question, 'How do we figure this task in relation to It is the use of performance research as an academic space of investigation'? keep to in mind that whilst we are seeking to investigate those empty important spaces of meaning that exist as gaps in the representational system, we will still not back Origin knowledge: there to, to there and win is go no reach a point of absolute I Origin However, to be this argue tell. want place than in of we can more always that there is some other space for thought M which things cohere: that space of hangs Univocity last the this event of spacing the over in chapter. evoked univocity like the like those of the sounds nature, of silence a mist, as if the event where 4. lyrical Serres' Michel Following 'unworded world' and the unsaid wording of I Three Chapter the levels dealing noted thought: in three of with sound, we are Four I Chapter body; level that emerges as the non-linguistic voice of the whilst in the whilst, world; of vibrations silent and the un-signifiable immaterial, intimated is 'garbage that Two, Chapter always-already of this noise' there entertained in 91-92). 1995b: (Serres, (the human mob) the to collective signification common level, that of the theatre of third this The argument of this chapter is that I dulls to end will am what sense our of signification, representation and its crowd "the Serres Assad As tourist Event'. 'pure paraphrasing writes, the is up showing latter language, the a safe were if as its all-invasive itself with collective surrounds

Assad, 77). 1999: (see Serres Michel These thoughts echo those of 125

Events:witnesfin theinhuman ,g

ship keeping the unknown and illogical world at bay behind its protective hull" (1999: 77). The task of inventing concepts is in this case clear: to becorne better witnessesof the event.

5.1.2 The problem of empiricism In the earlier chapters I have covered the ground of the body, or substance,or flesh and viscerality, and the way it produces, just as the convex produces the concave, the concept of the sensible, the concept of affection, and the concept of intensity (of movement). Taken alone, and in conjunction with signification, this seemingly human based thinking presents a way of a geography on the principle that the from the sensible, that "everything in the understanding comes intelligible comes from the senses" (Deleuze & Parnet, 1987: 54). This principle is often understood know know how We We this to philosophy. read and understand as empiricism. that in principle we can comprehend that it makes sense,that it is an acceptableand 'How The to act upon this principle then, point. remains question workable starting does but it in in it ' In praaite tbeog Wbat meanto makessense, in principle? other words, intelligible belief doresearcb Investigating that the the this this philosophically, way? in from first from the sensibleis no more than an abstract principle which one comes does how 'Where For future the sensible and example, investigations. poses all ' Ego? Being? 'From ' ' 'From or an intentional embodied or come into existence? 'From the brute reality of the forces (of perception - light, sound, etc) that are the Sensible?' At what point and how does sensingbecome a moment of having made for: for Deleuze, however This the point of empiricism is not sense? It is not the question 'Does the intelligible come from the different but ' that of relations. question, quite a sensible? Relationsare externalto thei*rterms.Peleuze & Parnet, 1987: 55)

Deleuze illustrates

this variation

'Peter than that is the smaller example with

Paul' arguing that this relation of siZe (smallness)

is not predicated on the minate

In but Paul the Peter such. as exists in middle and is rather or essence of either Deleuze to their terms, a against is arguing for that external are relations arguing individuals are or relations of the understandings where world totalizing image of for life first that the transcends of actuality principle based abstract a upon all Recast 1991). (see Deleuze, from 'comes' the sensible the intelligible that example, 126

Events:mitnessing Meinbuman

in Deleuze's empiricism the emphasis is not that the intelligible, or indeed the sensible, comes first, but that it is the 'comes' as such that matters: it is the spacing of connection, the place between sensing and making sense,that is important. If relations are internal to their terms (where terms can be understood as the sensed that is encountered), two problems arise: firstly, the relation will inhere in the term, for example Paul or Peter, and can not therefore be distinguished from the term. Secondly, if there is to be a change in relation then there have be to will a changeIn the term. This set-up neutralizes difference: In that the relation must always rernain identified with, and therefore reducible to, its tertn(s); any alteration on the part of one is met with an equal alteration on the part of the other, such that a thing's essencesand its properties maintain the equilibrium of a constant identity or generalized equilibriurn. (Hayden, 1995: 286)

Thus, to take Deleuze's empiricism forward into human geography we need to focus on relations by thinking space in-between things. We need to look more purposefully

at the conditions,

transformations,

distributions and

of relations

actuafi. Zedwithin the social world'. To understand what is at stake, consider the 'corporeal geography of consumption' suggested by Gill Valentine. She argues that bodily practices are 'inflected

by wider sociospatial relation? (1999: 329; my

The begins from body that the that the emphasis). principle she makes is argument (the "always tactile that is inside) a space sensing and actively engaging with itself (the (1999: 331). The the and equilibrium is already set, and thus world outside)" Valentine is able to argue (to already interpret) that "our understandings of our bodies and attempts to manage them are therefore predicated not only on visual but like how look also on information sensual about information - what we we feel inside, about the relationship between the inside and the outside - about out (ibid). She to then outline a conventional set of qualitative on goes spatiality" techniques through which to practice an empiricism that validates the tenets of

5 For an example of these actualizations think of the way an encounter is negotiated through action (the Three, Chapter dog detailed the in turn or in way trught its nose a away at as rejection of movement gestural first); be the let through don't things them to way traced we categorize or hand it and enable it smell if you your do, therefore the and time their they are, in actually of occurrence. it is translating what time through 127

Epenls. ' - xilnessilý Meinhuman ,g

such a spatiality. From this she uses the empirical 'findings' to construct conclusions (I quote here to set out the tangent at which the research of this chapter wiU cut acrossthese conventional traditions of doing geography): An individual may experiencemultifaceted, overlapping, and flWd understandingsof how they should be producing and regulating the spaceof their body ... For example,Jackie,a lone living parent with her son and working as a child nunder, wants to produce her body in a disciplined - what she considersmen will perceive to be sexuallyattractive - way, yet at the sametime her body is also inflected by the stressof her domestic fife, her for foods, 'Junk' preference son's and the pleasuresand from takes comforts she eatingwhen she is at home alone. (Valentine, 1999:348-49)

The question is What if she had instead practised the empiricism of Deleuze, the geography of relations not the geography of reason (see Deleuze & Parnet, 1987: 56; Hayden, 1995: 284)'? The first response is that the emphasis would be "attempt to make that it is about writing a world partly as an clinical in approach in life something more than personal, to free life from what imprisons it" (Deleuze, 1995: 143). Second, what if the empirical evidence had been *interpreted from the "it Deleuze's that, is not enough to relations? point of view of external argues logic create a of relations, to recognize the rights of the Judgement of relation as an autonomous

distinct sphere,

from

)udgements of existence and attribution"

Peleuze & Parnet, 1987: 56-7). So whilst we can agree with Valentine's argument of multifaceted

experience, we need to question the ground upon which the

Jackie bodies 'Man', body Jackie between the the the whom of and of relationship As founded. her body, have believes is it to an innate evaluation of apparently from justified through an autonomous sphere separate stands the interpretation is investigation because no actual experience

here is made of the attributions

is This body) they (attribute = sexually attractive not to say that as are played out. Jackie's that personal narrative and appreciation Valentine's research is wrong, nor but looking be that there her are equally of ways valid ignored, should situation of first the the in of creating problem significantly, more or, problem; at the same do 'How the the playing witness The we out of attributions, is question place. 128

Evenls. - wilnessin Meinbuman ,g

i actualization of life as it happens in all its complexity?' This 1 is not a task that can be fully accomplished; it is more an alternative research ethos that touches upon the small intricacies of life. In the philosophy of Deleuze we fmd a set of instructions: Substitute the AND for IS: A and B. The AND is not even a specific relation or conjunction, it is that which subtends all relations, the path of all relations, which makes relations shoot outside their terms and outside the set of their terms, and be determined as Being, One, or outside everything which could Whole

Thinking with AND, instead of thinking IS, instead of ... thinkingjbr IS: empiricism has never had another secret. Try it, it

is a quite extraordinary thought, and yet it is life. (Deleuze & Parnet, 1987: 57; my underline)

Crucially then, thinking in this alternative fashion between things in themselves disrupts

the

Justification

for

conventional

qualitative

techniques. This

in-

betweenness, the place of interrogation in this chapter, is the space of the event; or be I that this to in-betweenness can rather want apprehended if we think in argue terms of events rather than foremost in terms of individual people. It is also, as I hope to show, the reason that Deleuze writes, "I have always felt that I am an (Deleuze Parnet, 1987: & that is, a pluralist" vii). empiricist,

SECTION ONE 5.2 Beyond limits of thought It happens by means of answers and questions. It is not argued. (Lyotard, 1997: 117)

In his essay The GeneralLine jean-Franýois Lyotard, quoting from the Nina Berberova's novel TheRevolt,writes that everyone has their own 'no-man's-land', a domain that is theirs and theirs alone, a domain that consists of living in "*intervals here. First, 'no-man's-land' Three 115). (1997: this resonate of aspects unchecked" (ibid have 'no-man's-land' human to this humanity is only if people are allowed despite "secret 'no-man's-land' its ex-istence" is not a secret 116). Second, this don't know "you becauseit is not a question of you not sayingwhat you about it as Third: (ibid). be know what should said" 129

Events.,wilnessiqtheinhuman

These moments "are crucial to demarcating any sort of 'general line"'. The 'general line' is not the line of life in general, of life "such as it is". The second existence is nonetheless sweet in

relation to "the fife everyonesees".It suspendsit a little, it dwells within it ftom time to time and sweepsit away,but knowing without one anything about it. The second existence does not really wrong the first; it opens little parentheseswithin (Lyotard, 1997: 117-118;quoting Berberova's novel) it.

We don't know what should be said about these "little parentheses",but it is to the task of illuminating and being able to witness them that we now turn. It is in fact the reason why thinking through the event is so important, and why eventhood features pron-unently in the concerns of several philosophers of the c20th. In drawn these towards and refracted through the particular concerns are naturally Auschwitz, least because here to through the not make event of sense attempt finds beyond to transcendental recourse realm representation our reasoning a "'always already' defeated by Auschwitz becauseno pre-existing Idea is adequateto it and any Idea we may cobble together afterwards is going to reek of this original (suppressed)failure" (Buchanan, 2000: 75). Noting the adjudication of juridical law by this representational philosophy, Giorgio Agamben writes of the space left in (1999: "law Auschwitz the to that the the wake of question" not presume exhaust 7). Now, I do not want to be misunderstood when I follow some of the lines Auschwitz do I In the to through this work. significance of no way equate want I thesis in citing in my importance any in nor am suggesting general, events with Auschwitz'. Rather it is that I cite the work on Auschwitz In the way it illustrates In I the the event. other words, concept of the philosophical mechanics involved in here they the the remnants way of experience and investigating in am concerned And for that that this is openly testimony a space eventhood. produce a space of to the that requires event and us of a space to sense make questions our ability beyond law that the this is enunciation of experience invent concepts adequate to (of reason).

illustrate thinking the political in potential and involved ethical importance to 6 Although this might serve themselves. in through events

130

Events:wilnesji,ý. Me inbuman T

Whoever assumes the charge of bearing witness in their name knows that he or she must bear witness in the name of the impossibility of bearing witness. But this alters the value of testimony in a definitive way; it makes it necessary to look for meaning in an unexpected area. (Agamben, 1999: 34)

There can be no witness of the event itself; it is impossible to represent.It exists in representation as a wrong exists in the economy of justice. For example,in these terms of justice: This is what a wrong would be: a damaged accompanied by the loss of means to prove the damage Either you are a victim .... deceived (or If of a wrong, or you are not. you are not, you are lying) in testifying that you are. If you are, since you can bear bearing [because to it is not in witness a wrong, a wrong witness you are in the process of righting that wrong and achieving lying) deceived (or Justice], or you are in testifying that you are a victim of a wrong (Lyotard, 1988: 5).

This does not mean that there is no event. just because you cannot prove that happening, does didn't happened, that that it not mean or something is something happen, or that it isn't happening. This is the expression of the 'double bmd'. As Agamben notes, the impossibility of bearing witness to the event has a double sense bear from bear "that the to it inside - since no one can it is impossible to in witness by 'outsider' from death from the the is the inside of since outside and witness definition excluded from the event" (1999: 35). Agamben proceeds to argue that the double sense of Witnessing produces a "threshold of indistinction between inside and 'into be (1999: 36) that the that can witnessing calls evident in the testimony outside" being. Thus: What makes the power of testimony ... is not the words but the between the words and voice, relation puzzling equivocal, between that words, voice, rhythm, melody, is, interaction, Each testimony to speaks us silence. and writing, images, beyond its words, beyond its melody, like the unique (Felman Laub, 1992: 277-78; and performance of a singing. 36) 1999: Agamben, quoted in 131

Evenis.- witnessiqtheinhuman

The space of art takes the place of the logical impossibility of expressing through representational systems of meaning the experience of the witness who bears the impossibility of bearing witness. If you consider the body of the witness, and the state of affairs that it is witnessing, then you can make the distinction that, in relation to the timing of the event, bodies and states of affairs exist only in the present. It follows then that it is impossible to provide testimony of the 'present' of the experience. However, there are relations between bodies and states of affairs that exist as effects - much as I mentioned earlier that there are affects, zones of between lived affections. These effects then "are not bodies, but,, that affect, exist properly speaking, 'incorporeal' entities"; that "are not things or facts, but events" Peleuze, 1990a:4-5). Being beyond the present these effects exist as lacunaeto the actuality of that present: This is why what is borne to witness cannot already be language be It has borne to or writing. can only something which no one And from lacuna, this the that the the is witness. sound arises non-language that one speaks when one is alone, the nonlanguage to which language answers The language of ... testimony is a language that no longer signifies and that, in not language, to the point into is signifying, advances what without (Agamben, different 38-39) 1999: taking insignificance. of on a

This 'different insignificance' leans towards an alternative logic of sense that

heart Deleuze's Questions the of at requires novel ethical consideration. The 6Repetition Difference development and philosophy, the of concepts exhibited in have a particular value in working upon the ethics neededhere. LoTicof Sense, Between these event-effectsand language,or even the possibility It language, there is an essentialrelation. is the characteristic of be to expressedor expressible,uttered or utterable, in of events least There possible. are many propositions which are at best Which inside the is proposition. suited to surface a relations 0: 1990a: 12) effects or events? -)eleuze,

'logic Deleuze to this this The answer that of sense, question is gives alternative dimension fourth literally: "mysterious the that is he this answer sense, means and

2000: 77). (Buchanan, Propositions the material alongside exist of the proposition" 132

Events:wilnessin theinhuman ,g

world of things, including the human body as it is caught in the present. A proposition is an inquiry as a happening, as a problem, and as a subject of thought. In thinking towards an appreciation of the logic of sense, Deleuze presents the concept of the proposition through four dimensions. Other than sense,the three dimensions ate denotation (or indication), manifestation, and signification: denotation is the relation of the proposition to an external state of affairs (the selection of particular images "whiCh ought to represent the state of affairs"); manifestation concerns the relation between the proposition and the person who ("it domain "is the the personal'); is speaks it of signification a question of the relation of the word to universalor

concepts, and of syntactic connections to (general the implication of the concept" (Deleuze, 1990a:13-14). Senseis thus 'in many ways

left by dimensions, does that the the three is not yet what unsaid other given unsaid In Deleuze's "expressed terms, the make sense. of the proposition... an sense is incorporeal, complex, and irreducible entity, at the surface of things, a pure event Again (Deleuze, 1990a: 19)'. the proposition" sense which inheres or subsists in does not exist as such becausewe have no means to expressit directly. If Agamben has asked us to "look for meaning in an unexpected area" (1999: 34), much as Deleuze urges us to be worthy of the event, I think that we need to pay attention to We logic therefore that the spaceof the event and to the subsistswithin it. of sense Seen the that in this way, the to event. extract senseworthy of need create concepts soliciting of the event - its surface effects and its pre-personal non-language- is a question of ethics. But how might we begin to do this? What we have achieved so far is the brings: that that that accepts the an awareness representation problem realization of some aspects of the world are misrepresented, underrepresented and even inherently non-representational. The problem of representationis thus 'invented-a formulation of Bergson's philosophy that is underrated: "The truth is that in finding it the problem and of is question a elsewhere even philosophy and The the than and it stating posifin: of solving more g it, even consequently of ...

the the follows: or proposition with merges neither there which with aliquid, is 7 The question is as something, denotes, the the neither proposition the of state affairs which or with object nor with terms of the proposition, herself the the proposition, in the person of who expresses activity mental or 'lived', representation or with the (Deleuze, 1990a: 19) " essences? signified even or the concepts nor with

133

Events:witnessi q. theinhuman

solving of the problem are here very close to being eqwvalent" (1946: 58-59). Such a stance is verýy close in style to the demand for description to be given the right place in our geographical stance towards understanding following

the world. Thus in

Bergson's 'Method' and the tenet of Wittgenstein's thinking we have

begun to extract sense worthy of the event by inventing this problem of already representation

by and refining

the statement of the problem

through

the

descriptions we make possible. In other words, if representation fails to capture aspects of the world, and if it neglects the non-representational aspects, we need to situate the understanding that representation brings alongside the understandings that it denies. In this way we can recognize one of the reasons why Deleuze finds Leibniz's theory, that each individual is a monad that expresses the world, so instructive: in a given moment of representation, or signification, or performative duration life the the action, in unfolding of of an individual entity, the world is (see Massun-11,1997). actualized In each world, the individual monads express all the singularities of the world - an infinity - as though in a murmur or a swoon; but each monad envelops or expresses 'clearly' a certain number it in those the that is, is of whicb vic7*nity of singularities only, boýv. (Deleuze, link 1990a: 111) its with own up constitutedand which

It is from this that I can make the central point of the chapter, that: A world can be viewed from two perspectives: that of the body its individual which actualizes and incarnates in folding forms 'evolve' through of singularities which (envelopment, development, etc), and that of the singularities their to above over and subsist persist and continue which particular incarnations and actualizations Within an individuated body and self. (Ansell-Pearson, 1999: 87)

lines fold thinking that this I follows,, three chapter to In what of underpin want for the both space enactment of such inhuman empirical theoretical and to make a field line first the the The performance space of of art and presents witnessing. the research intervention into concrete worthwhile a as studies performance immaterial that the richness intervention sites an world; the actualized richness of 134

Events:wilnessi q, theinhuman

of meaning in the concrete. The second charts the implications of the call to bear witness to non-representational aspects of the actualized world as suggested in the Deleuzian etl-iics of transcendental empiricism and counter-actualization. And the third, illustrates the relation of both these lines of thought through the presentation of the research into the practice of performance art. In true fashion to folding, these lines develop contrapunctually so that whilst they are each individually needed to hold together the argument of the chapter they function independently by making separate equally salient points. The weave begins with the third line: witnessing the making of performance art.

SECTION TWO 5.3 The art of Performance Art: Uninvited Guests -'Guest

House'

Wednesday 27"' January 1999 1. An eventit itself could be a time of day, a place, a draft, It is ten thidy in themorninTandI am beatingmy bodyattempting to bringforwardm I destination walkwaywithinan urTeng'notto ri'mrside as makemywayalongthecobbled buildingý broadly Thewarehouse i/seff belatefor therehearsal. priyedin g at theendof the doors1I ýpin Ipush isfinalyl throu theglass tan am caught sli; g throug gh gibleandas wharf, , bul I am a bodybecomin the perhaps theglassinto themodernistfiger. a consumer, guest, g Arno#ini hasjust into body I definitely the that walked anda witness.ama male a spectator galleg. Tbrougb floor. doors, industrial the Wl'bitewasbed trimminTs, and slate carpet red walls,silver hubbub by distracted becoming doors the the arts centre-a coupk of y morning earl glass latest book the browsing in thebookstore, an manning an attendantsittingwith a chunkyred booki hymn book . those (a that this old me of thought remi nds attention, across cuts exhibition is the the had the cadence 0) there with then ofglassesfrom cqfiýfilled g clatten'n at church); we disfilliq is .n pulliq least that attention. and gi chopping and chan three g mixi a in voices at is in intervals the irrational fissure subjectivity unfolding of The unhinged 2. of because I'm I have distracted I'm to the point got gain at where also these singularities bu book, I here disturbin time to this process the a at Y work. am not y undul without access ,g here I le 'nation to the ta ima transposed peformance; have am in e sP ccr of a film, T, y m a see desk bodies A the that the of an event. man to couple of makinT witness event, an witness 135

Epents. - witnessintheinhuman ,g

backsinto the cashier point oj'the bookstore(a book here couldbea box containingftq gmentý offierforMancef. -pieces , paper bag oj polthene withptinted lexl; a taperecordinV a containingfillicle e.%fohations thy taged well are as such). I

deliberately (jpeech) act my moment of

subjectýicafion revealingin/brmationabout the work in in theArnoýfzni's progessthat is bein loosel y assembled ,g

Walking into a theatre means walking into a different sort of space Within the theatre ... comes a second limit or division, separatingthe from the audience,marking off the place stage observed and the place from which it is A observed ... third essentiallimit separatesthe stagefrom the wings or the backstage,this space is invisible to the spectator and is the place of everything that might be called the theatrical machinery" (Bennington,1988:10-11).

This I invited performance time thusacceptance. space. aman witness: No Iongerthatanyboývthatwalkedthroughtheglassdoors, I aminstructed larXe togo to two , , doors, doors I have Thi'sis the that passed throuTh white onmanyoccasions, overseveralyears. Rubiconto thoseexpetience. have boýv `eNpen'enfialyl that the traces ý scarred my with visceral' house live The that reverberate possession performances. andseemiiýýl mg of many art space beondis notan empýy I have been before. here Andyet, spacefor me: whilstit ISof course a for Flows, foretold, 3. . is it time there to than that. space reTai nedand e,%penences more distributions: the sequences,chains, series, processes,,connections, and like continual vectors of singularities. I standbfforethis entrance, much a modern doors those twinned van'antof whose centralpartiqgreetsjouasyouar7iveat manyof our buildin church gs, and enter. , 5.3.1 Event arts and the art event Performance isn't a game but a symbolic machine the using ... for the most unheard-of most ordinary, everyday resources Kent, 1998) Uorge Glusberg; in purposes. quoted

Live performance is an event art in its immediate capture of attention framed kind Performances this play of within a specific co-ordination of time and space. explicitly upon rendering visible the particular physical, emotional and culturally life'. In 'living through that performance that of sense make up experiences warped kinds that the make performance of all qualities terms this visibility takes place in (see form Albright, These 1997). qualities the most immediately expressive art (the the rhythm presence of and mise-en-scene physical affect), include movement (of textual things), inscription (the architectural spacing of voice,, stutterings or (vibrant, Through repetitive or nauseating). all of of sound the energy and silence), be for seen as model representational a art can another performance these qualities 136

Events:witnessiqtheinhuman

economy, one in which sense is unleashed f rom overly deterministic moorings. Meaning is given more freedom to move in conjunction with the action of the performance, thus undermining the assurance of the reproduction of that which we do not fully understand (the Other) with that with which we think we do (the Same). In this I believe performance art offers a space in which to think the nonrepresentational;

you could

laboratory that the it is even argue

for non-

representational prototypes - the art of unbeard-of purposes. In particular, it plays off at a tangent many of the more innovative developments within the social humanities for ANT (Latour, Murdoch, 1988,1993; the example sciences and 1997; Bingham, 1996), cognitive psychophysiology (Rosch et al, 1991; Varela, 1996, 1999), and embodied accounts of the social (Radley, 1995,1996) - by directing location that is the immateriality of the world. towards the attention undetermined As critical theories of cultural reproduction become increasingly dedicated to a consideration of the 'material conditions' that determine, social, racial, sexual, and influence, if not completely psychic identities, questions about the immaterial construction belief those which summon memory, processes of of identities 5) (Phelan, 1993: from fade love the eye/I. sight, -

Taking up this trajectory towards the poetic, spectral and emotional murmur I between located that to offers performance art suggest want everything, seemingly four methodological openings in which to begin to think an alternative "a liminal tension the First, might call we space space, it is a geographical practice. duration This 224). (Phelan, 1999: the of of is question a tense" the present of However, 'real' fact the time. significance takes that in place the it performance and here lies in the way this tension asks us to bear witness to an invisibility or here "an Bergson reason there incomprehensible is puts it, as inexpressible space; being once" to out all at set instead of another succeed one seen are why phenomena 48). In 1988c: Deleuze, 219; WIN. the Free words, Time other in (1960, quoted and have before future to divided time the the you past has into and already present fact that the performance makes art out of an and yet instance own its in it grasp The (these the picked in next chapter). are up aspects do passing its witness you tension the tense this bearing to resonates present of witness importance of face face "the the to Lyotard's nothingness" event with of as notion strongly within 137

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(1991: 17). Thus confronted, performance leads us towards a research sensibility that accepts that "there are many events whose occurrence doesn't offer any matter to be confronted, many happenings inside of which nothingness remains hidden and imperceptible"

(Lyotard, 1991: 18). This first opening is therefore conceived

within the task of becoming: competent in listening to the sound underneath silenceor noise, to become open to 'It happensthat' rather than to the 'What happens', [which] requires at the very least a high degree of refinement in the perception of small differences. (ibid) The distinction

between audience as spectator or as witness has increasingly

preoccupied the invention

of contemporary

performance, "since to witness an

be to is event present at it in a fundamentally ethical way. To witness is to feel the weight of things and one's own place in them" (Etchells, 1999: 33). In more concrete terms, and in relation to the actual practice of performance

art, it

follows that: As a live structure, perceivedin relationship to larger aspectsof culture, the event promised to escapethe limitations imposed by the conventions of the arts as commonly understood, be they theater, literature, the fine arts, dance,music, architecture,or (Foster, 1988: 5) whatever.

Second, as its position within

the cultural psyche and socio-political

developments of the last century testify, it has been seen as an art form of our times' in that it has offered an intense engagementwith the fundamentals of social experience- questions of the subject and the world in which the subject is made. In this vein, performance has been aptly described as "a writing of cultural biography in neglected physicality" (Etchells, 1999: 34). Performance achievesthis c4a by operating crucial paradigm of subjectivity as occurring at two placesat writing (the for for both performer itself the or spectacle)and subject an external or once: (Noveck, 66; 1995: Scheifflin, 1998). This (the see also audience)" social agency be live to "Work called or performance art emerged most powerfiffly in Europe and came 8For example: which formal or social crisis, States of artistic when aesthetics or social structures were at moments the United (MacRitcl-, had ie, 1998: 21; Auslander, 1999), be collapsed" actually or see also inadequate perceived to 138

Epents. ' buman - witnessinthein ,g

simultaneous siting leads to a continual shift i meaning, a dynamic that etches out 1 in a tangible, albeit abstract, presentation of the space between things. In siting this verý, dynamic as an art it has often been used with the intention of facilitating potential alternative modes of experience, not least in the ways we come to understand experience. Let me clarify this point through an example: take a line of dialogue from a performance. This could as easily be performance without words (eg two bodies touching, a body dancing, a stage being left empty by departing a body) "because speaking in/as performance is rather more a somatic act involving muscular work in the mouth, throat, face, eyes,body tensions, gestuality, than it can be called a linguistic act" (Melrose, 1993: 252). Indeed, in the line of dialogue I want to example, such somatic qualities are vital: PHtDRE:

I thought his eyeswere stone she found tears in them. (Hughes, PNdre, 1998: 60)

The point is, as a witness to the event of this performance, we become "boundin" through an empathy that cuts open a new spatialization between the Particula action of the speaking character and the uniVocal senseof this emotion of being hes In the then, rejected. part in taking this tension real power of performance art from the tense tool to the everyday present and using it as a violent of extract Artists, have been his following Deleuze that to in aspects overlooked. according of Nietzsche,, are clinicians in the way they group the symptoms of civilization through the creation of their works of art as a novel constellation of signs (see Deleuze, 1990a:237; and Sn-uth,1998: xvi-xvii). Deleuze therefore seescriticism as the art of declension (Deleuze & Parnet, 1987: 120), which I think we can life the according to the case signs, or symptoms, of understand as the variation of fashion function hand. These the in as medical cases:the case of same in cases Parkinson5 or Alzheimer, where the doctor, whose proper name comes to designate "has created a new grouping, a new individuation the group of symptoms,

of

has broken have haecceity, to this regimes point up up which new a symptoms, been mixed together, has reunited sequences which up to this point were separate" (ibid). The work of art, as a new case or potential grouping of signs, thus also bringing by into potential view a purpose world an alternative critical a obtains had hitherto been for fixed, there taken which granted as or take on what is already In incurable. other therefore words: as and as unseen, 139

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The use of the event as a 'given' in social and aesthetic functional to communication gave to art a working access real or heretofore been had it only aspects of culture which able to distinctions between This the erasing of represent. is not merely historical life, but the the art and everyday and structure use of of the event, real or imagined, as a vehicle of artistic and/or (Foster, 5) 1988: critical purpose.

Third, performance as an art is a tool for doing research.It is a methodology of from fields disciplinary that the to in it escapes evasions conventional allegiance of legitimising knowledge. being In that produce conducting and systems a witness of a performance the researcheris not merely a spectator, or a passive voyeur, who be To tried tested to a witness you puts use methodologies and ways of seeing. and by The the it. performance affects the performance and you are affected affect bringing us towards an appreciation of the researcher'sinterpretative assumptions fact that "the present for us is always filled with possibilities, is always processual "How to can we saywe are writing what men and unfinished"; it raisesus question dehumanize them into a past-participled and women actually experience if we doubt, for It (Dening, 17). " 1996: that: this no others reason, amongst is world? In the eyes of its adherents, performance studies was able to folklore, literary theory, studies, combine new work in critical dance theory, theatre theory, studies, postcolonial. anthropology, forging feminist a new intercultural and queer studies while and 4) (Phelan, 1998: epistemology.

To put it succinctly, performance art can operate within geography as an by focus brings the traces the of world unmarked complex that into epistemology be This that epistemology an would representation. conventional means of "singular by the images, muscular retained stock of of account an proceeds making demonstrated I feelings", to earlier situation as particular a where, contractions, Pbedre, from the the in spaces generalization of comes which the example with figures, but does (Melrose, 1993: "work that not explain" between things; a 251/253). In is in itself performance it is made explicit Fourthly, performance an event life, from be back than that other anything you cannot standing not are that you 140

Even1s. - wilnessiý theinhuman ,g

completely immersed in it (see Kaye, 2000). Of even more significance howeverl is the way performance uses the very qualities of life to reach, or present rather than represent, the level of understanding that you seek. To understand performance as an event in itself you need to grasp the fact that, for you (singular and only human), the event is more than just something that happens: it stretches beyond the present moment carrying within it the preconditions for its happening and the potential for future actualities; and it is an entity in its own right. Too often these aspects are because the event is commonly defined as a watershed in a related overlooked series of incidents - you only have to think of the way we work the distinction between everyday events and those that are 'newsworthy'. To hold to this distinction is to miss the point of my argument. Imagine the conceptual structure of the event in a historical context. Here, events require "a purposeful action or an intentionality (in the acting or in the perceiving of an action) that matters as apoint from wbich one eNplainsand that has the capability of identifying what appearto be consciously worked out causal chains between reasons and actions" (Foster, 1988: 7). Needless to say, these events are socially constructed because our definitions of historically important what count as

frames how we perceive something as an

looking I event. am not at the event as something that is prerequisite upon there being a suitable situation for its operation deliberate framing the in of - even focus My performance art. is upon the belief that events just happen. They are happenings, happenings have life badly Here, that their about a of own. conceived held habits of thinking: questions naturally anse out of social science's commonly 'But when does an event begin?' 'When does some situation have the quality of both illustrate ' Let to these me a simple, and an immediate, answer eventhood? First, There 'all to this. to a the time'. two the explain are ways questions: answer is degree the event has already begun to happen because consideration is pre(audience and in general) and to the potential impact emptively given to expectation happens What to the the account of action when you consider that the of event. framed The has take place? sense of eventhood already many unexpected things denied the essential dynamic of fortuity that creates an event in its spuriously host So things. of much a whole goes into creating an event, of embrace assembling A be i fact t naturally aware of 1 s"in gle viewpoi than we can in of an event is more in woefully

A single way of conceiving inadequate.

deficient more

The second explanation, still. 141

the forces that create events is

and this is the philosophical

heart of

Evenis. - wilnessinTheinbuman ,g

the chapter, is that events are virtual: they are real but not alwaysevident; they take on many forms, but have a univocal character; and they have an agencythat is often ascribed solely to ourselves.Thus, before I return to the Arnolfini I need to explain what it is I am looking for.

SECTION THREE 5.4 Events and the virtual In order to have an appreciationof an event as somethingthat hasa consistencyof its own - in other words to make out the event as somethingthat can be intimated be doing If to that in itself philosophy. as an entity need we aware we are we follow Deleuze, this doing of philosophy is made up of three elements:"the brin it mustlay out(immanence), it thepersona prehiston*calplane orpersonaemustinventand ,g (consisteng) (Deleuze it & to life (insistence), the philosophical and concepts must create Guattari, 1994:76-77).So let me attempt this: Problem 7: Thought worthy of the event Immanence The event itself, as a separate entity, is laid out on the duration 'duration', is a plane of where prehistorical plane of different has to the power separate itself into immanence that fluxes and/or into single currents according to the nature of 50). Duration (see Deleuze, 2000: this in way occurring attention dividing In divisible that itself in it changes in nature in is not happens the and that is it, you can't event other words, because, duration This is indeed immanent plane of subdivide it. doing Deleuze's for hugely the of that is significant in wording differentiation difference, Deleuze this that argues philosophy of biological. Life "even the is is itself not if its concept is vital (2000: 50; difference" my emphasis). process of Many philosophers had already said that the whole was neither from that the this they ply IM concluded si giveable: nor given Bergson's conclusion is very whole was a meaningless notion. different: if the whole is not giveable, it is becauseit is the Open, and becauseits nature is to change constantly, or to give 'The duration to the in new, short, endure. to of something rise be latitude the therefore one with of creation universe must 142

Events:wilnessiý thein * buman ,g which can find it in place'. So that each time we find ourselves confronted with a duration, or in a duration, we may conclude that there exists somewhere a whole which is changing, and which is open somewhere. (Deleuze, 1986: 9; quoting Bergson, 1954: 359)

Being differs with itself internally; this is Bergson's concept of ilan vital,which Michael Hardt instructively describesas linking the "pure essenceand the real existenceof being" (1993: 14). When Deleuze's philosophy aims at thinking of life it is clearly biological life that Deleuze has in view. Furthermore, not just this philosophy is not anthropomorphic; thus by extrapolation, Deleuzian human geographyis not just about the human, nor the organic. Not all Life is confined to the organic strata: rather, the organism is that which life sets against itself in order to limit itself, and there is a fife all the more intense, all the more for being anorganic. There are also nonhuman powerful Becomings of human beings that overspill the anthropomorphic strata in all directions. (Deleuze & Guattari, 1988: 503)

The use of the word vital, and its biological links to the differentiation of the species,is not to be seen as an analogy for use as a philosophical thought; rather it is philosophical thought. This dimension of Deleuze's philosophy is affiliated to his Bergson, Henn the interpretation of in particular in the work of way that it expresses this new vital ontology: an absolutely positive movement of Being. It is because of this that this doubt biological beyond "No has the realm: implications vitality differentiation comes from the resistance life encounters in from first but the internal it comes and above all matter, (Deleuze, 51). force life 2000: that carries within itself' explosive In this sense the vital (ýIanvitaý, and the event and duration, figured determination: determination be "a as a simple cannot least being be be its accidental, or at can only attached to a can case, end or a chance, it thus implies a subsisting extenonty" (Deleuze, 2000: 50). Thus the process of difference, or life, or difference', (Deleuze, 'internal 2000: 51). is indeterminable the 143

Eventj-:witnessinTheinhuman ,g

Insistence Possibilities of fife or modes of existence can be invented only on a plane of immanence that develops the power of conceptual personae. (Deleuze & Guattari, 1994: 73)

Having laid out the plane of immanence presented in duration, and having produced an appreciation of the sense of indetermination it is now possible to introduce the persona: the The virtual. virtual is most familiar within Deleuze's work as a consideration of time and I will be turning to this aspect in the next chapter. However, in relation to the event, Deleuze cites it kind as a of repetition: "the repetition of an internal difference which it incorporates in each of its moments, and carries from one distinctive point to another" (Deleuze, 1994: 20). As mentioned above, duration is not divisible in that it changes in nature in dividing itself The 'what' that changes in nature in duration is the virtual. Or putting it another way, the internal difference of life itself develops in divergent directions and it is through this divergence, or 'disassociations- of-its elf', that virtuality comes to realize itself Following Bergson's thought in reproaching the traditional and antecedent philosophical Being, Deleuze conceptualizations of presents two aspects of being: the virtual and the actual. The unfolding of the virtual in the actual - in other words virtuality realizing itself - is the differentiation, process of or, as Deleuze also refers to it, the process of actualization9. This relationship between the virtual and the actual opposes the machinery of thought produced through the representational belief in the relationship between the possible and the real. Deleuze uses this possible-real habit of representational thinking to make apparent the new directions in thought made viable by detailing "that the the through virtual-actual connection transcendental term of each couple relates positively to the

burgeoning the direction, is, in the number of works on Deleuze, something of a signature virtual 9 In another discourse is in accounts of Foucault's pro)ect): note that pages of commentary have been like (much concept Badiou (2000: 42-52); Buchanan (2000); Hardt the the of virtual and actual: the conceptualization given to (1993: 14-22).

144

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immanent term in the opposite couple" (Hardt, 1993: 17). Severalpoints then unfold. First, the virtual is to be distinguished from the possible.The possible is not real as it operatesas a function of an Ideal such that the real is that which resembles,and not that which is, this 'possible-Ideal'. In this sense,the possible operatesas an abstraction and as a limitation becauseconceptually it follows that there will alwaysbe 'possibles' that do not passinto the real. This is not to saythat the possible, as a concept, does not have an actual existence;it can be actual in that it can have effects. In opposition to this the virtual, and I quote Deleuze quoting Proust's formula, is "real being being without ideal actual, without abstract" (1988c:96). The virtual is part of the object of thought where "every object double being halves the that the is two it without case resemble one another" (Deleuze, 1994: 204. Therefore the object of thought has both a virtual and an actual side. For Badiou, the object in its entirety is a mere simulacrum. (One of the main disagreements I have with the 'philosophy-contra-Deleuze' that Badiou presents in The ClamourofBeing, is that it is he that states , that the virtual and actual are combined to both equal a being fully One, Deleuze). Not not simulacrum of a universal be the played out in an immanent theory of its object can actual double; in other words, it is possible to think of a plane of immanence when explicitly thinking through encounters with the concrete, empirical 'real'. In other words, the encounter (actualized) but only as something achieved actually occurs through a duration (immanent). It is this relationship with duration that intimates the immanent virtuality of all things. The crucial point is that this immanent relation of the object, its Re, beyond located its is not transcendental quality if you because This its it is constituted o)f actuafiýy. actuality, rather for beyond Deleuze, that the is, quality is transcendental which human, but this 'beyond' does not denote the transcendent because it is still empirical. Deleuze puts this in another way, in Outside: "something distant the than any external more terms of But it's also something closer than any inner world" world. (1995: 110). This reflects both the clinical power of performance 145

Events:wilnefsin theinbuman ,g

art mentioned above and the capacityto view the world from two perspectivesat once: It is the peristaltic movements of the outside which serve to destratify fixed and stable identities and produce through doubling processes new possibilities for an intenser and more creative existence. (Ansell-Pearson, 1999: 84)

In many ways Deleuze's philosophical meanderingsthrough Bergson set out the effects of thinking in two planes of thought have to think in "two dissymmetrical)ets,one of at once - you which makes all the present passon, while the other preserves all the past" (Deleuze, 1989: 81) - where the preservationof all the past is the virtual. This is the 'Open whole', the transcendentalpart of transcendentalempiricism, and where the present passingon is the realm of the empirical. It is also the ethical-practicalmotivation, or dream, of Deleuze'sphilosophy: the encouragementof "the creation of new valuesand sensesin the affirmative constitution of He and human existence" (Hayden, 1998: 6). Thinking in this way is not dialectical because it does not signal a pro gr ession of thou gh t towards the I final 'truth' the that the is or solution. realization of a synthesis Again it is not dialectical in that it is not the mechanism of thought - thesis and antithesis - that makes thought possible. Rather thinking two planes at once is so becauseyou cannot think one plane without the other. This is the 'mutual image' of 81). (see 1989: Deleuze, thought that thought gives itself Virtual being is pure, transcendentalbeing in that it is infil'Ate different, being being that it is in is real and simple;actualized limited. (Hardt, 14) 1993: qualified and

it is here that we can seethe importance of the empirical in Deleuze's work and the insistencethat it is the empirical, "the 54), Parnet, 1987: (Deleuze & the sensible" concrete richnessof Baugh, (see 1993). the the reverse conceptualnot that explains The ethical implications here are in the unsettling of the 'given', be that the to representationassumes concepts the unsettling of This philosophical intervention is apn'on*. naturally and always differently Deleuze think that to presentsin the the perspective 146

Eivnl,f: witnei-siqtheinbuman

wake of his criticism of representation.It is the new image of thought - or rather it is thought without representationalimage, the thought from the outside, that Deleuze calls transcendental from Liberating thought the representational empiricism. economy in this way allows the conceptualizationof experience to be set free from the reductionism that centresall meaningin the interiority of the self-constituting subject: "The fault of representation Les in not going beyond the form of identity, in relation to both the object seenand the seeingsubject" (Deleuze, 1994: 68). Only when you allow thought to go beyond representation is the empirical made a central feature of the theoretical;.in moving away from the unnecessarydivide of 'transcendental' "the the theory IS empiricism and empirical (Hayden, botb condition of actual experienceand concepts" 1998:7; my emphasis).So: At first glance, the sensible can be said to differ from the determines the possibility of the insofar concept as concept repeatable experiences that are identical in respect of their form, whereas the sensible is the actuality of any organizational for basis the the is non-repeatable given experience, and as such The difference between sensible as the reality of a actualizations. falls outside of the concept: the concept specific actualization determines the equivalency among actualizations (they are all actualizations of the same concept), the sensible is the ground 15-16) (Baugh, 1993: difference. their of

Let me example this in the abstract (with concrete demonstration being intimated in relation to the research into House): Take Guest a performance art and the performance of performance and instant of a syntactical of action moment -a The form takes. this moment any understanding of consider the moment and the understanding of it are not achieved beforehand. Rather, meaning arrives experientially aposten*Ori. foregrounding As the This is in the actuality of empirical. well as distinguish Deleuze these to is pams at the empirical, from being than no more understandings actual and experiential here "identical to now nothing" and indeterminate utterly an (Baugh, 1993: 17). There is, and there has to be, an abstract or 147

Events:wilnessiqMeinhuman

transcendent realm to this actuality. As Deleuze puts it "the does abstract not explain, but must itself be explained; and the aim is not to rediscover the eternal or the universal, but to find the conditions under which something new is produced (creativeneff)"(Deleuze & Parnet, 1987: vii). These conditions are the concrete richness of the sensible; and they are the states of things, the actuality or singularity, that "are neither unities nor totalities, but mulfiplit'ifie?' (ibid). Understanding that it is the abstract, the conceptual, which needs to be explained, is also to Bergson's appreciate argument against the 'badly stated problem'. Presume, for example, the abstract notion of order. If we evaluate the empirical using this notion - it is common for interpret to researchers empirical data with such abstractions in dealing by 'false mind - we are problem' With a already assuming that order precedes itself, that it precedes "the creative act that (Deleuze, 1988c: 18). This is not a quest to constitutes" it for but unearth a grounding all experience in general, an for dealing "experience in all its experimentation with peculiarities" (ibid: 28). This sentiment is inferred when Deleuze does "theory Foucault that not express, translate, or argue and (1977: "is 208). Theory, to serve apply practice: it is practice" but totalizing therefore instrument, one that multiplies not a potentialities" (Hand, 1988: viii): The real causesof experience, unlike universal concepts in relation to representations, need not resemble their effect in any way, any more than an organism need resemble its genetic 'virtually' though the or implicitly are causes material, even (Baugh, 22) 1993: their effects. present in

We can look at this in relation to performance in two ways. First, by taking this on board with regard to performance itself, here "the the is empirical and now actuality that in which case differentiates between performances and which makes repetition (Baugh, 1993: For 16). possible" example, take the work same of Hamlet (the "that is performed what concept a performance of determines the possibility of repeatable experiences that are forms" (ibid: 15), their organizational in in respect of identical form Hamle6 the text the and content of is identical, of this case 148

Events.,witnessintheinhuman ,g

but the actual performances differs as they are the empirically actual of the experience and as such are "the non-repeatable basis for the difference between (ibid). Second, actualizations" picking up the philosophical implications of the first, you can use the theoretical design of transcendental empiricism to link the performance, in this case an artistic performance such as Hamlet or that of GuestHouse,to show how it can work as an for arena social scientific research. In the representational tradition the research endeavour is to unearth and present a ý,, eneralijy of the particular; in other words, to investigate an empirical actuality - for example, the memory of an event by a for the purpose of extracting some particular group of people knowledge be that then transposed as general conditions can In effect, a instructing education or government. worthy of deemed subconsciously concept is constructed, which is often by adherents to the representational system as something Here Deleuze gives the example of the essential and innate. different becomes 'human': something whilst it concept of the fixed Paul, Peter to the concept such it still remains in, say, and basis the of resemblance that evaluation is always made on (1994: 10). On the other hand, thought without this image Instead the of singular. works to present the universality of legend findings the of resemblance, transposing research under Repetition findings the repetition. notion of With you align the hence the to the and singular in relation only makes sense but This this: if consider contradictory, sounds unrepeatable. be in there then no sense to would change were nothing Equally, for be always. once and repetition as everything would In the actual same seems nonsensical. in this case, repetition of difference the the not and is of spacing repetition experience the the in representational as engendered same of return dynamic that the the is it of singular resemblance; economy of Through being from this to any other. equivalent it prevents difference the to it is possible grasp and repetition of working Deleuze's notion of principle proposition regarding be "difference that must transcendental empiricism, namely Peleuze, 1994: 56) in a nonconceptual empirical differini' shown 149

Events:wilnessiý theinhuman ' ,g

manner. In this, uniting these last two points, "the work of art leaves the domain of representation in order to become 'experience', transcendental empiricism or science of the being "the to sensible" in such a way as reveal of the very difference, difference difference potential sensible: in and intensity as the reason behind qualitative diversity" (ibid: 56-57). The task is now clearer: For the reason that representation seeksto mediate difference in the identity of the concept in general, thought becomes limited and cut off from its sensible source. Transcendental discover 'a to the contrary, continually strives empiricism, on pure concept of difference in itself and thereby overturn Platonism and restore the life of difference to Ideas. (Hayden, 1998: 16; quoting Deleuze, 1994: 59)

Consistency Finallv, then, we come to the creation of the philosophical duration laying the The the and of immanence of out concept. the the together of in creation the come virtual invention of The the through and virtual is the strung event event. of concept "fundamentally by the open virtual's is therefore composed (Deleuze, future the past" the and whole as the immensity of 1986: 46). Let me example this through snapshots of the event's First, We is proposition the a space. in empty arrive creation. Thus, forces to thought occur. made - there is an encounter that there Deleuze's is an this space in empty example, using From thought emerges this tree. of subject a a with encounter Second, formed: is the treegreens. something is idea and an denied the that thought in this of subject of affirmed or The the of attribute attributes. proposition also contains likegreen" "a predicate the qualitative predicate is proposition (Deleuze, 1990a: 21; my emphasis). Thirdly, there is the attribute "the tree: the the this attribute of attribute in case thing, the of

150

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of the thing is the verb: togreen,for example, or rather the event expressed by this verb" (ibid)III. The attribute has an entirely different nature than corporeal qualities.The event has a different nature than the actionsand passionsof the body. (Deleuze,1990a:94) The line that Deleuze is drawing here places the event on the same side as the attribute. An attribute is not an event in itself because it cannot be abstracted or separated from the corporeal plane of bodies (and things) II despite being of a different nature than them. Think about the nature of an attribute, for example, cthe green of the tree' or 'the warmth of the fire', without the particular tree that green doesn't exist. The event, however, "expresses what is happening" and is therefore not reliant on body (Deleuze, 1990a: 277); it describes the particular one movement of the composition and decomposition of 'happenings'actualized through and around bodies. Whilst the from the corporeal plane and the mixture of results event bodies passions actions and it is not reducible to them. This of irreducibility is the force of the incorporeal appreciated as that 'different nature' that cuts across those 'events' staged and (a discrete instants. Being on the understood as combination oo line look beyond the to the cause and effect means other side of from/along the corporeal equation of a state of affairs resulting plane of bodies and things. The incorporeal is beyond the state of affairs announced in the present moment of the event: "When time passesand takes the event away, there is alwaysa (Deleuze Guattari, 1994: 158). to the restore event" and meanwhile A phrase haunts me here - 'think again'. Something forces me keep to to think again, or rather, on thinking. That is the nature

10Further still: "The attribute is not a being and does not qualify a being; it is an extra-being. 'Green' designatesa leaf 'To tree the of mixture and air things, where chlorophyfl a parts coexists all of with quality, a mixture of but (Deleuze, 1990a: the thing, in the thing" quality an attribute is a which not said of is green', on the contrary, 21). here I Deleuze fashion level to that the signal when want speaks of corporeal and of In a somewhat clumsy force for leaves the material and architectural channelling of things, objects, winds, space 'bodies' this also tree. the eg smells etc -

151

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of problems for Deleuze; the task is not to aim for solutions but to be worthy of thinking. Additionally, 'to think again'is intimation of the eternal return, and of difference and repetition; it is that which indicates the will to (keep on) thinking. Thinking again I am caught by the criticism that the irreducibility of the event to be staged in the corporeal action and state of affairs of bodies is to suggest that the event is somehow transcendent to these bodies. Deleuze signposts a line of ffight for thinking beyond this critique by way of the concept of the 'pure event'. The 'pure event' is another phrasing for Deleuze's conception of the event. He doesn't always use it (it mainly appears in TheI-V it, ,g Sense) but he both does to it is of when counter the above transcendent criticism of the event and to distinguish his from those predicated on the event as the conception of event battle' birthday 'the 'the 'the tennis party', match', etc, that solely denies the force of the event itselfI2. The concept of the 'pure by signalling the relation of the event to the virtual: event' works "while the event may appeartranscendent to the state of affairs to which it relates, it must be conceived to be an entirely 124). (Ansell-Pearson, 1999: immanent movement"

At this point I can return to the empty spaceof the Arnolfini. In what follows I pick up the preparations of UnintitedGuestssome eight months later. Refracting the mechanics" of my own description of a room and something fold I theoretical I then took happened that and the there, observations that present asidesin amongst the notes.

being field, neutral in relation to all of its temporal actuahzations,neutral and 12"The battle boversoverits own but Never brave the the the present always coward vanquished, and the and to victor ... impassive in relation inspireby battle the the Itself It I only will of anonymity which graspable passed, already yet to come and (Deleuze, 1990a: 100). fissure day, draft "2. The be intervals time irrational place, of a a of a could 13'T An event it itself -"3. Flows, these processes, seriesl the of singularlties"; sequences, chains, unfolding in subjectivity is unhinged distributions: the vectors of singularities". continual and connect-Ions, 152

Events. ' theinhuman ýwilnessing

Wednesday 20th October 1999: a work in progress ... Theart ofspacing bowdoesthatwork?A pre-occupation kind like that of some a narrator ""Spatiý I *k* /b theperformance neverappears, neverspeaksandneveracts. am about in ing ,g Howmightipacingwork?.Firstyl,I writein mynotebook, 'in relationto thatis beiq devised, "-I ampresupposing by themateriahooi,sociaho thesetermsalreaýv;I ampre-occupied I continue And themyoumýgbtsay.Secondly, to wrýte,"in relationto theobjects themselves". thirdly,anotherwaythat spacinworksis somehow thanthefirst two,nota gnthesis more ,g in thataccretes power,but tbefactthat "it takesplace" bothin termsof time,a duration, and Touchin the the proliferatiq the actualiZation potential couplings. g, of Y of all of vilytialit because delised boýv, bearingý the the the not so much seei smelliq spaciqsof is because but has live bodies the the performiq, performance of event registered witnessing theboýv,mybodyspectatin througb g. , is beinTput on show,soin termsof interpretation that wben Actual e-ýperience consider he speaksof the intensi_0that awakenseachjacul0 oj DeleuýZe talks of pure difference i 'ýs difference itseýf different To that this put which s ensedandgives way, a g. understandin , its different is Eachfaculo in the and apprehends ownexclusive encounter. n.seto sensibilio The faculties beiq to one with the communicate able the are sensible. of of intensive one f,,, difference because by but always the sense thg of a common necessiýy are notgoverned another, 3 1). (Hqyden, 1998: " inhabitsandfractures sensibilio

<ýýS Ofa

clum

rMc

filling cabinet

E

f= cOat r

lable

Room - the middle term between place and space. There is a geometric continuum of bodies-in-places bodies. displace fold, that and interact wIth other The Stoics described tlýiis world as "an island embedded in an infinite void"; an island of sense in

dynamic The indifference. the ocean of events, of (Casey, the room connecting these separateplacesis 1998: 87).

however; it's There is bodies. between is the a chair So in termsof touchthere no contactyet isfaiqly behind There that bottles. table left a to chair another is the some near positionedon i it because its fe in is The first position first es per v more o rm T chair the chair. proximateto 'g Ifeel its it drawn: I it is touchiq that in to this densiýy the am chair and scene, nodal greater , The the perfomers move as me ask, makes chair andfoam. cold, chrome, canvas, eventhave beTins, 'Does before and the chair, specific a . someone . scene ft instructions ng awat around to the them others? does that bow alýTn 153

Events:witnessiqTheinbuman

On anotherplane,in termsof sound,Uninvited Guests aresplitiq segments interviews of recorded and But edifingthemtoproducebackground noise. througb

For eacbjaculýy thereis alwqyssometbin Mal ,g forres it to coýfront its limit., imperceptible differences, the unimaginable, the immemoria4 , and theunIb'in kable (I layden, 1998: 32).

this edifinýýthis noiseandznteýference, 'Durin pause the moments of orderemeýTe a sound ,g of aglassbeingput downon thelittle tablecanbebeard" This is an art of apprehension: on theempýy showI*Smotionandplay;sbadowsgasps, andgesturespeople stqTemakingroomfor Is a momentrendered. thi'sthe momentUninvited Guests are tgi q. to wrestleout of the It is It It here in perience. noise? an apprehension of eý-, is a memogof room. strikesme,Sitting 'noise' theArno#inz auditoriumthat memogis a morealtenh.verecordinýg the machinefior oj Further still, the faint the event.In this ipace an objectpuncturesthe mise-en-scMe. for the presence tape traces the plane of a out a space of maskznýg representations corporeal leading fur towards the them the possess violentjl, more coat ipectator suitcase,or a So Deleuze it that that i's oncewas. of a stateof affairs ungaspablereal' of thei-emembrance be Wlbat is it Wl'hatforres for 'We that to canonjl sensibility sense? example: ask, mrites: Wl'e is imperceptible this time? the questionnot onlyfor memog mustpose same at jet sensed, The " (1994: 143). for that but imqginafion are the thou multiplicities sensible also ght, and , There . . it force to too are theconditions i'sopen vanahon. of actuale,ýperience tbouThtsuchthat (ibid). facultiesýýetto bediscovered, suýpected" i's notjet existence whose

in is fissure intervals the irrational The unhinged 2. subjectivity of hifit dialo breakdown in The the the repetition ue, unfolding of thesesingularities. , ,gSss from to the in intervals place room one in soundandnoise,andtheirrational move you as This fissures performance of a a not is the of -reation. present as of space energv next,all to that virtual realmof the that'givesjp-ace finisbedwork; it is morea work ofperformance but in So itý . to of veqýiýTplaces question in a not emerge. ons occupah event orderfor van*ous

less functions bouse Acce the ambiledural tbis, pfin as an to. place T gives wbatspace sbominT for 'eventual'space, to thin the s g. room than makin desaiption of therooms asan arrhitecturefor ,g for la d, the 'ý7 ce ap makes which SP an a mode of happen.Thisis architecture o C, as writing 'T -p
Events:witnessiqtheinbuman

knowing that baveno oý, cirrumstances in the Tin in theconsciousness of subject), tbeirattempt to trace out theseroomswitb the remembrances left bebindblood, of the marks the 9 pboto, footpn*nts, fur coats, graphs, piecesofJzgsaw,etc.Theperfarmance put in placeandnow is , awaitsits ownevent.

5.5 Offering up interpretations For a doctrine in general, there is nothing regrettable in this uncertainty about the outcome of research, this complexity in the study of the particular case of each faculty: on the contrary, transcendental empiricism is the only way to avoid tracing the transcendental from the outlines of the empirical. (Deleuze, 1994: 144)

If thought, and hence understanding, arrives in the actual multiplicity of experience doesn't this mean that essentially meaning emergesin an irrational, quixotic itself, how difference fashion? To hoc in put it another way, can we conceive of and ad foul How falling the of can we consider the itself Without charge of atomism? difference in terms of the practices and activities of real experiencewith making of And do form the observations of the processesinvolved of consistency? what some I devising, to? want to in and the affects achievedin, a piece of performance add up Spinoza first Deleuze's through the is suggesttwo routes through these questions folding Deleuze's the the of in is the second and composition of singularities; and Leibniz and the communication of unity. philosophy of Problem 8: Univocity part one Singular being as substanceis not 'distinct from' or 'different from' have to conceiveit not thing outside itself; if it were, we would any be thus thing, through it would not substance. another and partly And yet, being is not indifferent. (Hardt, 1993:62)

The philosophical problem Deleuze finds in Spinozahelps us to define the difference in being (differencein itselý whilst being that is absolutelyinfinite and indivisible. a maintaining Here we are confronted with the theory of the singularity of A theory being; or the of singularities. singularityisin absolute difference things; thus the to of internal all it emerges relation 155

Events:wilnessintheinbuman ,g

both the notion of that process of differentiation in all out of things and the notion of being of all things, which in the philosophical case of Spinoza is the being of substance (see Deleuze, 1990b). In this Deleuze is then able to argue that being is remarkable in that it is both infinite (substance) and definite (internal difference). Or, as Hardt puts it: "The singular is remarkable because it is different in itself" (1993: 63). In terms doing of of social science this calls for a move away from systems of thought, or representational systems, towards a serial composition of thought based on difference in itself, or rather, the 'singularities of life'. In this you can see the nonrepresentational mode of theory having particular application.

5.5.1 Singularity and individuality The singularities or events constitutive of a tife coexist with the life. Peleuze, 1997: 5) the accidents of corresponding

Let us return to the example of thetreegreens. The attribute of the tree, 'to green', is a cccsingularity-event' that subsists in the vicinity of which the tree is constituted. Individuals,, therefore, are constituted within the vicinity of singularities that they Therefore I (Ansell-Pearson, 1999: 132). want to argue that encountering envelop" the event seriously directs research towards an experimentation that attempts to life the that inhere alongside corresponding of the render visible the singularities longer because The it is no a question of individual person. experimentation occurs "perfect' knowing individual that witness capable of subject, as as interviewing the becoming better life's but to of a witness to events, some part of giving testimony both The to to researcher needs enhance, experiment With ways the event itself become description their to so as more skills of conceptually and methodologically, but to is neither individual personal, nor are capable of giving consideration what 14 To let how this the might work, me see singularities of events . the emissions of

the "What personal individual nor are, on insofar contrary, of singulanties is neither emissions For 14 reference: through possess mobile, and a immanent principle surface of auto-unIfication unconscious an as they occur on fixed from distributions distinct and sedentary conditions of the synthesesof as distribution, radically a nomadic 156

Epents. theinbuman - witnessing

recount an example of that suspended second existence of the 'general line' that regards the spaceof a 'pure event': She passed the lifeguard, and after she had gone some three or four steps beyond him she turned her head, smiled, and waved to him. At that instant I felt a pang in my heart! That smile and gesture belonged to a twenty-year-old girl! Her arm rose with bewitching ease It was the charm of a gesture drowning in the ... body There is a certain part of all of us the charm-lessnessof ... that lives outside time. (Kundera, 1991: 3-4)15

It may seem disingenuous to parade evidence from the art of the novel when my demonstrate to the worth of researchingthe empty spaceof performance art aim is but there is a crucial affiliation, namely that of force or that of (the force oý has Expression "what is expressed no existence expression. can occur anywhere: outside of its expressions; each expression is, as it were, the existence of what is Spinozian So Peleuze, 1990b: 42). this encountering an expression,in expressed" forms for be they all speak of the univocity of way, can an encounter with all art being. As Deleuze and Guattari put it: There is a specific way in which the novella treats a universal lines lines. We For to referring are not matter. we are all made of life lines, lines, Lines of writing conjugate with other of Writing. lines of luck or misfortune, lines productive of the variation of lines between lines line the that of Writing. the are of Writing itself, Peleuze and Guattari, 1988: 194)

16 The key here is to realize and accept that our accounts of the event should not be dependent upon, or even interdependent with, a principle of identity; rather "empty be to the traverse significance of mobilities, attempts there should

fourth 'the Ferlinghetti them the true transcendental person Singularities and calls events, are consciousness. 1990a: 17). Peleuze, singular"' Room beautiful "Thus Jacob's Woolf's talk if you of a women you mean only something 15 See also Virginia lips Fanny for Elmer, the for or cheeks of eyes, uses example, to glow through" a second flying fast which 204). 1996: Gibson, (quoted in within only place take leventsl "T'hey 16

certain determinate boundaries. They are not discursive. They are

having (Gibson, 181). 1996: They thinkable only as occurred" are recounted. or represented 157

Events:wilnessinMeinbuman ,g

conjunctions of forces, confusions between entities, events as encounters" (Gibson, 1996: 199). Thinking in terms of the event sees the life of the individual cede to the life

of impersonal

individuating

singularities.

Or,

rather individuality

is an operation

of

processes that comprise the chance amalgamation of forces and

things, and is not therefore a function of the unity of an 'F, a Subject. Thus descriptions are put into practice to capture the insistence of the smile or gesture that traverses the body; they are not used as a description of the individual itself.

Wednesday 2dhOctober. - two days before the premiere of Guest House The performersare back on the Arnoýini

So, stqTe.

So, in westart aTain: can slipping with anotherperipective

In the viciniýyof the art work, we are 571IJ than else we usto suddenlysomewhere

1992) tendtobe." (Benjamin,

for describe Wl'hat please? me a room arethy you have, Wle before: I'm Thisis a repetition beingaskedto describe? of afterall, nomeans seen ofxhat verijiq

immediately ýpace, 'When indicate we must we evoke whethertheseplaces everexisted

ýoints' depIgment does how to it the and of energvin relation so: what oawpiesthat spaceand House Guest In this 12). 4-efebmr, 1991: " this evocation reverts repect timeframe. within a The for take place. ýves to of actions soies ocVations certain room it, as ztseýf and show space iniprovi, loosely been have in -ed, rehearseda this scripted, that comprisethe performance scene The fiviq The is slats white room. a scene times remembered. gueýy va now are and coupleof , ht h in There to that briTht. is the #Thtiq The s eems g :, have beenrearraqed. white clariýy is a

blue hfing h ý, hidden, containsa spectral be tellingus that nothin must remain andy et the ,g dialque is The idle the tone talk. placefor of phantasmaToria, a a agap, chiamscuro - an ether, Thg description. a The tojorensic are notperforming thg akin at is aiming are emotionless. sole themselves. the the to rooms thg of stoties dramaticscene assuch;rather areattempting retell

158

Evenis:ipitnessintheinhuman ,g

ScENETHREE

Colin's room ACTRE SS: Tbis is a sitfiq roomin a s,-vall house. Not/wl, ,gg reaýlymahl)es.Evegtlji,ýý-g done out in a reg i's (Glances left). The walo(ýPeriffiull qf seventies s_41e. pul,tle hiat4gles.(Looks dwwn) and thecarpet (-,valks ... across the stage) therei'sajelloiv, sivirýypafierned carpet. (Turns right). Their ir a seventies TT- fet and an old firom-)var.f oj'k-id.f worn, bedselleewith broken ptin ýýgj _ trampoliniq,,on it. Thereis alsoan armchair,more (turns around and looks conýýdablethan /be bedsettee dov, n) and a cq&etableimithbils qf unýinished on jigsanýf" Thereiý bqy (Looks t. aindow whichlooksontothe up), a I. street.And thereis a whiteglassshelviiigunif n4tha Seisfire On bits it. there eitherside are twpboardscontainiii I.nsideqf ,g bils ofu,ýIinishedjýTsaw and aboiethegas oj'kmitliq and fire are shelves uponwhichthereis a Geman musicalbov On blueglassjar. bear it is to that on ... and next a m4tha live thewall is a photýgraphof theentii-e_lýmily wbo in this house,two adultsand ninechildren T THIS POI.N7 THE IL'\7ERý7EVVITH "A ,, ME PERSOINTWT[OSE ROOM THIS WIAS 01/EKLAP/7 STARTS TO CUTINAND

COLIN. thereis also theroomwasufed the ... ... by the neigbbour and er taken photograph was for afamiylphotqraphtakenbythenextdoorneighbour ...,

be cameto take a big photograph of the ... in family that room, taken that was and entire it I the again so can remember room as well... had eh this wallpaper very seventiestriangles I think purple or somethingI mean it was... I And (Laughs) but um... pretty awful um . ... think that picture where it was taken wasput it it taken so was a on the samewall where was So is that thing there one arty... urn... very in the roomlin theroom... um apart sticksout... from the bits offurniture I mean there were I in the mean onewas a room, certain objects picture on the wall, which was quite grim by Millet it which was picture actually... was a it I what a picture of these... can't remember in (beat) is but it two people a was called, I they're field standing over think and ploughed dead their son or a grave, the grave of the that I picture on something;so remember

wall Dojou know whobrougbt it? , kind just it print a it-s, a of was Oh it wasn't a, it was, know wbosepicture who, xho, doyou but vbo, No, , it... or 1'S

know it don't I was whether it well I think ... dad's 1,1 my mum's or my ... it, or they given were know whether ... I don't err...

3. Flows, sequences, chains, series, processes, connections, and distributions: the continual vectors is cut and of singularities. The dialoTue frqTments, to and reduced ipliced- stretched ftqTments Thi's kind some stutterrepetifivejl. I q1soundeditiq bearswitnessto the sheer volumeoj'iýlbrmafioncontained in a given The dialope moment. i's thuspresented as This I.ntqýrence. is ý#ýctive nowhere moreso than when it if used as an immediate here, . the I.nteracti on with actors. actor, (in/brmation) interview and sound recorded show the slippeg task oj- gettingevena tentative, graiponthiqs. DIRECTOR: Maybe he's lost it ... looking for it. I don't know there ... is something ambiguous about you it to retell not wanting ACTOR: Therefore looking for it. DIRECTOR: to the point.

I pretend I'm

You're

trying

to get

ACTRESS: I did do a bit of that, but have I to that get then gave up on like head it's around it ... exactly, my I'm working it out. Your eye shifts from DIRECTOR: object to object as you try and it You are engrossed place them. for you to gives you a reason become with the questioning. ACTRESS: Thus at times it could be I don't know fictionalized by me ... the at yet and next is coming what ... I'm do, I taking that time it's Just same in [bj that ts the are obje6, my time, pausing the room]. 'Over happened. something

DIRECTOR:

here

Events:witnessing theinhuman

Therefore we have the singularity of the event on show: the day the neighbour came to take a photograph of the entire family. A singularity is not an event of individuality 'this"'

bare like 'this' "empirically is particular, not a actual a any other - an

has "determinate (Baugh, that in it in its a content virtue of actual genesis" -

1993: 24). Here the history of these singularities coming into being comes from the life of that particular family, the room of the family household, the build-up of friendship with the neighbour, the development of photographic technology, the forces All that the tradition portraits are virtual creation of of photographic etc. The founded be the to this in empirical world. actualized in event and all are come individuality

emerges through the interviewee's perspective on this event; it is a

function of the actualization process such that the process of individuation occurs he before happens "something the construes it as event in the encounter of happening to him" (Gibson, 1996: 20 1)17.Thus, we find in conclusion that to be "there by This be that to is a is realize it. individuated witness to the event is to mode of individuation

from different thing, that or person, subject, a of very

To 261). 1988: to Guattari, (Deleuze tl-iis & is grasp realization achieve substance" "sense is that which is the sense of the event, to extract sense itself where does In 20). (Deleuze, 1990a: its of this outside not exist sense way expressed" they inhere metaphysical; not and therefore empirical absolutely is expression and Consequently: rather than exist as such. How could we not feel that our freedom and strength reside, but human divine in the personality, in nor the universal not in these singularities which are more us than we ourselves are, divine poem and they concretely than the animate as gods, more Today's aphorism, permanent revolution and partial action? ... task is to make ... pre-individual and nonpersonal singularities 72-73) (Deleuze, 1990a: to produce sense. speak - in short,

because Lyotard and that unities be to is in questioning engaged assume mistake gross a -It 17See also: would form If that totality marked true is negatively it is a Individualism. of some promoting he is necessarily totalities, is, A much an term is not so rather, sj'nTulariýy. positive singularity the corresponding his thought, term in 1988: 9). (Bennington, individual as an evenf'

160

Events:mitnessiqtheinhuman

Translating this into performance research means that we must accept that a performance is never an interpretation of neither a text nor something that can be sufficiently interpreted. It means that when making of empirical data an extraction of senserather than a representational discovery of knowledge we look at the preindividual, incorporeal and immanent spacingbetween things in an indifference to the individuals that actualize it. This is not

brute a atomism, incompossible

individualism, that adds up to nothing because "a singularity is not so much an individual as an evenf' (Bennington, 1988: 9). Singulanties inhere and take place find to to immanent an event, so in seeking a way of presenting this type of observation as an adequatesocial science,we need to turn now to that secondroute through this problematic of adding up and making transposable in some way (practically or conceptually) these particular extractions of sense.Thus we look to the Leibnizian folding of the world into a spacewhere a unity of communication becomes possible.

Problem

9: Univocity

part two

What constitutesthe unity of a work? What makesus 'communicate`%vitha work? What constitutesthe unity of a have We thingý there given up seeking a is such a work of art, if totalise the would which parts, a whole unify would unity which the fragments. For it is the character and nature of the parts or fragments to exclude the Logos both as logical unity and as be But the is there which there a unity is, must totality. organic unity of tl-ýsvery multiplicity, a whole which is the unity of just be Whole One the fragments: which would not these and a 'the but, the effect' of the multiplicity and contrary, on principle A disconnected not would which communication parts its of ... be posited in principle, but which would result from the detached their their parts, the machines and of operation 144-145) Peleuze, 1972: fragments. noncommunicating

What we have here is an expression of life in terms of an from Leibniz's taken notion is which multiplicity of immanence that the are perspectives on same world individual monads of large do part, not in communicate which, perspectives also (hence the term monad as the singular unity of the individual). however they immanent to one another Whilst individual are 161

Events:witnessintheinhuman * ,g

because it is the same world on which they all have a perspective. In other words, among their solitudes there is "a spontaneous 'correspondence"'; they "aU possess the same stock, enveloping and expressing the same world in the infinite series of their predicates" (ibid: 145). Therefore, in witnessing the space in-between things, the spacings that make up the intensities and movement of bodies, objects and situations as the events of performance art, as the event on show courtesy of performance, we witness the univocal dynamics which give experience (of this world) its unique unity: laughing with laughter itself, fafling in love with love itself; crying with

crying

itself, etc. This is what makes us 'communicate' With a work. This is what makes as grasp that 'ungraspable real', the virtual but not actual world in-imanent to us because we are of a life ...

5.5.2 The pure event and art of counter-actualization I would like the happening to be arranged in such a way that I least could at see through the happening to something that (Cage, 1980: 55; quoted in Deleuze and Guattari, 1984: wasn't it. 371)

The Stoic's attitude 18towards events persists throughout Deleuze's work, because, he "a the put it, philosopl-iical concept, the only one capable of as event was beyond be"' (1995: This 'to 141). to thought the the move capacity ousting verb (irritably') Deleuze Being to sidestep question of also enables

the critique that

be an anecdotal contribution to philosophy in that consideration of events can only life logical the the exposition on eg event is way of a it offers nothing concrete in be Where there concrete, tangible objects the should not something substantive. Like Deleuze, I that this to mist. intangible, argue want ephemeral is an event immanent, virtual and impersonal air of the event is too sign'ficant to ignore just

briefly, distinction the is that contrasts "the 'thickness of bodies' it nature to new put of a 18The Stoic attitude, bodies like 'a (Marks, 1998: 39; the the operate on surface which of incorporeal mist prairie"' over events with the 1990a:5). Deleuze quoting Stoic hesitant life, doctrine to the call a concrete poetic or if way of as name of a were 19"We are sometimes designate (Deleuze, 1990a: 148). the to personal most relation with a wound" bookish or abstract too 162

Events:witnessinS theinbuman

for the name of rationality2o.It is for this reason that Deleuze is pains to at show how the personal and felt, and hence the substantive, is deeply implicated in a philosophy based on discovering the nature of events. So let me demonstrate this philosophy further through one of the most instructive examplesDeleuze uses,that of the wound itselfA wound incamates or actualizes itself in a state of things and in lived but it is itself a pure virtual on the plane of a state; immanence which draws us into a life. 'My wound existed before me

Not a transcendence of the wound as a superior

heart but the its immanence as a virtuality always at of actuality, (field a milieu or plane). (Deleuze, 1997: 6)

Deleuze frequently referred to this example of the wound taking it from Joe Bousquet's novel Les Capitaler "My wound existed before me, I was born to here he The (1955: 103). to is an understanding of makes crucial point it" embody The he logic the the or subject to protagonist the the subscribes. which event of T of representational signification, and therefore, for Deleuze, by implication Imaybe you or

life separate recognizes the value of the wound as a condition of

becon-Uing the quasifrom themselves; the protagonist thereby accepts their part in forces that the of i. encounter e. is actualized: cause of what unfolds, of what becomes you and the wound. Deleuze portrays this acceptance as the question of (that plays there that is exchange an the in that us; the event creates will attaining for force life will, spiritual a the our of will organic of out as a mutual oscillation) but "not in something occurs, what exactly that wills the which spiritual is where be consistent With what that which occurs,, something yet to come which would humorous the laws conformity: the of an obscure, occurs, in accordance with his -, 149)21. 1990a: (Deleuze, is about consistency, and in this it is about Event" here the the of creation the Counter-actualization is of concepts creation ethics. function the of to unity of expression as an comes which the event concept of life. folds the particular in of that inhere the singularities

in don't believe I iting things" lot tl the time see, notion you ri about -ýs of event: w of i true, spent a 20"1 have, its 160). 199-5: peleuze, (Deleuze, 1983). Nietzsche's Return Eternal Deleuze's notion reading of of founded on facet is 21This 163

Events:wilnessintheinbuman ,g

To become worthy of what happens to us, and thus to will and release the event, to become the offspring of one's own events, have be thereby to to and reborn, one more birth, and to break birth become to the with one's carnal offspring of one's for the action is itself produced events and not of one's actions, by the offspring of the event. (Deleuze, 1990a: 149-150)

It is never a matter of regretting how things have turned out, but always of finding out how to embrace the past such that it can be said to have conditioned the present in the most positive sense(Buchanan,2000: 25). This reflects Bergson's knowledge finding that method of intwtion: and positing problems, the consists in departure from that which already exists, and the invention of new points of freedom and courage to move away from ready-madesolutions. As Hayden puts it: "What is at issue is the recognition that humanity makes its own history and that (1998: So 39). for freedom in ourselves" is only as great as the problems we set our field, dazed Auschwitz, be that they to or the remembrance of relation all events, your own particular room: The eternal truth of the event is grasped only if the event is also double flesh. But this painful time we must each inscribed in the tin-nts, by termoves, and actualization which a coun actualization first, We in order to transfigures it. must accompany ourselves die. Counter-actualization but is then even when we survive, buffoon belongs to when it operates alone and a nothing, it be bappened. But, bave have to the value of what could pretends to double the actualization with to the mime of what effectively occurs, like distance, a counter-actualization, the identification with a dancer, the the the truth to to event of is true give the actor and being confused with its inevitable only chance of not farther finally, It to to the is, chance go give us actualization ... have believed To the extent that the possible. than we would forever time imprisoned in its actualization, pure event is each liberates it, always for other times counter-actualization (Deleuze, 1990a: 161).

164

Eventf.,witnesfiq. theinhuman

In other words, we can create clinical understandings by giving space to the event itself, by clearing room for its observation in both a practical (actualization) and a conceptual (counter-actualization) sense.

IV Two days later: the premiere of 'Guest House' a work in progress

., I amsitfiq in theArnoýini auditonum; therearemorepeople onthisside,theaudience's side,than before pbotqTrapbers, Arnoýfini fliends I bere staff, pig an amateurfilmmaker, am as g uinea ... bere bas to offercommentag the the performance and on way andontheperformance 6-banTed asa I However, that in whatbappens wbolenow am aboutto seeit unfoldmoreor lessuninter77ipted doesn't bappen. Thereare numerous this ne-%-t performance stoppaTes, mecbanicalfaults, retakes, last iVrovements last bit beffer is that to them notes,and minute no, wrvlýý see asup-to-tbeThe . is a workin progress, best MInutechanTes. tbiq is theperformance andin my opinionworks itsguise Or I.n as a rehearsal on show. rather,that i's thespirit Mithwhichtheaudience of the let Guest be House Guest House performance themselves of should seduced is aperformance of forces frqTments join theatteVt to pull together to the these material, of situationsand make I hooked I hooked, towards am on somethinT thformative, instruttiveandentertaininT,am conspire tryiqgto makea narrative,tývznT to makesense thenarrativeof theperformers whereostensibl y lives. My disparate just bitsofinterziews thereis none., rooms, objects, events and attention is about find for fill thegaps, to to the theenergtheperformance room these required in asksof me, energv Audience itvossible hold keep these these this to to things, attempt and of rooms. rooms, of room,of performer eachother accompany Do in do W1h there? that thin weseeour ownrooms, areobtious# gs sointerested ýy weseem ? Asapectalorto desýýpfions, lives the the the there there, vapen ess objects, in our owneventsand is that the virtual Guest House wewitnessthesifings of, or clearin the uqraspablereal' gsjor, , , There is i/seff. the to tojollow, the uncertainty: salve ourgrowiýT notbin? g no narrative event realmof De CerYeau has the this performance iVersonal, the plate is put on map of and inhuman. event 'Vories fo the be tbings that with worldý composed aboutplaces are makeshift resees where ... from Nin (details is place " debris that there a comiq TS extra and other and excesses where 51 " Representiq (1984: 107). the insert themselves acceptedframework in what appears on elsewhere) hnes does direct the the te, of of re notgive a worthy inlem`ewee's%t, the surface,a 'presentation In by 'ýPegwherepunCbed torn and open elloses, testimonyto theevent coVosinga showof spaces (ibid) Uninvited Guests bear instead leaks the to the conditions fs, witness of meaning" d,, and by details In b, those that and e%posiý creafin is g g elsewhere. comefmm s that make an eventpossible ,, 165

Events:witnessilýthein ' buman ,g

last abstraction lead heo DeleuýZe 'Events the proposes to the capture event. a us on event are produced but " intervenes. (Deleu-Ze, the that in a chaos... onlyunder conditions a sortof screen / 993: 76).GuestH ouse, asaperformance piece,ISmadeoutofsuchinterventions, and,assuch, thepeýbrmance it is alwaysinterveniq. is a workinprýgrrss,

5.5 Conclusions: Performance

Ungraspable reality

art succeeds when it grabs our attention

through the intensity

The tense. the the tension the present produced in art of way it is worked out of of built from the it is out of the present moment and the performance comes way In the empty space and in the practice of that this contains. ambivalences witnessing a performance a moment of apprehension is a reach towards that which for feeling. One fail be Words this the the to comes reasons of capture said. cannot from

the sense that after the encounter, the moment

of apprehension, the

been have the in; that sets things on the going could other ambivalence of all feeling that in making sense you have exercised a certain blindness to the full power fails The there the is no easy and witness system the representational itself event of from T'he fast disappearing view. communication of the apprehension that is now ... the thing seen' exceeds the understanding of its witness and that point is 21). 2000: (Heathfield, her" haunt consequently returns to In weaving together the space of thought and the space of empirical encounter, face fact to possible have is it hope the performance I that of a in to mtimated the be fact that in proven, the it can't the itself, and the event of ambivalence site/sight thought the delivers an unthought world, of to a new experience us such a way that folds The limits beyond of representation. the of present and into a realm First, flight lines this in have encounter. three of out Deleuze's work of produced fully there testify, is a cannot who a witness as experience the encounter with demand the response the the and upon between the answer, and question relation This testimony. the of verifying science cuts across which through representation, being face to that wronged, of the akin an event of witnessing in relation, achieved knowing to of register a way plane upon which incorporeal logic an sense: of the is We this the to other plane of the on itself need work event of through a sense beyond look the the individual and particular of account things and to perspective the towards the the mhuman; of unsaid, possible account a towards human, the 166

Eventf: witnesfingtheinhuman

expressedand not the proposed. Second, we need to work the distinction of these two perspectives into our accounts. One way proposed for this is through the space of virtuality alongside that of actuality. This is about thinking two planes of thought at once, where the virtual plane delivers us to new possibilities of experience and expression for the project of expanding the ways in which can communicate modes of making sense of things. In this light, my own account of GuestHouseoperated through the folds of theory -a virtual register through the creation of concepts that capture one particular perspective of the same event (the virtual here being that there is potential for other accounts)

how dual to as an attempt show such a

fact Finally, the the that the virtual assemblageof virtual and actual Might work. moves our thought towards the notion of univocity, a realm of 'spontaneous correspondence': that something makes sensenot through an individual's particular but here It through the the that the intent and agency, is space of event itself potential of Witnessingthe inhuman nature of the event presents a potential style of happens by looking that that counter-actualizes which actually understanding, one happening: line the that an alternative, of something occurred in at the non-organic but equally valid, way of making sense;and one that I believe is ever present in the appreciations we make of our encounters With performance.

167

CHAPTER SIX

Timing, or an encounter with time

There would have been a time for such a word' To-morrow,, and to-morrow, and to-morrow, Creeps in this pretty face from day to day, To the last syllable of recorded time; And all our yesterdayshave lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow; a poor player, That struts and frets his hour upon the stage, And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing. V, Scene 18-28) V, Act Macbeth, (Wilham Shakespeare,

'never to return'. of hopeless word I The

Timiql or an encounler with time

6.1 Introduction:

the quick and the dead

Our knowledge of the material world is based on concepts defined in terms of the broadest generality and the greatest scientific (le having a content) abstraction energy, space, ... time .... When we evoke 'space',we must immediately indicate what occupies that spaceand how it does so: the deployment of energy in relation to 'points' and within a time frame ... Spaceconsidered in isolation is an empty abstraction. (Lefebvre, 1991: 12)

In developing our knowledge of social practice we are investigating the taking place of the world. In aiming at the thought-performance of an 'empty space',this thesis is an attempt to shed light on the syntactical relations operating at the heart of this 'taking-place' achievement. Part of this task is to construct concepts that make us capable of extracting senseat the point of these relations; as outlined earlier, this is the work of the performative understood as the frontier teetering on the edge of has been far, Taking both whatever next. stock of what in the achieved so theoretical 'empty space' and the concrete empty space of performance art, we have looked at the energy of affect in the corporeal realm and to the virtual realm have We intimated that this affect spacesout the encounters that people of events. for (material force The things the this world. and of event itself gives room (objects) likewise that things complicate immaterial) to occur - an occurrence of forces (energy). Therefore, fold the channelling of such in the argument that and Lefebvre uses above, one frequently referred to within the practice of human finally have Gregory, 1994), (see to consider the conceptual realm of we geography time: the tension of the present tense unfolding in the timing of performance itself the the empty space. across walks man as What is time? Time is foremost an abstract relation and an exceptionally is that the equally way modifies an of our exceptional concept complicated Time, be political philosophical. or conceptually, endeavours they scientific, artistic, Alon, terms both period, as as a an epoch, as an enduring, absolute in operates future, the the the to past, present now succession as a and reference in etc - and The Chronos. the time justification conceptual of importance of given a or never, It because is partial is partial the a one. it only operates quote above by Lefebvre in Chronos) Whereas 'frames' that terms in of as which energy. for time conceived 169

Timilý-, or an encounter mith time

spaces and times "are generated by the movements of mobiles, they do not frame these movements" (Latour, 1988: 25) - the recent theoretical intervention of ActorNetwork Theory exemplifies the importance of tl-iis partiality. Such an argument begins to move us away from Lefebvre's Chronos: thus on the one hand, the time Chronos for of that the taking place of is a container offers a uniform measure things, and on the other hand, the time of Alon emergesonly in the performance, it because the is constitutive of performative it is constituted in the performative. In (Alon) the time time other words, itself is tangible only in its moment of of virtual because force driving Part the that of the purpose it is actualization of actualization. of tl-iis chapter is to show that to understand performance we need to addressthis Elizabeth notion of virtual as well as actual time, an appreciation illustrated in Grosz's recent work (2000a;2000b): As a whole, time is braided, intertwined, a unity of strands layeredover eachother; unique, singular,and individual, it neverthelesspartakesof a more generic and overarching time, later, and relations which makespossible relations of earlier and locating times and durations relative to eachother. Such a durational - that is to say,wholistic andfragmentary- concept defies any simple linear model of the arrow of time, in which favor beings, of a and processesis elided in the time of beat generatesan measuredmovement whose uniform, regular (2000a: 17-18) time. objective, measurable,clock

both duration takes on these conceptual Introducing the concept of of unites frames the it offers up bringing as and our understandings together time as it time, bringing force change. about incessant an as in its guise the unique singular and itself' life force "explosive that carries within This echoes the link to that internal fore brings link This to the a (Deleuze, 2000: 51) running throughout the thesis. being "positive, movement, this internal through that problem: new take on an old (Hardt, 1993: specificity" and its in singularity become concrete and qualified must by by Deleuze's time of that conceptualizations utilising 1 14). want to suggest is Aion Chronos, think to of Stoic possible it of and configurations the juxtaposing different, the continua, the ongoing and singular concrete the the same and leverage for Chronos the qualified, apprehending as a The acts of actuality together. being, Aion the of determinate sense a provides our of whilst sense and necessary 170

Timl,%. or an encounter with time

vital openness and indetern-unacyof experience as it happens. All of which etches out the excess primacy of the "heterogeneous time of difference over the spatialized time of metrication with its quantitative segments and instants" (Boundas, 1996: 92). In this chapter on time, this conceptual contest between Chronos and Alon plays out a problem that larger the reflects argument running through the thesis that rather than impose from a transcendentalplane a unity and completeness through homogenization and reduction we extract notions of unity the univocal, the pure event, the one substance,the virtual from the actual (the empirical). In particular here I want to uncover two interrelated theoretical and empirical applications that are both attuned to the making senseof these issuesof time and their role in the constitution of the social. The chapter is divided into three sections,which will draw out some of the ways in which the theorizing of time, operates as a further way of looking at and hence interfering With, the grounds upon which we come to understand the social. In the first section I x-, A place the role of time in the context of the discussionsheld in the previous chapters. I will do this in two ways. First, through the contrast between the notion of a direct and indirect image of time I will show how particular considerations of time relate specifically to the experiential ways in which we both time, actualjl through our corporeality and the plane of affect, and encounter 'eventhood'. Secondly, through tirtually, a sense of immateriality and an outline of the different characteristics of Ch-ronos and Alon will exami'ne the way we This time. to theoretically, and therefore a certain extent referentially2,engagewith how Stoic these two to concepts, when played alongside one show will enable me This the the theorizing particular. general and another, suggest a possible way of between Ch-ronos because in lead the relationship and into the second section, will Aion a gap of excessopens up producing a realm of indiscernibility. In this section I will make an account of the final piece of researchcarried out for this thesis, that I for this theatre production. conclude professional will a rehearsals the of of study how by the plays itself, rehearsal process as upon what Witnessed, analysing section disciplines, burgeoning the interfacing other interest social sciences with is now a

divide, distinction between the the this experiential referential suggest a and might 2 Please note that whilst is not my intention nor is it my belief (see Chapter One). between that theory practice, and respectively related, distil how time to to to me a sense of come enable of conceptuafisations simplification is it Rather a necessarýý lives. both the the practice of and understanding of our cveryday in role important play an

171

Timing, or an encounter witb time

that of Benjan-un Libet's neuro-scientific discovery of the 'half-second delay'. In particular I argue that this empirical encounter in the process of rehearsalsoffers -socialscience a way of conceiving an explicitly performative senseof subjectivity. This reveals a potential research strategy held within the space of performance art, showing how non-representational theory can be put to use in the making of alternative ways of understanding. In the third, and final section, I Will illustrate how this gap of indiscernibility heralds another conceptual space involving time: that of memory or the 'pure past'. If the 'half-second delay' offers a relatively weak and ephemeral subjectivity, may be it is through memory that we can conceive of a firmer ground; for, even when starting at degree-zeroin 'empty space' and with an difficult A the to idea of subjectivity is very anti-subject orientated stance, ignore. final introductory point: the concepts used here to work through the notion of time don't work to show us what time is; rather they are normative in relating (see May, 1996), towards the temporal and are certain uses understanding of having This for transposition elsewhere. is not about therefore potentially useful a better understanding of the world; rather it works to encourage better ways of living in a world conceived in the 'tactical resourcefulness'(Conley, 1993) by which life apparent. we make aspectsof

SECTION ONE 6.2 Movement and force: time irretrievable and indeterminate Think back to the objects presented in the performance of GuestHousein the Chapter Four back the ob)ect in to the material presenceof previous chapter; think Place Three. Chapter body the thoughts these in the in and the material affect of bodies imagine cempty space' and and the everthe encounter of two organic the dimensionality scene as encounter after that propels encounter changing A field. bodies simple the performative same two the within co-exist unfolds and as forth footstep, footstep the situation for carries the after of movement example act) imbued It that this example, in pared-down is clear, even moment. the next into lives there of is sense that a the our make up of actions within any apprehension hand On difference the can we one at and work. change movement, time: there is body body fact the that the is that the the to and are we to perception, this relate

172

or an encounter witb time

subject of perception (see Merleau-Ponty, 1962)3. (It is important to note that this is a movement back from the impersonal forces illustrated in the previous two chapters, and that that this reiterates that we can have many perspectives on the world with neither one being superior to the other - the point is to always ask what any one perspective facilitates. ) In short, sense of the world is made through the sensory-motor perception of the other body and of this encounter. So, if this were an abstraction of the everyday life of two people in the social world such a perception would be a recognition that this other body is, for example, Francesca, friend. On the other hand, moving towards the sense of the immaterial again, your developing the we abandon notion of our understanding through this material perception alone, and encounter the other body (which could equally be an object force [the] image the the through or of a wind or a pure architecture of space itselo force, brings it bear. is In the this that to that pure it sight, sound, or case etc. body that we encounter, not the additions that over time produce the particular image body for This that thus is recognition. an and a capacity notion of a general 'pure' to image achieved through any one, or is anterior signification, it is a The be "pure "pure image etc. sotUC114 optical" or a combination, of our senses, it a distinction between these two perspectives is portrayed as follows by Deleuze: It would seem first of all that the sensory-motor image is richer, because it is the thing itself, at least the thing as it extends into %X/hflst by the pure it. of the movement which we make use optical image seems necessarily poorer and more rarefied: as Robbe-Grillet says, it is not the thing, but a 'description' which 'erases' the concrete object, thing, the to tends which replace features of it, even if this means which selects only certain descriptions different for which will pick out making way different fines or features, which are always provisional, always (1989: 44-45) displaced or replaced. in question,

held by influential Merleau-Ponty theory a the definition where of perception earlier and work of 31 refer to the "The the thing the to parts of me along w1th theory perception: and given world, are of is body a already of the identical, but living in that 'natural rather with by connection comparable, or a geometry', any body, not my (1962: body" 205). of my parts the between existing forces' in 'pure Deleuze they to translated philosophical and concrete as such are gives names the 4 These are (see 1986 Dclcuze, & 1989). the cinema of by technology the terms

173

Timilý, ý or an encounter wilb time

Needless to saywe experience both these perspectives the at sametime: the one organic - in other words, the actual body you touch; the other inorganic it is the sense you make of the encounter, the 'description' you give of it, it is the encounter's virtual register. The former perspective is that of the movement-image (see Deleuze, 1986) and the latter that of the time-image (seeDeleuze, 1989). And both perspectives use and take time to happen. In this regard both offer an image of time: the movement-image is an indirectrepresentation of time, whilst the timeimage is a directimage of time. In working with the pure optical imagel or the direct image of time, we make pure descriptions that are undone at the sametime as they If produced. are we use perception or phenomenology alone and work with the from body, the thing, the movement-image we effectively retain or other only what interests us, or what extends into the reaction of 'us' as the character, the subject, happens Conversely: the the perspective in moment. only of our sensingof what The pure optical image may only be a description, and concern a longer longer knows how characterwho no or is no able to react to the situation; the restraint of this image,the thinness of fragment' line 'slight or simple point, Without what it retains, importance', bring the thing each time to an essentialsingularity, describe the inexhaustible,endlesslyreferring to other and descriptions. It is, then, the optical imagewhich is really rich, or 'typical'. (Deleuze, 1989: 45)

The indirect image of time is 'typical' in that it speaksof that which affects us all This description to quality of opening up a of something particular us. and is not a description of the world separatefrom our individual perspective enriches the timedependent because image on the it is not, unlike the movement-image, "movements it is able to follow or make, but by the mental connections it is able to becomes And provoking, objecting, responding, it questioning, enter into. list hypothesizing, the of open in accordance with experimenting, theorematizing, 1)" 'although 'actually', 'because% ('or', 'therefore', 'if, logical conjunctions ... The 23). time-image thus cuts across the universal register of time 1989: (Deleuze, "cartographies (see Figure 1) T35 of and organizes alternative T1, T2, etc. ... in time" the thought as movements and of of visualizations or thought, mappings here It 84). the timethe 1997: in of is right alternative cartography (Rodowick, the to potential i_ri 1 offer empi rehearsals as a cism of out sets this chapter that image 174

Tjmjjýý or an encounter wilb time

FIGURE

1

Tl

T2

T3

Movement-image Time-image

ACTUAL CHRONOS ORGANIC

VIRTUAL MON INORGANIC

for place exploring the associative glue of these logical conjunctions ('or', 'therefore', 'If, 'because', 'actually', 'although... '). In doing so, the chapter will follow the theoretical diagram of the time-image and its affiliation with the Stoic configurations of Ch-ronosand Alon by weaving individual moments of theory into the actual space of performative happening as explored and utilized in the processes that make up rehearsals. Before picking up the first thread of the theoretical diagram I begin with a fold that looks into and introduces the foundation for my researchinto the rehearsalprocess.

Rehearsals The rehearsalprocess examinesthe immanenceof the virtual through practice,or rather the theatre of intimate, personal,and 'momentarily relational encounters' (Shotter, 1995), by bringing to the fore the web of form to that together a particular come associations Naturally, these seeminglyephemeral encounter. conjunctions are concretized, stratified, and through time don't, We play. construct the social arenasin which we however, alwayshave recourse to an alreadyagreed for the in spontaneousand novel action justification final lives Unlike cross. circumstancesthrough which our (the base assumption shaping the theatrical performances

The human achievement - shared by a few primates and aquatic mammals but not elaborated by them - is the ability to make decisions based on the virtual as well as actual These alternatives. virtual alternatives take on a life of their own. Theatre is the art of is the means of them rehearsal actualising and developing their individual shapesand rhythms. By turning possibilities into action, into performances, whole worlds otherwise not lived arc born Rehearsalsand recollections ... the in preplay afterplay converge and theatrical event (Schechner, 1994: 184).

life dramaturgical science) social metaphor within of use feel be to the the to room rehearsal where is be a akin aim way more to seen may be to to the is attempting one sense, whereby attuned immediate practical a in onwards, held Research the sphere of the rehearsal process within the situation. of environment

into "the tial to theatre co-op erative-experien path processes exploration an is therefore 175

or an encounter with time

eVoking 'felt-meanings' and knowledges, through the contextualized work by groups of singular social subjects" (Melrose, 1993: 201). The research that I offer here comes from entering as an observer into the fiveNveekrehearsal process (from the 6/1/98 to the opening night of the 5/2/98) leading up to the Bristol Old Vic's production of Arthur Miller's second play A11Mg Sons (197 1)'. The account made of this research was carried out through the use of extensive note taking and annotation of the actors' movements as they played through the text and blocked the action for the production. In particular, emphasis was made of the gestures and intensity improvized as the individual sceneswere played out, and of the decisions made and 'justifications given, by the director and the actors, as they negotiated through performances the dramatic text. The main part of this research is achieved through the intense immersion into the rehearsal process comprising, in this

case,nearly the entire run of the four-week rehearsalperiod (seeAppendix 1). It has not been my intention to show the extent of the notes made in this time. Rather, the in researchextracts set out in this chapter, my purpose is to show how within the research processitself in particular, and in the processof rehearsalin general,a spaceis created in which another sighting of 'how things go on' can be achieved.I have then used distilled extractions of my notes to exemplify one method through which we can make this particular spaceof apprehensionboth meaningful (theoretically) and practical (in terms of setting out how these apprehensionsbecome apparentin the spacebetween the written dramatic text and the tentative live performance in rehearsal).Other methods are clearly availablein this space,not least one which follows the intentions of Laban in annotating a new vocabulary for scripting the seeminglyunrepresentable whilst this potential is latent Within the notes I made it is not the intention of this thesis to pursue them.

5 Synopsis of Arthur Mfller's All My Sons(first performed in 1947): The play deals with the divorce between drama by its its "by that that reveals a movement very creation, suspension, and action and responsibility: inexorable its is towards tragic that the rush proves past tension; confrontation always present resolution of forgotten or denied" (Centola, 1997: 50). The dramatic action is centred on Joe Keller, a ignored, be and cannot blame for heads in the businessperson, shifts producing who cracked acroplane cylinder wartime on to thriving his partner, Steve Deever, and sends 21 pilots to their deaths.Joe's ultimate defence is that he did everything for Chris, invites his dead brother Larry's ex-grlfriend Ann (Steve Deevcr's But son, one his farnfly. when intention household her (despite blocked being by his Keller the to proposing of with the daughter), to familial how by Larry during in the truth tainted guilt), of the missing went action and war mother obdurate into the open. Keller's past forces Joe

176

or an encounter with time

6.2.1 The play between Chronos and Aion: the gap within which rehearsals take place What we have here is a unity in which its phrasesand aspects are related to eachother not as separable, existentiallyidentifiable distinct and distinguishable component parts, but only as sensi*bjl aspectsof the sameflowing totality. Each locus is a region of ), Within which a diffuse, structurizing activity (an agency? dynamic unity is continually, creatively sustainedby the (disorderly) exchangesat its boundaries,exchangesbetweenit and the other activities surrounding it ... which depend in their turn upon dynamic exchangesat greater and lesserlevels,and so on. (Shotter, 1993: 67)

Here Shotter is referring to time as it is figured in complexity theory within the (specifically by Stengers, Prigorine to the in relation natural sciences and work [1984]). What I want to show by this reference is the way in which our conceptions degree to of intricacy, operate in a very similar way whether they of time, whatever loci here Eke humanities. The the the many are sciences or are applied in dynamic both stability an order out of chaos and an account of a encounters, how do flow. But the processesof we apprehend and get a senseof occurring in And (social) loci more these world? and their place in the unravelling of the hence do how their make possible their occurrence and pressingly we theorise Stoic both An the through these Juxtaposing questions answer is made to captureP both Aion, Chronos the take theoretical same on enable a which and notions of So different, the together. remaining part in the the the ongoing, and singular and Aion, how Chronos I separatelyand in mutual and of this section want to show be the practice of to general within in way a syntactical work seen relation, can forth brought I fife'. this place it take and then in examination is what will everyday I is tense. the tension present the that of speaksexplicitly of 6 As I have already suggested,performance an art by is immediacy how that here reduction a mediated simplified of almost always and notion a want to set out lead instants. In I towards to this than the an argument succession of section want it more nothing expresses as for another potential research strategy within the performing arts: that the process of rehearsals was an for for Thus but for the too. the purpose research only not of acting experimentation site enormously rich issues first Chronos turns to the two the methodological attention of of the metrication to spacing achieved in this chapter. under examination

177

Timiý or an encounter with time

in context within the process of rehearsalsas a way of understandingwhat is put on show there. 6.2.2 Chronos: corporeal and actual There is a sensethat we do not experience the present

as something wholly unique

fact if exposed mechanistic with clarity you consider the task of the actor when -a performing a text learned by heart. In everyday terms such clarity is greatly put out of joint. However, we still schedule our lives, making of them representations, measuring our encounters temporally with n-unuteexactitude, becoming impatient duration "whose future the present to with restricts our access a event that we desperately need to make real" (Crocker, 1998: 486). We wish to eliminate time's interval whilst living so religiously by it. This can be aptly phrased asprolepticliving; living as if a future event was accomplished already. Irretrievable lives. It happens. Tick-tock. This is the time of Chronos. Three aspectsof this conception of time habitual linking fine it possible to conceive a theoretical capable of our make itself. Such time a communication of time to a senseof a performative unfolding in line works to break open that space between the actions unravelling in an lives the way our encounter; it gives pause to thought in a way not noticeable in but the perhaps closely intimated in the processof rehearsals. everyday unfold in The first of these: this happened - 'she raised her hand', tick - then - 'he drew back', tock. What is being done and what then has been done is understood and discontinuous This discrete that turn-taking is and is a manifolds. categorized via actual, encasing us in a series of successive,relative presents and providing us "an for blocks building that time, the organization of civilization the with humanises time by giving it form" (Kermode, 1966: 45). Thus think of the clock's feeble humble "tick discrete tock a genesis, is a manifolds, where tick-tock as two Stanislavski's In to (ibid). acting parlance such manifolds are akin apocalypse" bodies "out Chronos the of thus action it measures incorporates; units of action. difference 162) 1990a: (Deleuze, that exists which as only seeing and causes" difference between self-identical entities and which consequently only speaks of intent In 1988c). the (Deleuze, the this character's action, case degree in (dramatic texts are obviously scripted, very representational and subjectdisplay, is is it the through task to the played that actor's which orientated) and it. to change the qualities of the subject enacting is going not the action subject do 'what Hamlet, Lear, to when see what or will want we In other words, 178

Timilýý,or an encounter witb time

happens next' happens. The great actors work to put life into the happening and not into the precise performative description of the character the audience expects of them. In this way, difference in kind comes about when the action enacts the subject. For example, Jonathan Miller describes how a subject is played through an action in the way he directs his actors for La Bobeme: Where Rudolfo is making his first tentative flirtation with Mimi I deal with the microscopic details of embarrassment and I shyness. Instead of having some great theory about love ... told my Rudolfo not to look at Minil, but instead to study his feet, and in that moment they discovered how to play the whole (1997) scene.

Second, there is the notion of a vaster present which places these discrete for from her the time: moment of manifolds into a general conception of example his face hand, through to the only the present exists rising extending withdrawal of (see branded future the of one present relativemodalities and the past are so that the Deleuze, 1990a: 1622;and 1988c: 74). (1 will deal With this in much more detail for (see 6.4.2); to that now it sets up a significant contrast With say suffice shortly the way in which Aion operates a conception of time in terms of the past and the future). Thirdly, the movement representedby Chronos delineatestime as the shift from the possible to the real, and thus involves loss - an irretrievability rendered becauseother possibilities are now impossible; their time is gone. For example: It happens, it has to happen, time passesand in practice you are Judgedby what you do. Meanwhile possible futures are being shut down whilst equally new possibilities for details the illustrated This main example, the consider in smallest is open up. incident haunting Arthur Miller's play All My Sons: KELLER:

Every half-hour the Major callin' for cylinder heads,

The trucks were the telephone. they were whippin' us with hauling them away hot, damn near. I mean just try to seeit human, see it human. All of sudden a batch comes out With a All right, so - so he's a business happens, That that's crack. ... little man, your father, always scared of loud voices. What'll the Major say?- Half a day's production shot ... So he takes out his (Act One, 30) he the page cracks. over covers tools and -

179

Timiq, or an encounter with time

Every rninutia of action clearly holds an unbearable weight of responsibility actualising what is, up until that moment, seeminglyvirtual. In the split moment, or the performative rupture, of the decision to cover up the cracks hes the commutation between virtuality and actualization. The clarity of the action of setting about repairing the cylinders for shipment signifies the complete change of the situation as it opens up an alternative future to what had gone before - 21 airman are now going to die becauseof these cracked cylinder heads.Through this Steve Deever, the "tittle man", is incorporated into the material reality and the is that the specific netting of signification via a moment of embodied connectivity fact for Putting the that there are multiple the moment action of repairing. aside for the communication of this moment, the nettings of signification adequate behind hidden the movement that potentially makes such an action is Zeno's is This the paradox of representation of time as a successionof instants. basis be 4(movement than the more instants any of reconstituted on cannot arrow: being can be constituted on the basis of presents" (Boundas, 1996: 83). Rather than i linear time is of nows sequence empty an of experience conception atornistic an in by the way which moments are associated actually created in experience like Aion, This 1996: 17). the time (Goodchild, so, of virtuality is apprehended in happening but that is it realize plane and shift we simultaneously, paradigms whatever ---6.2.3 Aion: incorpOreal and virtual "There is only one time (monism), although there Is an infmity of

fluxes the in samevirtual participate that necessarily actual 82) 1988c: (Deleuze, " whole.

difference that is actualising the a virtuality of happening: movement It's this is as by Chronos Contrasting AionThis 93-97). not is the time of itself (Deleuze, 1988c: its death actual, and corporeal to the as contents of relation in judging time purely life force "'the i that carries internal terms explosive in of time purely Aion conceives delivers it the 51). In to 2000: that (Deleuze, us is which other words within itself" internal "an multiplicity in instant Relative 38). 1988c: conceives

to Chronos,

(Deleuze, ' of succession ... virtual and confinuou? instead of speaking of the one present Aion

divide [that] the present at every instant and subdivide future -a and past

it ad infiniturn

into past and future, in both directions 180

1990a: (Deleuze, at once"

Timilýý or an encounter with time

164). In other Aion is words, conceived of this as monistic, virtual time, whereas the actual fluxes are made apparent through the more precise narrative contouring of Chronos. So, one's implied territory expected in the time of Chronos is disrupted by this continuous flow Alon. This in part reflects the need for the of actor to exhibit spontaneity despite knowing the course of action unfolding. Theoretically, the point is that we cannot be fixed points in the world for we become with the world (Deleuze and Guattari, 1994: 169). Thus, this interplay, between Aion and Chronos, allows a communication of a minimal subjectivity denying the fact that any subjectivity cannot be anything other than a whilst never process of becoming (see Smith, 1998: xxxvi). It is not identity that is rejected; rather there is a rejection of identity being subsumed under a transcendental principle (see May, 1994: 46) - actors are always more than the character on the because they unfold meaning through the performance as it happens in 'real', page Aion time. It is in showing this that the significance of performativity as the frontier teetering in between the necessaryand the unexpected comes to the fore. Finally then, and of most significance here, we acknowledge that Aion is virtual in that it cannot be grasped; it is indeterminate in existing as the pure empoformof time that traces the frontier between things (Deleuze, 1990a).Something does not future but dimensions don't the these exist without mode and a past genesis, exist Aion So, in they thinking terms is to think time itself, to think are virtual. of with it, (non-individual), the immanence of another world of incorporeal, or surface of (Deleuze, 'pure 1990a). that incorporation not are about operation' effects Immanence to the virtual presents the next happening as that which is in liaison fact been, has the that the virtual whole ever whilst equally presenting with all that force future Without the the of changes as it endures such that novelty ariseS7. despite is Yet, expectations of what to upon the present, action is unimaginable. Aion future likewise In is gives summary: unforeseeable. come this sense of the the in apprehending of sensing to world, way non-representational a credence infinitely forking between two time enactments, and of a virtuality of spacing The Garden Forkz'n Paths, And it is (Borges, 1964). this that of gap saturated space ,g intimate hovers finally to that a virtual space, indiscernibility, a space of us allows

for foundations bring I further the theorizing that problematic the lays of pure past a notion of 7 Again this key this theoretical the points that the of chapter, its relation role memory and of of of in one making together (see6.4.2). to subjectivity

181

Timilýý or an encounter witb time

immanently around all that is done, shadowing everything realized with what might have been (seeDeleuze, 1990a: 100). It Is not that we should ever fully know these things; rather the point is that firstly it happens before we represent the event via the question of 'wbat happened?' In this respect, part of the power of the rehearsal space, in terms of research, is in the fact that this equation is reversed. Knowing is to happen, and playing to that outcome with conviction, is to be open to what the numerous ways in which you can account for the particular act you know, as an actor, you are going to perform. In short, the actor's art in rehearsalis being skilled in an appreciation of the virtual; the actor's art in performance is being skilled in an appreciation of the potential for alternative means of going on with the scene by way of a sense of indiscernibility - in other words, improvization. In both cases, performance is intimate with virtuality. 6.2.4 The indiscernibility

of time: virtuality

Taking my cue once again from Deleuze, unlike possibility, the virtual is always being but but real; inaccessible proceeding necessary,not contemporaneous to the (see MassurrU,1992: 167-170; also Deleuze, 1988c: 96). This is Virtuality as present ccrealpotential that is imperceptible in itself' (Goodchild, 1996: 4)8.The unity of a moment of actualization - that minimal subjectivity in a doing - is in fact "a holding divergence" together potential contingent operation a such that the virtual directions frontier (Rajchman, The 1997: 18). performative in opens up uncharted by the text, the proceeds not rehearsals, moment-by-moment enactment of by limitation but (thwarted (possibilities possibilities) elimination not realized), nor (see 96). by Deleuze, 1988c: Every (the only actualization of potential) creation in move the actor makes, and every move we make general,is an untimely moment (Deleuze, has before gone wl-ifle opening up what may yet come redistributing what 1988c: 96; seeHayden, 1995: 295-296). I want to now fold this theory into the empirical spaceof the rehearsalprocess. In this first extract, in the spacebetween the textual scenefrom All My Sons(in the lump imperceptibility: "Take has But it this a of sugar: if we spatial configuration. a 8A classic example of differences in degree between from that ever grasp are all we will it sugar and other any angle, an approach duration, being in duration, is least has time that rhythm of a a way of partially revealed in it at a But also thing. how this sugar differs in kind not only from other things, but first dissolving, that its shows and the process of 31-32). (Deleuze, 1988c, itself" from page foremost and

182

Tlmiq, or an encounler with lime

right-hand column) and the research notes of the rehearsalperformance, I want to pin the points above through the eventhood of Frank's appearance.The discrete manifold of incorporation (Chronos) is manifest in the action concerning the ladder, in particular the actor's concern over the timing of the precise action of putting it down. Theatrically, the ladder's presence, as justified by the actor, is symptomatic of the fact that Frank has been driven (Aion) into the encounter without time to pause and hence put the ladder down. The proliferation of questions asked in rehearsalof this seemingly simple act of Frank's arrival, and the need to ask more questions as the scene unfolds, shows how severalmeanings are This further viable. space illustrates that the moment-by-moment decisions based different these on meanings unravel yet further possibilities above and beyond the fact that at any moment some other factor/ force/ person might enter the equation.

All Mv Sons Act One page 26-27

61hrehearsal12/1/98: 10am-lpm SESSION 3 (see appendix 1)

Mother: (Goiq to ber)Because certain things have to

Director: (to Frank) Is he

be, and certain things can never be. Like the sun has

borrowing the ladder or

to rise, it has to be. That's why there's God

providing it?

Otherwise anything could happen.But there's God,

Frank: I'm handyman,so I'm

know, happen. I would so certain things can never

just pottering around working

Annie - just like I knew the day he (in&catesChris)he Was battle. Did it write me? went into that terrible in the papers?No, but that morning I couldn't raise knew. I Suddenly, I Ask Joe. head my off the pillow. knew! And he was nearly killed that day. Ann, you

knowI'm right. (Ann jiýindstbm in mlena,thenturmtrrmbluýý ' tostao, ge) ýgoln ,g Ann: No, Kate Mother: I have to have some tea. (Frank appearscar7yiq a ladder)

heard house, I've and on my from I've the come voices so front the of the garageat house,it's my ladder. D: Yes. (Turns to Annie) He fancies Annie - she's the have he never could girl intellectual the one. she's Ann: And the signs of ageing, losing his hair put him in his

down) How (CominT Annie are you, gee whiz! Frank-

place again.

losing Why, Frank, hana) his * your you're Ann: (takin ,g hair.

D: (To everyone) What does

Keller: He's got responsibility. Frank: Gee whiz! 183

Frank bring to the scene? Chris: The outside curiosity of

Timilýý or an encouwer

Keller: W'ithout Frank the stars wouldn't know when to come out. Frank: (laugohs; to Ann): You look more womanly. You've matured. You Keller: T ake it easy Frank, you're a married man. Ann: (as My lauTb)You still haberdashering? Frank: \X,hv not? Nlaybe I too can get to be II president. How's your brother? Got his degree, I

lime

Steve, the situation D: (To Chris) After he has gone, what's your task? Chris: Smooth over things. D: Is it more? Clearly from his letters, their mums are mentioned,

does he

mention the neighbours? [ie

hear.

No he never has] Therefore,

Ann: Oh, George has his own office now!

try and play it down - what

Frank: Don't say! (Funereaýly) And your dad? Is he -? Ann: (Abnýpfyl) Fine. I'll be in to see Lydia. Frank: (sympathefica4ly) How about it, does Dad expect a parole soon? Ann: (witbgrowingill-ease)I really don't know, IFrank: (Staumblydefen&n berfiaber./or bersake)I mean ,g becauseI feel, Y'know, that if an intelligent man like be law father to there is put in prison, ought a your

has been said about it. Both [Chris and Mother] have a talent for ignoring

things -

they lie when Ann says don't they exactly what want to hear when Frank leaves. Ok lets play it through again.

let him him, that sayseither you execute or go after a year. ladder, Frank? hand Chris: (interruptin Want that a g) with , Frank: (takinS cue)That's all right, I'll - (Picksup ladder).I'll finish the horoscope tonight, Kate. (Embarrassea).See you later, Ann, you look Thg look (He atAnn). exits. wonderful. Ann: (to Chn's,as shesits downon the stooýHaven't they Dad? talking about stopped

Frank:

the about question --k ladder Do I position of the do hold down, I onto put it or for half here I'm it, le a chat, hour!! an D: Yes, look like you it to preparing stay! ... was fine the way you did it then [putting

the ladder on

speaking'Why

Maybe I not?

too ... 1

field i here to of grasp its The crucial point is that to understand any moment is dependent latent potential such that whatever significance is given to an event it is That fact happened have time. the that events take place t'n and both on what could delusive trying to in advance predetem-Une practice events a is often it that is to say 'the that there Is a surplus choice' always constituting all after of their occurrence; mornent-by-moment those makes

decisions real. The sheer noise of debate in 184

Timi,% or an encounter with time

rehearsal surrounding the potential ways of acting out even the most ordinary looking tine text of is symptomatic of this. To conclude and sum up the thread of this first section, take the following event (mentioned above her hand, 'he drew back'): raised -'she I fancied they both stood still for an instant, and looked, as it ' the were, strangelyat one another, butI maynothaveseenii bt/ in ,gy crowd.It is asserted,on thecontrag,... that Liza, glancing at Nikolai Vsevolodovich, quickly raised her hand to the level of his face, and would certainly have struck him if he had not drawn back in time I must adn-utI saw nothing myself, but ... declared the they had, thoughtbg certainylcouldnotall all others , haveseenit in such a crush (Dostoevsky, ThePossessed, quoted in Morson, 1994: 122 - my emphasis).

Morson makes clear that we are given here not one but many potential events, Dostoevsky's have "to that that such purpose is reality includes what might suggest happened" (1994: 123; see also Bernstein, 1994). It is not that there are several perspectiveson the sameworld, rather that eachviewpoint opens up another world that is at the same time 'of this world'. In rehearsal the actors might achieve any be My Sons. So, but All they the text if what of Will all number of potential worlds happened that this rather than that, that there is a makes an action significant is difference, did Lisa Nikolai is someone who is move, or choice and a potential itself The to in speaks of all these event inflict such action? ultimately unable by being "to the individual indifferent worlds, of all these potential eventualities diverse because manners at once, and it is actualized in and the collective ... becauseeach participant may grasp it at a different level of actualization within its Thus, 100). (Deleuze, 1990a: to the is its in itself neutral event present" variable being (ibid), being "always to excessive come and alreadypassed" yet actualizations in that it is in itself impenetrable. As noted in the last chapter the concept of fore i the the to pre-individual 1 in IM personal and rendering comes singularity does the that the empirical purely not correspond with event of transcendence These things. perspectives exist as a people, or slngularities individual of actuality but distributing Self 1, "neither potential which admits nor 'fourth person singular' by (Deleuze, 1990a: 103). realising them itself' or actualising which produces him, Frank the the playing character of actor or of Therefore it is not a question of 185

Timing,or an encounter witb time

but a question of the singularity that is in the text, that of Frank walking in carrying ladder. In other words, people, a perspectives or things only come about, become actual, through events, through being performed. They "are longer imprisoned no vithin the fixed individuality of the infinite Being, nor inside the sedentary boundaries of the finite subject" (Deleuze, 1990a: 107). Decisively, this can only be so if one understands the present moment as saturated with a virtual field of what n-ught happen next (the chance combination of a whole plethora of forces). The forces at play here, having fixed points of reference, are now merely no to -related forces, other such that singularities are not moments of synthesis, more mathematical points expressing the immediate convergence of several forces. Of course, amongst these forces there are predominant players that, due to their slowness of composition (materially one rrught think of architectural spaces), or due to their more stratified nature (discourses that are reiterated more than most due to the security that their abundant performance provides), seem to suggest fixity. The fives that thus come out of convergences that are either encounters etch out our (if (and disjunctive (either (or) then), connective conjunctive and), or ... ... ... ... (see Smith, 1998: xxvi-xxvii). Finally then we are working with a new image of time, that which Deleuze refers to as the crystalimage (1989), one that works to the beat has In that time to these possibilities: it itself sets out. of connective split as any launched future towards the the present is moment part of wl-lilst another part The the past. rehearsal process is about working at the juncture of this preserves all split in the indiscernible

because has happen to it is gap where something

happening whatever. As Bergson himself put it: Every moment of our life presentsthe two aspects,it is actual and virtual, perception on the one side and recollection on the becomes Whoever consciousof the continual other ... duplicating of his present into perception and recollection ... his himself to playing part automatically, an actor will compare listening to himself and beholding himself playing (1920: 135-8). (see Deleuze, 68-97) 1989: Taking this crystal-image of time, that of time fundamental to the that this I next section suggest into can we use move splitting, instance the to process an understanding of time of subjectivity. of operation

186

or an encounler with time

SECTION TWO 6.3 An instance of subjectivity In an encounter body with another you can argue that subjectivity arises in the very instance of the perception of this other body their appearance, smell, gait, voice, (as in the French fiit de reconnaitre,to be surface - in an act of reconnaissance understood by way of recognition). For example, the subjectivity of Frank in the extract above as he meets Annie for the first time in several years: "You look more womanly". In other words, raw "percepfion searches out memory as a mirror image that gives it identity and renders it meaningful" Jýodowick, 1997: 92). In the very fold (a being folding): the there time act of encounter is a of space and space-time a C'where perception occurs in space, memory occurs in time" (ibid). Using a diagram from Matter Bergson's & Memog let folding direct (figure 2), this in of me present last to the the the relation comments made at end of section.

In the empirical 'real' of the time of an actual moment as it happens (representedby the zone OA), for example the moment skin touches skin in a kiss, layers "the time itself splits simultaneously constituting of one and the same levels C', D'], [B', the of the same mental reality, memory or and physical reality AW, OA, The D]" 46). C, (Deleuze, 1989: [B, and not smallest circuit is spirit because it refers only to the object that initiates the force that brings about the Memory then comes immediately consecutive to this this encounter. moment of (the the and circle) shaded the indiscerrubility clears zone of as perception

"The

FIGURE 2D C

B

progress

of

attention results in creating anew not only the object pcrceivcd, but also the ever widening systems with be bound it may up; which so that in the measure in C, B, D the circles which

an encounter

higher a represent memory, of explanation ...... ......... ................................................. their reflection attains in B', C', D' deeper strata of i .................................................. ........ Matter (Bergson, C'7reality" D " ............................................................. Memog,1990:105).

bc it first (if the might a as mcmorý, associatcd it any, with and an objcct of pcrccption hcrc the of 9 'I'hink first its born baby dcgrcc bc touch think and whcrc too c. g. of a ncw this of will and degrce 7cro cncountcr,

187

or an encounter mith time

encounter passes through the force of Aion such that 'before ýýou know it' you have become active in ordering the potential avenues opening up around this encounter. This is the movement from experientiality to referentiality, from sensing to making sense. You have achieved, or endured, a way of going on with the everchanging, potentially chaotic, flow; and all parties to the encounter achieve a sense dynamic helpful It of to think of these stabilities as durations, and to stability. is expand this appreciation by thinking of durations as anything from the evolution of the human being or the development of a mountain range, to the duration of a day, hour, a play, an or the time it took Mr Palomar to walk his walk across the beach (see Chapter Two). The object of the encounter is thus taken in through the description immediate of the pure optical or sonic image that it gives off, and then through the way it links to the higher expanse of memory through previous be has been few that experience which experience just achieved a seconds earlier. Thus a deeper reality is formed in time and through duration "where there are no longer sensory-motor

but their images With much more complex extensions,

hand C, D], links between [B, the pure optical and sonic images on one circular by hand from time thought, the on planes which coexist images and other and on C', be D'], body" [B', that the particular encounter of right, constituting soul and The 47). book, (Deleuze, 1989: that a person, a place, a crucial point or a song etc. 'ot)er time' and the way that these the the phrase importance of is to appreciate for deeper legitimate the reality, a theoretical space, that conceptions of time location of those immaterial elements illustrated in the last two chapters whilst the than in tl-ds actuality of that grounded is other anything never suggesting from In the research into the rehearsal processes, another extract empiricism. let drama left from the the play itself, me of where we chronologically moving on deeper In development for this in reality action. what of observing the site a space follows one can see how the syntactical moment of the action of a kiss instances both a history of time leading up to the point of action (the kiss) and an intensity future kiss (OA itselo to the that the alternative opens up as the present in peak develop (conjunctive the time that over or otherwise) circuits of connection body" In "soul that that person. addition, all of encounter and of and immaterial force by because is "explosive that internal into it put relief sense makes this only

link from derived there to this evolution; encounter genetic are already circuits 'habitual recollection' is there a to) -

188

Timiq, or an encounter wilh lime

that life carries within itself', keep moving on.

time itself, forcing the action and the characters to

TySons

Act One page 31-33 Chris: Isn't he a great guy?

61hrehearsal 12/1/98: 2pm-6pm SESSION 3

D: What does she want with Chris?

Ann: You know? It's lovely here. T he air is

Ann: A companion, someone there, reliable,

sweet

solid.

Chris: (HqpýlýýIy):You're not sorry you

D: And she's not met that?

cameý

Ann: She's got close [but here] she gets ...

Ann: Not sorry, no. But I'm not going to

that and more, she gets all the good things I've [,Nctress referring to herself as the

stay Chris: Why?

character] cut off these years.

Ann: In the first place, your mother as

D: She says 'After all these years' - Do for I love him, he's her think mean you

much as told me to go.

the older brother, possibly more like Joe,

Chris: WeR Ann: You saw that - and then you -

her instinct is right - she's got no solid

been kind of you've

base in her life [Ann's mother is unwell Steve Deever, is in father, her prison and

Chris: What?

Ann: \VeU

kind of embarrassedever ... here I since got

for the crime Joe, Chris's father, instigated],

it's not an age that supports

It hasn't they got married. women until

Chris: The trouble is I planned on kind of sneakingup on you over a period of a

York; in New she's worked out hankering back. Later on she says ... 'I'm not going to leave here alone' ýnn: . ... D: (Turning to Chris) What is it about

for But take they granted it week or so.

that we're all set Ann: I knew they would. Your mother

Annie?

anyway Chris: How did you know?

Chris: He does know her best, he's not fast

Ann: From her point of view, why else would I come? (Ann to? Well want you Chris: would ...

with women, shyness - it is getting to an age be I thinking of my age when should fun fanuly. Larry the thinking about a was

know I ) bim. this is you guess still Sludies I why asked you to come.

like. Chris has his books, serious one; D: He hasn't had the time to find

Ann: I guess this is why I came.

is Not there a sexual anyone! sure

189

Tlmitýg, or an encounlerwill) time ,

attraction,

deal. (Finally) I love Sbewaits.) I you. (Pause. have no InIagination I know to that's all ...

hence that moment is tender,

it can be. Chris: By getting all that stuff out, he can be

) I'm tell you. (Ann is jvailiiýý reaý),.

free to think about her; yet still feels held

embatTassing you. I didn't want to tell it to

back

there's only momentary relief. D: She has to let him make the moves.

you here. I wanted some placewe'd never been; a place where we'd be brand new to

Ann: I can do so much

each other ... You feel it's wrong here,

D: Why does he say that line 'He's a

don't you? This yard, this chair? I want you to be ready for me. I don't want to win you

isn't he"? great guy Chris: He's thinking

from away anything.

The past, I saw, is a formality, merely a dimmer present, for everything we are is at every moment alive in us. How fantastic be did that play a would not still the M-Ind's simultaneity, did not allow a man to 'forgct', and turned him to see present through past and past through present, a form that in itself, quite apart from its be meaning, and content would ical inescapable as a psycholo91 1 process and as a collecting point for all that his life in society had him. little (This poured into man had the in street all my walking him, it seemed) youth inside (Miller, Timebends, 1987: 131),

about marriage,

Ann: (puttiq herarmsaroundbim.) 0 h,

Annie having about doubts any

Cluis, I've been ready a long, long time!

D: Therefore

Chris: Then he's gone forever. You're

test

the water - does

sure

Annie

Ann: I almost got married two yearsago

resent him

Uoe, his father]?

Chris: Why didn't you?

(Pause) Also,

Ann: You started to write to me - jlýgbt

) pause. Chris: You felt something that far back?

to

allow yourself take more time first the with

Ann: Every day since!

interchange,

Chris: Ann, why didn't you let me know?

I

lines huge there. some

Ann: I was waiting for you, Chns. TIH then

Ann: T his is the first time with been alone, its

did, what you never wrote, and when you

fuck, this is the moment, easeslips out the oh

did you sayýYou sure can be ambiguous,

window.

know. you Chris: (looks towardsthe bouse,thenat ber,

[The actorsnin thrwýýgh thescene qTain]

Give Ann. kiss, Give me ame a :

D: (speaking to Cbris) 'I'm

(Tbg kiss) God, I kissedyou, Annie, I kissed Annie. How long, how long I've

embarrassingyou' -you're going to say Chris]. is [Ann to going say no no

been waiting to kiss you! did Why forgive Ann: I'll never you you.

You've got to go down the road to 'oh,

done All I've is sit and years? these wait all for thinking I of you. crazy was if wonder five I'm to now! Chris: Annie, we're going

I've bollocks it'. You need to be sure -

(fle

It's like Dad [whether or not he was formal tangible, proof. guilty], you need

happy. going to make you so ) bodies towbing. but tbeir ber, u4tbout kifses 190

Ann: I find putting my arms around him as if I am jumping the gun.

Tjmilýý or an encounler wi/b lime

D: You've got to help him! Ann: (a little embaffasseeý: Not hke that

Chris: That proximity [that they )ust had when acting this scene out, probably due to

you're not. Chris: I kissed you

the director's note to be more tender] would

Ann: Like Larry's brother, Do hke it you,

make me more nervous. That would be

Chris. (He breaks away from her abruptly.)

great.

What is it, Chris?

D: A lot of guys wouldn't

Chris: Let's drive -ome place I want to ,, ... be alone with you.

unless they can be sure.

give anything

Ann: 'I'm waiting for ýIou'!! She still is!

Ann: No

Chris, is it what mother? your ... Chris: No nothing fike that [ I It's A ...

12th

20/1/98: 2pm-6p rehearsal

SESSION 9

niiýxedup ,-,-lth so manVother things You remember, overseas, I was in

command of a company? Ann: Yeah, sure.

D: There's one thing in there between I the first and second kiss. The first is

Chris: Well, I lost them. [ ] They didn't ... die; they killed themsehes for each other. I

it's genuine, something you've wanted for some time, and then there is

little that more selfish and mean exactly; a

something in between. So it's the effect

And been here [ ] I then today they'd'Ve ... Ihome there itwas incredible. came and

of the first, something to do with the I fact that you've got the reciprocated love

here; the whole thing was no meaning in it bus I kind accident. to them was a of a-

back - so you see what I'm getting at ... is that something he's been conscious of

Dad, to and that rat-race *with work went

loot thing? that -

felt I again. - what you said - ashamed Because nobody was changed at somehow.

I say, I guess that's something ... D: Yes, and it's in the way. The

lot It all. seemed to make suckers out of a

between hisses. in kicks the association

be felt I to alive, to open wrong of guys.

Chris: But why would it happen now, when

Chris: No

drive bank-book, the new car, to see to the

I say 'were going to live now'P

I the new refrigerator. mean you can take

Ann: But I felt it was me giving the kiss, and

but when you those things out of a war,

for him kiss, I'm to give the second waiting

drive that car you've got to know that it

I the full 'passionorama'!

have for love man can a the a of out came

D: I think that's it.

better because little be to a got man, youýve have Otherwise is really you what of that. didn't And I blood on it. loot, and there's And I that it. guess of any take want to

Chris: And in tying it in with the story, that's what you want? D: To be honest I think you've done it better; you've got this moment before.

included you.

Chris: Do I need to be tougher than before? 191

or an encounter with time

D: Deliver them less tentatively yes, ... let's try it.

Chris: I want you now, Annie Ann: Because you mustn't feel that way any more. Because you have a right to

[TI)e adors nin throllý gh thes6-ene qTain] , D: I think that 'I'm going to make a

whatever you have. Everything, Chris, understand that? To me, too ... [... ] Chris: Oh Annie, Anrue I'm going to ...

fortune'

the real kiss - in this scene they are

make a fortune for you! Keller: (q&qTe) Hello

I think that he can then give ...

Yes, sure .-.

[answennga telephone call from Annie's brother George who has Just seen their dad

in prison, and is now coming over because he is convinced that Keller is gaty. ] Ann: (Laughiq softly):kX,hat'll I do "Witha fortune?

discarding

the past, so that they can see

that they are going to make a pure future together. Chris: Do you think that when they come together it's so believable ... if when I say J kissed Annie' leaves her a bit it ...

embarrassed. D: Leave that one - it's a 'see thing' [ie trust the theatrical

Tbg kiss.Kellerentenftomthebouse.

stagecraft]

Ann: It felt nice, like come on I've got you beginning future. this the is now; of my Chris: It felt better down there [a reference to Mestageblockz*nmeanz 'nT downcentrestqTefront]. ,g ,

What we have in evidence here, at the heart of the rehearsalprocess,are spacetime foldings, proliferating instances of entering into relation with other things (physical entities inert or otherwise, emotional or otherwise, affecting or otherwise) both bring time the its senseof weaving in that about connections woven out of directions - preserving the past and contracting the future. This is to work a does "which becoming not tolerate the into our understandings philosophy of future. It distinction before, to the pertains past the or or of or after, or separation (Deleuze, both directions 1990a: becoming to move and pull in at once" essenceof back brings to the crystal-IMageof time, that Image of time revealing the This 1). us fight directions In this time two fundamental operation of at once. as it splits into fracturing is "the or splitting ceaselessly the rehearsalprocess about making visible (Rodowick, 1997: 92). Thus in the instance of each kiss time" of non-chronological kiss the the that the past itself of at self-same moment opens preservation a there is future. Take the first kiss long, how long been "How I've the up and affects Chris because his brother held had Larry the past within of where wait waiting" -a 192

Timhýý or an encounler witb time

been Ann's previous boyfriend "Then he's forever". Then kiss: the gone second whilst contracting the future - "we're going to live now!" it still contains an affection for the past in that Ann detects the reticence of the past still latent in Chris's feelings "I kissed you" "Like Larry's brother". And finally, kiss the third opens up to a more carefree future - "I'm going to make a fortune for you!" "What'll I do with a fortune! " T he essentialpoint, in any event, is that the two related terms differ in nature, and yet 'run after eachother', refer to each other, reflect each other, Without it being possible to saywhich first, is and tend ultimatelyto become confused by slipping into the samepoint of indiscernibility (Deleuze,1989:46).

This point of indiscernibifity in which things happen is the place where an be located. kicks between in It "association the that instance of subjectivity can is the kisses"; it is the point of selection, and the point where a decision is made before you are aware of having made it. Whilst almost impossible to sight, except by intimation, this is the point of entering into relation of "the real and the description the the the subjective, mental, objective and imaginary, the physical and One 46). (Deleuze, " 1989: the the can saythat it is actualand zidual... and narration, the full force of the present that in its passing on createsa trace of subjectivity in handle its We it passing. need to open up the requirement makes of the way we despite Zeno's the paradox present moment ways of apprehending this space of by Thus from forever keeps it to conclude this section, and way of that our grasp. leading into the next, I want to address the theory by which such apprehensions in the the of case processes at work indeed justify to and sense, make can come for research. rehearsalsused Problem

10: The unravelling

of subjectivity

In Bergson's Matter and Memog Deleuze finds a conceptualization of subjectivity that cuts across the chaotic variability of our philosophical and scientific attempts to come being this a unfathomably complex notion of to terms with here five Bergson What presents are aspects of subject. distilled in their that in most abstract sense order subjectivity for in the purposes of analysis and a wide range of they n-ught, 193

Timin& or an encounter witb time

scenarios,extract an appropriate understandingof the world. These aspectsare need-subjectil4ty, brain-subjectitio, affectionýty,recollection-subjeclitio, subjeclh, and contraction-subjectivio. Within duration (the continuity of things) there is a moment of selection basedon a needthat breaks the continuity and opens up an interest that lets the rest, that which remains outside this interest, passby. In relation to this interest there is a moment of indetermination, a moment which equalsthat interval between received and executedmovement (perception and action if you like). This plays upon the neuro-scientific notion that the brain (that the brain is made up of slowly emergingsubconscious processes),by virtue of its network of nerves,divides up the excitation of infon-nation (perception) infinitely and incessantly, leaving severalpossible re-actions.Next, in terms of spaceand time and therefore immanent and imminently, there is the moment of affection: perception does not reflect possibleaction, does brain bring the nor about the interval without the assurancethat certain organic parts are committed to "the immobility of a purely receptive role that surrendersthem to pain" (Deleuze, 1988a:53). This is not to saythat we are completely passive,but we cannot help but be affected by the surrounding environment. The interval of thesepotential reactions, the indeterminacyof the moment, is filled by by habit, by by recollection, memory, experience.The moment is final breath being The moment is almost over, its actualized. body being forces that the the ongoing of one of contraction: brings time, thus converge in space,and through an instant in from "contraction the of experiencedexcitations which about a born", the qualities that over time make you who you quality is (ibid). are Within any moment, conceived in the manner of the abstract description given above, there is an oscillation between Let and subjectivity. me explain: the aspect of need objectivity hes in the realm of the objective in that it is a direct extraction from the world; Braz'nremains on this side offering openings from such objectivity, openings which may or may not remain being hence this the interval of entirely objective 194

T,ml,%, or an encounter with time 'nation; A #ýction 1111 is the 'impurity' that disturbs thi indeter n-11 is . notion of pure objectivity (see Deleuze, ibid), and from this point on we move into the realm of subjectivity as it occurs in recollectionand contraction:only you could have occupied those space-tiMes, those experiences with their specific perspectives and needs,and only you endured those affectionsthat now come to like you so many recollectionscontractedto this moment of existence, of you being you now.

In relation to our common understandingof time and the role it plays in our assumptionsof what memory is, one further question remains in the problem of unravelling subjectivity: 'Where are theserecollections or memories that fill the gap of indeterminacy located?' It is commonly assumedthat memories are somehow preservedin the location of the brain as if the brain were a store for such recollections that could be called Following Deleuze's Bergsonism, I want to time. upon at any move against this assumption. Firstly, if the brain is considered on the side of objectivity, as outlined above, then memories, be located which are essentially subjective in nature, cannot there. In short, I want us to see the brain as just another organ body hence the that terms, in purely of channels operational and from 'sensation-information' that the pure comes objectively, does hold The brain perception. in itself any subjective not between distinction Bergson Secondly, the that makes currency. he fore. The to the that point makes, matter and memory comes Deleuze that amphfies in creating several which and for this alternative way of thinking interfaces philosophical about time, memory and subjectivity"', is that there is a difference in kind between matter and memory that is paralleled difference between the the present and the past, in respectively Again I think this pure recollection. perception and and pure difference can be presented conceptually in terms of the factual, folding of space and empirically actual, and ontologically

(1986), Cinema The The Movement-Ima Time-Image 2: (1989) have 1: Cinema ge (1988c), all of which 10Bergsonism , for DeleuýZe's Time-Macbine (see The Brain invention (Rodowick, 1997); is example philosophical ongoing spawned Cinema (Flaxman, documentary 2000); indeed Pbilosqpýy the The and performance art and of DejeuZe and Screen: the Island Goat pieces of

195

or an encounler wilb time

time -a folding that makes them simultaneously one and the same thing. Consider this: In the same way that we do not perceive things in ourselves, but at the place where the), are, we only grasp the past at the place where it is in itself, and not in ourselves, in our Present. (Deleuze, 1988c: 56)

In relation to time the common perception of the past is that if it is something it is something that is no longer. In this sense "we have thus confused Being with being-present" (Deleuze, 1988c: 55). In other words, Justbecausesomething is longer no actually happening, and is therefore no longer present before us in terms of time, doesn't mean that it doesn't inhere in the present that ,ve are now 'in'. The past is in time just as the Eiffel Tower, for example,is in space whilst neither is present before us they both have the power to affect us in the future (eg do doubt Tower Eiffel that the you not is still standing).

SECTION THREE 6.4 Memory: the 'pure' past The questionnow then is about how to obtain meaningfrom the immediacyof this physicalpoint, the encounter,in such a way as to make it somethingmore than a bare particular.Whilst it is clear that the driving force of time itself, Alon, delivers the world, the world is obviouslynot completelymadeanewin eachmoment.As I have intimated in the last section,our fives take place over time, and through this time a 'deeper reality' evolves that is particular to our experiences.In the final from illustrate I to the that then, each moment, want quick of alongside section equallythere are qualitiesof recollectionand contraction that play as important a flow: duration is Heraclitian in the this there socialas a senseof part constituting 'pure' the the the through recollection of past, realm where orientation and light In for located. the this rehearsalsoffer a spaceand a mode of memory is detail in that the which indiscernible, ultimately escapes view: closer apprehending Crucially, it by the this present moment. of, only achieves the indiscernibility and full the time through range of our conceptualizations is: of what explicitly working future. Rehearsals it in the that the present and reveal is also itself, the past, time between the the the the moment virtual and actual, at when gap this indiscernible 196

Tjmjjýý or an encounter with time

virtua is actualized, when Chronos delineates the actual fluxes that necessarily participate in the virtual whole of Aion, that subjectivity is instanced. Furthermore, showing that it is only through an appreciation of time that subjectivity can come to make sense.Now moving the argument on into the next and final section of this chapter, at one level this play between the virtual and the actual works out of the understanding that the actual refers to the state of things as rendered spatially through perception whilst the virtual fractures this simplicity by introducing the multifaceted subjectivity sought out in time through memory. Thus, referring back to the circular ripples of figure 3, successivemoments are preserving the past in the instance future: that there the is contraction of very How can we say that it is the same object which passesthrough different circuits, because each time description has obliterated the object, at the same time as the mental image has created a different one? Each circuit obliterates and creates an object. But 'double this is it precisely movement of creation and erasure' that successive planes and independent circuits, cancelling each other out, contradicting each other, joining up With each other, forking, will simultaneously constitute the layers of one and the levels the of one and the same mental same physical reality, and 46) (Deleuze, 1989: reality, memory or spirit".

As I hope to show, this simultaneous other layer of reality is "definitely not is head the objective characteristic of certain the it mind, or in produced in the 69). In double" (Deleuze, 1989: by pointing out nature existing images which are head do has layering the to With nothing that this of the virtual and the actual Deleuze is pulling us away from thinking

body, the through this relationship

dispel to biological the recourse mind is essentialism; and that it is not in through a here faculty. Deleuze's (Kantian) to is make aim transcendental to an innate, layering the through this potential and of working thinking capable layers in-between brought the in the moment of actualization indiscernibility about direct but that relation into puts something us as confusing, something as not In an echo back to Chapter Four, this indiscernibility with dimension Proustian things occupy a that people and where to c4givesus access (Deleuze, have the they in space" one with is incommensurable in which ti-me place for immateriality I the this terms example, Back in of there presented 1989: 39). 197

Timilýý or an encounter wilb lime

condition of falling in love as something that, whilst personal and subjective, somehow speaksof a shared state of being - whereas this time I want to work out this sense of immateriality in terms of memory. Thus, in the final part of this chapter, I want to set out the theoretical problem of memory and the solution it delivers us to by bringing the threads together in the empirical space of the rehearsalprocess. 6.4.1 Memory Problem 11: Bergson's notion of a 'pure' past One way of understandingthe operation of memory, at leastin consistencywith what has gone before, is to turn once againto Bergson and pick up the previous strands and follow their development through towards the notion of the 'pure'past. Starting With the notion of the 'present moment' (point S in Figure 3) it should be immediately clear there needsto be a new FIGURE 3

or A'B': a region of the past, or a sheetof thepast. AB

The

Cone:

the coeXistenceof the past (virtuaý With the present (actuaý-

S: the present moment, or a peak of the present, an act or a fold.

present instantaneously moment'

................. I............ ..................

following

We become conscious of an act detach by suz genens which we ourselves from the present in first in to replace ourselves, order the past in general, then in a certain region of the past ... But our recollections still remains prepare simply virtual; we by to it adopting ourselves receive the appropriate attitude. Little by little it comes into view like a from the virtual condensing cloud; state it passes into the actual. (Bergson, Time and Free Wlilý, 56) 1988c: Deleuze, quoted in

back 'present this the of on

for for the notion of to this present pass and in order

This to is one of the paradoxical make sense. a moment difficulties

because Chronos of thinking time on the plane of

'at "no the same past pass it not present ever were would clearly Zeno's Think (Deleuze, 1994: 81). it again of time' as is present" delineate the exact moment to paradox, the nearer you attempt becomes the capable of never more it seemingly of the present, being graspable. Three points or paradoxes ensue from this way first The the there past, is of point: a contemporaneity thinking. of in other words the past is contemporary 198

with the present that it

Timin& or an encounter with time

was (diagrammatically, in figure 4, this is represented by the tip of the cone). Instantly this argument involves something more theoretically dynamic: that if the past is contemporaneous with the present that it was "then all the past coexists With the new present in relation to which it is now past" (ibid: 81-82). In this sense the past I*S.It is not something that once existed, that was but is no more, rather it is something that insists and is a consistent part of the present that is now. Thus, the second paradox: the coe. N:i'stence of the past With the present (the metaphor of the cone in Figure 4). And finally, if this coexistence is accepted then by implication you sanction the notion that in some way there is this past that pre-exists the present. The past thus "forms a pure, general, apn'On*element of all time" (ibid: 82). This is Bergson's notion of a 'pure'past which conserves itself in itself by being presupposed by the new present which thus comes forth only by contracting the 'pure' past of which it is 'now' already a part. In some way this 'pure' is past a virtual recording surface of all the durations that have ever existed. Each section, or sheet of the past, as presented in Figure 3 as AW or AB operate as more or less expanded or (see levels Deleuze, 1988c: the totality the past contracted of of 59-60). In short you do not doubt that yesterday, or twelve years body force difference levels (as the of your of contraction), ago left a mark somewhere, With someone and was itself affected

force' by 'internal by and marked the passingof time, altered an duration Thus life it that carries when speakingof within itself less a question of successionthan of coexistence,of memory as virtual coexistencein the present.

denouement dramatic tension Taking this into the space of rehearsals,the and in Sons My All through the to the present emerges actor's ability act the play of The in the the past. direct relation to actor, and particular in the scene volume of below Chris, has to achieve the next moment of the textual action through the very brings For this to the that its in situation specificity. example, the past contours of follows there that the that Is past a gradual of from unravelling rehearsals the text level the the particular past particular past of a of awareness to expand -a works 199

Timing, or an encounlerwithtime

moment and its associations - in the repetitive questioning did it?' It is you possible to see these associationsdevelop like a spiral line working up the curved surface of the cone in Figure 3, just like when a memory gradually takes on more completeness as your encounter with such a memory is allowed to endure. I// Mj Sons

Act Two - page 66-67 Mother: Chris, I've nevcr sl'Udno to you in my Efe, now I say no! Chris: You'll never let him go till I do it. Mother. I'll never let him go and you'll Ict him never go! Chris: I'N, let let him him I've go. go a -e long Mother: (m4l/7no lessforce,but fumiqfrom bim) Then let your father go. (Pause. Chris standstran.ýixea) Keller: She's out of her mind

161h

rehearsal. Monday 26/1/98: 2pm-6pm

SESSION 12

Director: (To Keller) It needs so much - all the cumulative things - the passion ... some be it has into to converted of look anger ... something, a by the time that so or a stare, I do, 'what to could get you you were a boy. - . 'something human it is too that clicks he is cornered by his own

Mother: Altogether! (To Chris, butnoffadqo,

flesh, it is not father and son;

tbem)Your brother's alive, darling, because

he's [Keller] fighting

him. father killed Do dead, he's you if your h-ve, long As as you understandme now? be let does God boy a son that not is ahve. kifled by his father. Now you see,don't bunies (B9, Now sbe ondcontml, you see. you? bouse) The up andinlo

for his life,

\X'hcnc,,,cr the hand of the distant past emerges out of its grave, it is always somehow assured as well as amazing, and belief for tend to in it, resist we it seems rather magically to reveal some unreadable hidden order behind the amoral chaos of events as we rationally But them. that pcrcclVc emergence, or course, is the point of All My Sons - that there arc times when things do (Miller, indeed cohere Timebends,1987: 135).

.. -

(To Chris)

he back his in that the there mind, of even, was knew of the risk - it's then 'Tell me everything but hold Sit be judge'. I thought that on and will it back. I don't mean to say that it hasn't been indicated

[before now in the moments in the play but it is at

Keller: (Chris has not moved.He speaks

in the actors performance] than rather

She's ýy) out of I.nsinuatingýy,questioninýg , her mind

is He is it that extraordinarily this point realized.

Chris: (in a brokenwbijpeý Then ... you did it? bis in bý (Wlitb the ofplea in Keller. ginn'T , flew P-40 He a never voice): But deaýly) the others. (slruck; Chris: her She's mind. out of Keller: (injirtent#) ). Cbris, pkadiývl (He takesa AP towards did itý O Dad you Chris: (ujyieldi,ý, ... P-40, flew the what's a He never Keller:

he It is in his then says when anger. coherent 'What must I do? ' That is when it comes in on him. Chris: yeah, but that all comes from the stuff I know you say before, that all comes from that ... that he's F,','eller] a con, but you get clear when you like that [when you get pent up, angry in the get the goes rhythm Just ... ... D: Yeah its got rhythm - there is a lot of fury, moment]

200

Timing, or an encounler wilh time

matter with you?

passion, but he needs to be in control, that's

Chris: (still askill-g, andsqyiiýoThen you

for he 'what do I do' is that says where when

did it. To the others. Bothholdtheirwicesdown.

him [ie he's not asking Keller to tell him] and it is because he doesn't know what to do with

Keller: (afraidqf him,hisdeaýly111sistence) its it [what he now knows about his father] ... %X"hat's the matter with you?What the OK back. impotent hit the also this an on hell is the matter %"th you? for father in his the truth pursuing control Chris: (quieýly, How could you int-redikly) Chris: So what's the difference between that and do that? How? doing? I'm what Keller: %X"hat's the matter,\"th you? D: This is man to man. Chris: Dad Dad, you killed twenty... I Chris: So, then the is on realization going one men! ... Keller: What, killed? Chris:You killedthem,youmurderedthem. hiswholenature Keller: (asthroughthrowinT befoirOtis) How could I kill anybodyý Chris: Dad! Dad! didr* kill &w) huh I Keller (T? to anybocV. qv1g Chris: Then explain it to me. \Vhat did IT it doý'Explain tear you to or me you to pieces! Keller: (hortijiedat hisorervhelminTfun) Don't, Chris, don't Chris: I want to know what you did, had doý You did a you now, what hundred and twenty crackedcylinder I heads,now what did you doý Keller. If you'regoingto hangme then IChris: I'm listening,God Almighty, I'm listening!

him I to explain it ... and then ask confirm it ... and he I is ... and that is very then see the type of man but also you are seeing your upsetting information line I father for what he is the put ass on my and ... for George, Ann, it is and everyone, ... foundation fury [because the of overwhelming been has first shattered so the putting everyone else has been Dad believing his life lead he has etc in way destroyed] D: What I'm seeing at the moment is not what described. just you Chris: Then what are you seeing? D: What I see at the moment is gut-wrenching disappointment

father. his with

Chris: Absolutely D: Yes, and you need to give that this is about I'd Keller If I him. judging was a man, you're be thinking you can talk alright but thank fuck him I but hitting to see need me, you are not doing What listen to you ... you are needing to is not wrong ... Chris: Yeah, I Just trying to figure it out D: As well as the fury it is about seeing your father as a man, as just another man.

201

Timiq, or an encounler with time

Additionally, the actual subjectivity being Keller is and of caught in the present by having been made in the past, by which I mean to suggest that his reality is consistently shaped,or haunted if you like, by the sheetsof past (the regions AB or A'B') that are his particular previous In experience. the sceneabove, and indeed in the entire play, it is the sheet of past that is the moment when Keller a reed to ship 19 out those cracked cylinder heads.Now this moment, saythe sheetAB, coexists and potentially influences all that comes after it, (beneath it in terms of the conic diagram). Hence, this new encounter with his Chris becomes, son in its passing,a new sheet of the past. This new sheet exists closer to the apex of the cone because by it is shaped the coexistenceof the past and in its contemporaneity has itself now become a part of the virtual whole of the 'pure' past potentially influencing the future. In other words, you cannot erase what happens, even the most banal or Thus n-unute action. in each of his responses, Kel-ler is recollecting the past and shaping the contraction of the future (the latter achieved in the way that Chris demands to be told).

6.5 Conclusions Starting from the recognition that "it is we who are internal to time, not the other has been bringing (Deleuze, 82) 1989: this to the chapter about way around" dynan-Lic the surface some of ways in which time itself operationalizesthe unfolding but hope have hardly I This to as startling, statement is creation of the world. draw implications. To holds these several complex and compelling shown it lines, frame I three the the implications presented in chapter as elements together for topography temporal all of which stitch together the possibly of an alternative future research. The first of these traces out the full force of the senseof time as In Aionic drive delivering itself the to rehearsal moment. that each us time this through to their performance negotiating are able script the actors process itself by force the the its time moment replaying of contours of exact of virtual life is Therefore, the this in performance, in in essential general, as actualization. line Second, that the tension the tense. that is present a cuts of space syntactical happening between time the revealing of of a gap assumptions across everyday delay, forever keeps half that the the present instance a catch of second things -a from our grasp. This is a gap exposed by the paradox (Zeno's) that moment (Chronos) knowing forever discrete time that is manifolds whilst in time measures 202

Timilýý or an encounter witb time

slipping away (Alon). As such this gap is a space, or rather a rupturing and a spacing, in which to intimate the role of the present moment as something full of potential itself. Investigating this gap reveals a virtual texture to our events', encounters and performances; it is a siting of what might have been and what is happening. Finally, a third tine ghosts the other two With the coexistenceof the also totality of the past, the 'pure' past that stretchesthe present by recollecting the past and contracting the future at the same time. Different forces, by they of objects, (characters), have a specific duration that is not about the sum of places, or people series of successivemoments but about the coexistence of the past within their present unfolding. Proceeding from this, despite the bare particularity of the different different there times mechanics of each moment, is at places an and at brings historical hope This, I the that to the past present a association of genesis. as to have shown, reveals a conceptual place for the making of a sense of weak for how for location It it such revelation, subjectivity. is a possible explanation, or lines lives. All hue feel trace a spacing three to our an immaterial is that we come to in which to cast a new cartography that grapples With the potential of what comes for Using the example of the rehearsal process as an ideal space next. for have tines, I sought to reveal a researchstrategynot experimentation with these for but the of way in our the understanding With working itself social examining bring different the social about. actual, and others some virtual elements, which in the quote that opened this chapter, whilst time maybe a grand --L%Iacbeth, in a space exposes its operations with intimate encounter all, an us story affecting full life tale potential sigrufication. is the of of than nothing, signifying rather which, Unlike

This is to say that moving out of the empty space the traces that we take with us in be the tension the present, of temporally registered can are ones which by haunted future, the in the and the to of contraction relation choreographed presenceof the past.

203

CHAPTER

SEVEN

Endgame

It seemed,then, that Friday had triumphed at last over the he detested! had He state of affairs so not, of course, deliberately causedthe disaster

Friday was not a rational .... being, performing deliberate, considered acts,but rather a force of nature from which actions proceeded,and their him, the way children resemble consequencesresembled had but Friday Unwittingly their mother .... inexorably finally for, paved the way achieved, a cataclysmthat and heralded the coming of a new era; as for the nature of this Robinson in Friday's that must own nature era, clearly it was look for it. He was still too much the prisoner of his former form it to would take ... self predict what And so, having releasedhim from his earthly bonds, Friday for him to the else,substituting sometbinT way show now would found intolerable he had a new order which an existence Robinson longed to discover.A new Robinson was sloughing his decay fully his the to of accept prepared old skin, off heels island enter guide, the an unthinking of at and, cultivated 179-80) 1997: (Tournier, upon an unknown road.

Endgame ,

7.1 Introduction:

an unknown road

There are dimensions here, times and places, glacial or torrid zones never moderated, the entire exotic geography which characterises a mode of thought as well as a style of life. (Deleuze, 1990a: 128)

In its raw elements performance delivers the force of corporeality, immateriality and temporality in such a way as to strip us of our academichabits of thinking. In the face of these forces we have encountered the concept of the empty spacethat frames this thesis, and like Robinson in Tournier's Friday,we find ourselveshaving to find new ways of looking at the world in our attempt to makes senseof this now fight, has been In tl-iis this thesis seen-unglyuncultivated island. about experimenting down feel be I to three the elements through most important pared with what In the to make senseof our encounters with world. utilizing the which we come has been Gilles 'unthinking' Deleuze to pave a way the guide aim as our work of for making valid senseof the alternative dimensions arising when you give spaceto 'being' just in the present moment -a new mode of thought and perhaps a new for doing the of social science. order Her last words were, 'If you were on a desert island, Just follow' "Be the rest Will present", and remember two words: (Brook, 1998: 87).

7.2 Making an exit Clov: 'Thýs is what we caUmaking an exit." (Beckett, Endgame-132)

This is the point where we have to work out how to get off stage, a task made difficult

because the performance comes to an abrupt stop, signalling that the

Whilst fact despite is that the on the unravelling. continues world over encounter has in that the it affected us; the way is experience continues over the performance has into than forward the traced object other art no us street within we carry it 1 1998). this the this to as Smith, in same way conclusion operate (see want Life forth? These traces that taken the traces by are of are some what asking cendgarrie' in in the take much our next encounter negotiating the up we stance interfere with for the the performance actor alters next rehearsal the of experience that same way 205

Endgame ,

she makes. This is an experiential process just as it is a referential one; it is the conceptual as rhizome, as dimensions that are directions on the move (seeDeleuze & Guattan, 1988: 21). As these are traces that need to be put on the map, not vice versa, I present three ways in which these traces can come to operate usefully within our practice of doing social science; three ways that equally infer a methodological sensibility shaping the use of Deleuze's philosophy. 7.2.1 Immanence Firstly, the traces operate an 'anti- juridical' stance:why should our sociability need a transcendent power independent from our embodied, natural condition, such that do is by what we prejudged a context outside the event of its happening (Gatens, 1996b: 164-65)?The ethics here speak of our mutual immanence to a fife (Deleuze, 1997), that there is something that exists between a subject and an object, something incorporeal, something inherent Within everything, such that everything is a virtue of the same substance.This links back to the importance of the body-initself as substance and the cartography, or choreography of affect, described and Chapters Two Three It experienced in respectively. and also connects the academic stance towards

the appreciation

of

the immaterial

register of

things and

performances, artistic or everyday, as Witnessed through the theory and the practice Through illustrations, Chapter's Four Five. these the events that and evidenced in bodies be be to the the this interactions of people immanence can seen effects of (organic or nonorganic) as combinations of action, passion and circumstance that have no "origin in the consciousness of the knowing subject" (Hayden, 1995: 292). The encounter with the performance can be taken forwards by using the spacesand for it that presenting to which a new vocabulary construct opens up spacings immanence be This to the creates a grammar connecting us said. cannot presently immanence the both the to in those effect of of animals, gestures and our of to to them, immaterial a syntactical appreciation our of and sense spaces material (love Relative to to is itselo. immanent more a general nature particular the that how we might traditionally

think this is anti- foundationalist. Yet to critique a

foundation, or ontology, that is foundation is to affirm another one: a performative (see Hardt, 1993: In open xv). announcing a vital, ethical immanent, material and direct kinship in to contemporary social questions, With adequate alternative look in "a later the traces they to that are clinical as well as critical works, Deleuze's 206

EnýTame

possibility of life, a way of existing" (1995: 100; see also Deleuze, 1998; and Smith, 1998). Certainly, this vitalism is anti-humanist, being the 'elan vital' (Deleuze, 1988c) existing in "opposition to the world represented and mediated through the framework of the subject and object" (Marks, 1998: 29-30). It speaks the gerund of the verb, the expressing of "becomings or events that transcend mood and tense" (Deleuze, 1995: 34), such that we now speak of an "empiricism difference is the generative force of the actual" (Hayden, 1995: 283).

for which

7.2.2 Practical and pragmatic One never has a tabularasa;one shpsin, enters in the nuddle; one takesup or lays down rhythms. Peleuze, 1988a:123) Secondlv, the traces are apprehended out of being delivered to the actual where our relations come "into existence by practical rather than essentialist or necessary means" (Hailden, 1995), such that the encounter that forces us to think is very being much a part of in constant interchange with our environment (Gatens, 1996a: 165). This means that rather than seeking interpretation, asking what something by dots, the means joining creating a pattern already orientated through a tracing of historically (power-ridded) substantiated grid of signification, one experiments, as a I have experimented in this thesis, by asking: 'what can be done here?', 'And, what ' The 'AND' conjunction next?

(see Doel, 1996) rules such that there is always the

destruction identity (Deleuze, 45; divergence 1995: the see of possibility of and SrrUth, 1998: xxiii). Subsequently, the world, and our identities, have to be made; 6). (Deleuze Guattan, 1988: and they need constant maintenance or re-enactment This plays to the importance of the viscerality of our actions in the moment of their "primal danger here There scene of an originary, of advocating a is a making. 43) (Goodchild, 1996: to the is rather point show a when encounter" unmediated defined by indiscernability' 'zone where we are of sense of everything existing in a (see 34). For borders Marks, 1998: this limits the into relations of slip we and the language to the through the methodology which we on and work need we purpose field field. As hope have Three I Chapter the to the in social shown to map come both practise operates a space people a already within which art of somatic heighten for their skills in relation to the pragmatic such mapping and language how lives. In important to to relation academia it is note such living of their own 207

En4Tame

practices are used by artists (dancers,painters, and actors) for precisely the purpose of scripting an alternative stance that makes the most of the body's seen-ungly indiscernible nature. Equally, this works on an ethological perspective that speaks of the micropolitics 'in-between' subjects, the spacing cited in that syntactical grammar, such that one is alwaysasking: "How can a being take another being into its world, but while preserving or respecting the other's own relations and world" (Deleuze, 1988a: 126)?This operates conceptually, as in the mixing and creation of concepts that produce a particular area of the plane of immanence, as well as practically, as in the very actions we make as we sensea way through an encounter. Accepting that an ability to affect is reciprocated by a capacity of being affected, part of the answer is performative, it is in getting through each individual moment, knowing how to go on. Finally, in playing to the significanceof time itself, of it is in difference rather than identity persisting through time, Chapter Six traced out a temporal register for making senseof our encounter with performance by revealing the pragmatic way in which actions are always, to a greater or lesser extent, an And 'not-yet-known'. that whilst risky, and continually testing the encounter with duration know, the think of our encounters are spacings and we what it is we Folding hold the empiricism the the them to past. colour of within always shown achieved in the observation of rehearsalwith theory enableda way of seeingaction both in relation to the practicality of the immediate moment and in its pragmatic This trace is about thinking/acting on real existence that to the is. past still relation by being pn'on* ideas: it is a pronounced the to possibility of existence as opposed laughter, for daily 'earthiness' and our tears and the walks, the encounters of our (see Baugh, the reverse our corporeal needs, that etch out the conceptual, not 1993).

7.2.3 Creative incessant the need to think otherwise, Thirdly, taking these traces up is indicative of feet: through our thinking physically on our that are always we to reatise (Chapter Three), in registering such thinking materially (Chapter Two) corporeality (Chapter (Chapter Four) to relation immaterial concerns in materiality through and thinking the through space, concept of empty Setting aside expectation Five). determining "not the essence and intrinsic relation of with concerned Is otherwise between how be describing but relations created new can actively with each thing, 208

Endgame

things in order to produce change in and between the wholes these relationships form" (Hayden, 1995: 287). All of the chapters have been about this searchfor new relations through which to apprehend that which we feel takesplace and that which evidently occurs in our encounters. This is about juxtaposing the advent of theory and practice in the attempt to create a spacein-between where a senseof some kind can be made. Thus, in Chapters Two and Three the space was cleared for a cartography of relations built out of the visceral pathways etched out by the bodyin-itself-, in Chapter's Four and Five, immanent relations to ii-nmateriality and eventhood were intimated to enable discussion of that which has not, and cannot, be said; and Chapter Six exposed the important relation of timing to all these relations, in particular through the way in which time operates the space of the comprehensions that can be made through such relations. For example,thinking in terms of the past makes sensein the discussionsof materiality held in Chapter Four rather than in those of visceratity in Chapter Three (which has more to say through the temporal metrication of Chronos [corporeal and actual] despite operating through the dynamic force of Aion

[incorporeal and virtual]). Above all,

understanding the encounter With performance through a temporal register is to difference the in itself and to accept the inevitability of persistence of emphasiZe day. In that the greets us every performative senseof experimentation change and forces to the way it us working through the encounter with performance art capture (me) to think (to have thought), and to work this out of an apprenticeship With the is Gilles Deleuze to effect a venturesome coupling and a researchstrategy work of both following This the empirical and through is achieved that negotiates the new. 'go have flight lines to on'. that theoretical enabled a way of

7.3 Writing with a view to an unborn people that doesn't yet have the language' In utilising Deleuze by linking his conceptualisationsto the register of the the to temporality in performance, aim presented us and immateriality corporeality, field, form detective the where concreteempirical hasbeen to operatea of work in (see May, do in been has than are drive rather we explicating what we what the has been In 1997). to thesis this this setting out regard about Goodchild, not 1996;

(1995: 143). Delcuze's of After an expression

209

Endýgame

prove the validation of a specific research field with the social sciences,nor has it been about achieving a detailed explication of particular aspect of everydaylife. a Instead, my focus has been to offer a potential syntactical,rather than genealogical, philosophical analysis that is ambitious in its attempt to use such syntactics- the connective capacities scripted out of the corporeality, immateriality and temporality The I to that is inevitably grasp point which ungraspable. want to make of this due that ambition is it makes acknowledgement of the need to embark on such an in doing that through endeavour and of itself, and research in this way the thesis has been more of an experimentation in contact with, rather than a specifically detailed attempt at explaining, what it is we might call the 'real'. This said, the thesis leaves so much unanswered, leaving Just the hint of the traces of the possible ways in which we might begin to make senseof the seemingly 'ungraspable' realities of Therefore I temporality. end the three registers of corporeality, immateriality and here begun have I to explore are with the challenge that some of the pathways that further pursuit, namely: worth 0

How specific contexts affect the operations of these three registers in making sense.

0

here detailed How, wid-lin a more and specific casestudy, the traces suggested be can made to achieve practical application.

0

How such experimentation reveals a spacefor the creation and justification of for presently are those vistas whose the worlds of capture new methodologies out of sight.

What one sayscomes from the depth of one's own ignorance, becomes One set a depths of one's own underdevelopment. the fingernails, things, liberated names, words, singularities, of 7) 1995: (Deleuze, little events. animals,

210

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Hillman, D. and Mazzio, C. (1997) "Introduction: Individual Parts", in D. Hillman and C. Nlazzio (eds), The Bod)- in Parts: Fantasiesoj'Corporeafityin Early Modern Europe (Routledge, London), xi-xxlx. Holzman, L. & Newman, F. (1997) The End of Knowin A New DevelopmentalWay of Learning, (Routledge, London). , Hossenlopp, C. (1999) "The Three Planes of Movement", pamphlet given out at training workshop. Press, Ethics (Polity Phenomenolqg from Dec-onftrudion to Denida. C. (1999) Howells, Cambridge). London). Faber, (Faber & Poems., 1957-1994 Selected New T. (1995) Hughes, Hughes, T. (1998) Phedrebyjean Racine(Faber & Faber, London). Reason IM ' Basis The Bodily Mind The ofMeani,ý,g, agination, and Johnson, M. (1987) The Bodyin (University of Chicago Press, Chicago). Philosophy: E, Deleuze, G. in %pressionism Joughin, M. (1990) "Translator's Preface", in (Zone Books, New York). SplnoýZq, Kafka, F. (1996) The CompleteShort Storief (Minerva). London & (Routledge, Documentation Place Performance, Art. and Kaye, N. (2000) Site-Speci/ic New York). Childs N. Opera" House Station Work The in Parts: Several "An of (1998) S. Kent, act in (Rivers Performance, Installation Art, ljz)e Paradise: Second and Split A (eds), Walwin of J. and Orarn Press, London), 117-135. (Oxford Fiction, Theog Studies Endin the An The Sense of (1966) F. in g. of Kermode) , Oxford). Press, University London). Flesh, (Roudedge, TellinT (1998) V. Kirby, London). Lin-lited, Faber (Faber Immortalio, (1991) M. and Kundera, UK Oxford, Publishers, (Blackwell Rafionaliýy Different A Modern4. Another (1999) SLash3, USA). Mass., & 217

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Latour, B. (1988) The Pasteun*ýZqtion q1'France, trans. by Alan Sheridan and John Law (Harvard University Press, Cambridge, Mass. & London). Latour, B. (1993) IV`e have never been modern, trans. by Catherine Porter (Harvester \\I-ieatsheaf, New York). Lefebvre, H. (1991) The Productionof Space,trans. by Donald Nicholson-Smith (Blackwell, Oxford, UK & Cambridge, USA). Lingis, A. (1994a) "The Society of Dismembered Body Parts", in C. Boundas & D. Olkowski (eds) Gilles DeleuýZe Theater Philosophy (Routledge, London), 289-303. the and of Lingis, A. (1994b) Forq'gnBodies(Routledge, New York, London).

Lingis, A. (1998) TheImperative (Indiana University Press,Indianapolis). Lingis, A. (2000) DangerousEmotions(University of California Press, Berkeley).

Texte(Munlch). Lotrn an, J.M. (1972) Die Strutcher1-iteran*scher (C. Bourgois, Paris). Lyotard, J-F. (1979) DesDispositifsPulsiOnnels Lyotard, J-F. (1988) The DýYerendPhrasesin Dispute, trans. by Georges Van Den Abbeele (The University of Minnesota, Minneapolis). Lyotard, York).

Law, Form, Event, (Columbia University Press, New J-F. (1991) PerýTn*nationf:

Lyotard, J-F. (1997) Post-modernFables (University of Minnesota Press, Minneapolis, London). (eds), A Walwin J. Childs N. Events", Sincerity MacRitchie, L. (1998) "The and in of 21London), Oram Press, (Rivers Performance, Installation Live Art, Split SecondofParadise. and 30. London). Press, (Pluto Vitalism Deleu. Gilles (1998) J. Marks, andMultipfitiýy, Ze. Cinema", Geology Towards Worlds: the in Images of Martin, J-C. (2000) "Of a and Minneapolis, Press, Nfinnesota (University Screen, The Brain of Gregory Flaxman (ed), is the London), 61-85.

DeleuýZe Deviationsfrom Schi. Capitalism and Zophrenia: and Massumi), B. (1992) A User'sGuideto Guattan*,(The MIT Press,Massachusetts). Reader Crifil-al A Delex,, (ed) Patton P. Affect", e: in Massurniý B. (1996) "The Autonomy of (Blackwell Publishers Oxford), 217-239. Chicken Which Society? the Individual The is or Massumi, B. (1997) `\Xhich Came First? Relation", Logic Belonging in the Economy of The Political and Egg?: of the is and which 174-89. York), New Press, MIT (The Anybody (ed) C. Davidson 1918-1939", Citizenship, in Landscape Living: Art Right "The (1995) D. and of Matless, (Routledge, Transformation, Cultural Geo Suýiea. Mappiq (eds) Thrift the N. of ies graph' & Pile S. , London), 93-122. Press, University (Chicago Renaissance, EnTlisb Tbeater Inwardness the (1995) K. in and Maus, 1995). Olkowski D. & Boundas C. Deleuze" Gilles Unity "Difference in (1994) in T. and Mayý 33-47. London), Pbilosophy (Roudedge, Theater DeIwZe the of Gilles and (eds) 218

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222

Appendix All My Sonsrehearsal research schedule DATE 6/1/98

REHEARSAL Tuesday

RESEARCH SESSION

1St

nd

7/1/98 8/1/98 9/1/98 10/1/98 12/1/98 Monday

2 rd 3 th 4 th 5 th 6

13/1/98 14/1/98 15/1/98 16/1/98 19/1/98 Monday 20/1/98 21/1/98 22/1/98 23/1/98 26/1/98 Monday 27/1/98 28/1/98

th

7 th 8 9th oth

1 th 11 th 12 th 13 th 14 th 15 th 16 th 17 th 18

COMMENTS The opening day when all the cast meet each other for the first time. This consists of mainly improvisation exercises that aim at the cast getting to trust one another and reveal early thoughts about their characters.

S1

S2 S3

I am invited to stay and come to the rehearsalsright through the run.

S4 S5 S6 S7 S8 S9 S10

Sil

S12 S13

29/1/98

1

S15

30/1/98

Run through Run through

S16

Director's preview. A complete front through in of audience run (held in the rehearsal members designer lighting -111e room). attends the ran through and makes the to scripted changes choreography already agreed with the director. Technical Rehearsal/Set up Technical Rehearsal

S17

Dress Rehearsal

Run through Premiere

S18

Dress Rehearsal

9th

31/1/98 2/2/98 3/2/98

Monday

S14

Performance

11 did not attend not least because during the first day of rehearsals the actors set abou building a rapport director The it fairly for through the experience of improvisation. some vulnerable, raw, and themselves amongst It was they presence. my to them the to minded or not whether give opportunity say flay wanted also Andy before hour half day they Andy were the I the theatre an rehearsals in of meet on second should that agreed Robins Franklyn John Keller, Joe lead be I for begin, that should that the actor playing aware and to scheduled first be his Olivier), Theatre Tyrone Lawrence National Guthrie Royal this would the and under of (a stalwart I There the that attend the could it agreed was and cast. were no objectors, more curiosity, of day with the rest for for kind I the As this agreed was all concerned wanted. a of probation whatever notes make and rehearsals I To begin I that and to my notes collate could so going with was stagger my attendance few rehearsals. first focus I to the pursue. to particular wanted thought give

223