Table Of ContentPerformance and
Temporalisation
Time Happens
Edited by
Stuart Grant, Jodie McNeilly and
Maeva Veerapen
Performance and Temporalisation
Performance Philosophy
Series Editors:
Laura Cull (University of Surrey, UK),
Alice Lagaay (Universität Bremen, Germany)
Freddie Rokem (Tel Aviv University, Israel)
Performance Philosophy is an emerging interdisciplinary field of thought, creative practice and
scholarship. The Performance Philosophy book series comprises monographs and essay collections
addressing the relationship between performance and philosophy within a broad range of philo-
sophical traditions and performance practices, including drama, theatre, performance arts, dance,
art and music. The series also includes studies of the performative aspects of life and, indeed, phi-
losophy itself. As such, the series addresses the philosophy of performance as well as performance-
as-philosophy and philosophy-as-performance.
Editorial Advisory Board:
Emmanuel Alloa (University of St. Gallen, Switzerland), Lydia Goehr (Columbia University, USA),
James R. Hamilton (Kansas State University, USA), Bojana Kunst (Justus-Liebig University Giessen,
Germany), Nikolaus Müller-Schöll (Goethe University Frankfurt am Main, Germany), Martin
Puchner (Harvard University, USA), Alan Read (King’s College London, UK)
Laura Cull & Alice Lagaay (eds.)
ENCOUNTERS IN PERFORMANCE PHILOSOPHY (2014)
Broderick Chow & Alex Mangold (eds.)
ŽIŽEK AND PERFORMANCE (2014)
Will Daddario & Karoline Gritzner (eds.)
ADORNO AND PERFORMANCE (2014)
Forthcoming titles:
Bojana Cvejic´ (author)
CHOREOGRAPHING PROBLEMS (2015)
Mischa Twitchin (author)
THE THEATRE OF DEATH: THE UNCANNY IN MIMESIS (2015)
Published in association with the research network Performance Philosophy
www.performancephilosophy.ning.com
Performance Philosophy
Series Standing Order ISBN 978–1–137–40739–9 (hardback)
(outside North America only)
You can receive future titles in this series as they are published by placing a standing order. Please
contact your bookseller or, in case of difficulty, write to us at the address below with your name
and address, the title of the series and the ISBN quoted above.
Customer Services Department, Macmillan Distribution Ltd, Houndmills, Basingstoke,
Hampshire RG21 6XS, England
Performance and
Temporalisation
Time Happens
Edited by
Stuart Grant
Jodie McNeilly
and
Maeva Veerapen
Introduction, selection and editorial matter © Stuart Grant, Jodie McNeilly &
Maeva Veerapen 2015
Individual chapters © Contributors 2015
Softcover reprint of the hardcover 1st edition 2015 978-1-137-41026-9
All rights reserved. No reproduction, copy or transmission of this
publication may be made without written permission.
No portion of this publication may be reproduced, copied or transmitted
save with written permission or in accordance with the provisions of the
Copyright, Designs and Patents Act 1988, or under the terms of any licence
permitting limited copying issued by the Copyright Licensing Agency,
Saffron House, 6–10 Kirby Street, London EC1N 8TS.
Any person who does any unauthorized act in relation to this publication
may be liable to criminal prosecution and civil claims for damages.
The authors have asserted their rights to be identifi ed as the authors of this work
in accordance with the Copyright, Designs and Patents Act 1988.
First published 2015 by
PALGRAVE MACMILLAN
Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited,
registered in England, company number 785998, of Houndsmills, Basingstoke,
Hampshire, RG21 6XS.
Palgrave Macmillan in the US is a division of St Martin’s Press LLC,
175 Fifth Avenue, New York, NY 10010.
Palgrave is the global academic imprint of the above companies and has c ompanies
and representatives throughout the world.
Palgrave® and Macmillan® are registered trademarks in the United States,
the United Kingdom, Europe and other countries.
ISBN 978-1-349-48891-9 ISBN 978-1-137-41027-6 (eBook)
DOI 10.1057/9781137410276
This book is printed on paper suitable for recycling and made from fully
managed and sustained forest sources. Logging, pulping and manufacturing
processes are expected to conform to the environmental regulations of the
country of origin.
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Performance and temporalisation: time happens / Stuart Grant, Jodie McNeilly, and
Maeva Veerapen [editors].
pages cm —(Performance philosophy)
Includes bibliographical references and index.
ISBN 978–1–137–41026–9
1. Time in art. 2. Arts, Modern—Philosophy. 3. Performance art—Philosophy.
I. Grant, Stuart, 1957– editor. II. McNeilly, Jodie, 1974– editor. III. Veerapen,
Maeva, 1980– editor.
NX650.T56P47 2015
791.01—dc23 2014038373
Typeset by MPS Limited, Chennai, India.
Contents
List of Illustrations vii
Series Preface ix
Acknowledgements xii
Notes on Contributors xiii
Introduction 1
Stuart Grant, Jodie McNeilly and Maeva Veerapen
Part I World • Space • Place
1 Timing Space–Spacing Time 25
Jeff Malpas
2 Situated Structures 37
Amanda Yates and Gemma Loving-Hutchins
3 Suspended Moments 53
John Di Stefano and Dorita Hannah
4 My Big Fat Greek Baptism 65
Ian Maxwell
5 A Shared Meal 77
Jeff Stewart
Part II Self • Movement • Body
6 The Crannies of the Present 91
Brian Massumi
7 Time Out of Joint 101
Jack Reynolds
8 Three Propositions for a Movement of Thought 114
Erin Manning
9 The Body in Time/Time in the Body 129
Lanei M. Rodemeyer
10 A Moment of Creation 139
Maeva Veerapen
v
vi Contents
Part III Image • Performance • Technology
11 Temporalising Digital Performance 153
Jodie McNeilly
12 Entanglement Theory 168
Karen Pearlman and Richard James Allen
13 A Certain Dark Corner of Modern Cinema 180
Adrian Martin
14 Cyclic Repetition and Transferred Temporalities 190
Yuji Sone
15 Labours of Love 203
Barry Laing
Part IV Apotheosis
16 Heidegger’s Augenblick as the Moment of the Performance 213
Stuart Grant
17 Caves 230
Alphonso Lingis
Index 243
List of Illustrations
1.1 Robert Morris, Blind Time Drawings IV © Robert
Morris/ARS (2014) 29
1.2 Robert Morris, Blind Time Drawings IV © Robert
Morris/ARS (2014) 29
2.1 Gemma Loving-Hutchins, Stills of film of modelling
process © Gemma Loving-Hutchins (2014) 40
2.2 Gemma Loving-Hutchins, Model and durational
drawing © Gemma Loving-Hutchins (2014) 41
2.3 Gemma Loving-Hutchins, Model and time-lapse
photography © Gemma Loving-Hutchins (2014) 42
2.4a Gemma Loving-Hutchins, Site construction:
installation at Lyall Bay, Wellington, NZ ©
Gemma Loving-Hutchins (2014) 44
2.4b Gemma Loving-Hutchins, Site construction:
installation at Lyall Bay, Wellington, NZ © Gemma
Loving-Hutchins (2014) 44
2.5 Gemma Loving-Hutchins, Site construction:
vertical measure, Lyall Bay, Wellington, NZ ©
Gemma Loving-Hutchins (2014) 45
2.6 Amanda Yates, Sounds House open © Amanda Yates (2014) 46
2.7 Amanda Yates, Sounds House closed © Amanda Yates (2014) 47
2.8 Amanda Yates, Sounds House open phase © Amanda
Yates (2014) 48
2.9 Amanda Yates, Sounds House open phase © Amanda
Yates (2014) 48
2.10 Amanda Yates, Gallery for a Bachelor’s Bach © Amanda
Yates (2014) 49
2.11 Amanda Yates, Gallery for a Bachelor’s
Bach – butterfly’s shadow © Amanda Yates (2014) 50
3.1 Steve Rowe, Javier Téllez, Intermission © Steve
Rowe (2009) 58
3.2 Video stills from footage taken by the Chechen
rebels during the siege of the Dubrovka Theatre
(Moscow: October 2002) 60
vii
viii List of Illustrations
14.1 Effy Alexakis, Two agents in Cadences © Effy
Alexakis (2014) 191
14.2 Effy Alexakis, Three agents in Cadences © Effy
Alexakis (2014) 191
17.1 Alphonso Lingis, No title © Alphonso Lingis (2014) 230
17.2 Alphonso Lingis, No title © Alphonso Lingis (2014) 232
17.3 Alphonso Lingis, No title © Alphonso Lingis (2014) 234
17.4 Alphonso Lingis, No title © Alphonso Lingis (2014) 242
Series Preface
This series is published in association with the research network Performance
Philosophy (http://performancephilosophy.ning.com/), which was founded
in 2012. The series takes an inclusive, interdisciplinary and pluralist
approach to the field of Performance Philosophy – aiming, in due course,
to comprise publications concerned with performance from a wide range of
perspectives within philosophy – whether from the Continental or Analytic
traditions, or from those which focus on Eastern or Western modes of
thought. Likewise, the series will embrace philosophical approaches from
those working within any discipline or definition of performance, includ-
ing, but not limited to, theatre, dance, music, visual art, performance art
and performativity in everyday life.
In turn, the series aims to both sharpen and problematize the definition
of the terms ‘performance’ and ‘philosophy’, by addressing the relationship
between them in multiple ways. It is thus designed to support the field’s
ongoing articulation of its identity, parameters, key questions and core
concerns; its quest is to stage and re-stage the boundaries of Performance
Philosophy as a field, both implicitly and explicitly. The series also aims
to showcase the diversity of interdisciplinary and international research,
exploring the relationship between performance and philosophy (in order
to say: ‘This is Performance Philosophy’), whilst also providing a platform
for the self-definition and self-interrogation of Performance Philosophy as a
field (in order to ask and ask again: ‘What is Performance Philosophy?’ and
‘What might Performance Philosophy become?’). That is to say, what counts
as Performance Philosophy must be ceaselessly subject to redefinition in the
work of performance philosophers as it unfolds.
But this does not mean that ‘anything goes’ or that the field of
Performance Philosophy is a limitless free-for-all. Rather, both the field
and this series specifically bring together all those scholars for whom the
question of the relationship between performance and philosophy and,
therefore, the nature of both performance and philosophy (including their
definitions, but also their ‘ontology’ or ‘essential conditions’), are of primary
concern. However, in order to maintain its experimental and radical nature,
Performance Philosophy must also be open to including those scholars who
may challenge extant concepts of ‘performance’ and ‘philosophy’. In this
sense, ‘What is Performance Philosophy?’ could be considered one of the
field’s unifying (or at least shared) questions, just as the question ‘What
is Philosophy?’ has been a shared question for philosophers for centuries.
This is not mere circularity, but an absolutely necessary methodological
ix
