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 companies 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