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 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 x Series Preface reflexivity that must constitute an aspect of any field, which otherwise leaves its own axioms and premises un-interrogated. Indeed, the very vital- ity of a field of knowledge lies in its willingness to persistently question its own boundaries rather than rule anything out once and for all. The inten- tion is not to police these boundaries, but to provide a public forum where they might be both stated and contested. The absolute timeliness of Performance Philosophy – both as a field and as a book series – is four-fold. In the first instance, it coincides with a (self) re-evaluation of Performance Studies as having long since come of age as a discipline. Secondly, it takes place in the context of the increasing impor- tance of the notion of ‘practice as research’ in the arts. Thirdly, it reflects an increased engagement with Philosophy across performing arts scholar- ship. Finally, it is emerging simultaneously with an intensification of the questioning of what counts as Philosophy and what form philosophical thinking might take – for instance, in the context of new work emerging from object-oriented ontology (Harman, Brassier et al) and non-philosophy (Laruelle, Mullarkey, et al). Specifically, philosophy is becoming increasingly interested in its own performance and performativity, and in looking to the arts as a source of models for itself as it moves away from traditional meta- physics. This series is uniquely positioned to explore these currents. We might note here that a certain anti-performance bias that has been constitutional in the history of philosophy, as either demonstrated or criti- cized by virtually every philosopher of note from Plato to Nietzsche, from Kierkegaard to Sloterdijk, Derrida, Weber, et al, is clearly part of the inher- ited academic terrain. The purpose of the series is not to offer yet another ‘introduction’ to these philosophers by re-stating what they have already said, but to engage with the pedagogic, political, practical and theoreti- cal potential of the questions that are raised, not least as they concern the academy. This resonates in turn with what is currently being addressed in Europe, Australia and elsewhere over what constitutes ‘Practice as Research’ (which itself relates to long-standing debates within Social Research). This engagement also helps to explain, at least partly, why in recent years phi- losophy departments in universities worldwide have become increasingly dominated by those schools of philosophy that stem from the analytic, or language-centred traditions of philosophy, to the virtual total exclusion of those equally well-founded phenomenological and hermeneutic strands of philosophical enquiry for which the body, corporeality and materiality are of central relevance. In seeking to foster a platform for the publication of research findings in which a plurality of notions relating to Performance Philosophy may be addressed and negotiated, the series hopes to claim back for philoso- phy some of the valuable approaches that have in recent years gradually become woefully underrepresented within philosophy departments, while at the same time bringing fresh philosophical perspectives to bear on the Series Preface xi cultural practices of performance. For this reason we do not consider the series as belonging exclusively to the realm of either Performance Studies or Philosophy, for its purpose is precisely to contribute to the process of defin- ing Performance Philosophy as a field of its own.

Laura Cull, Alice Lagaay and Freddie Rokem Acknowledgements

Several of the essays in this collection were first given as papers in the inau- gural International Conference, ‘Time · Transcendence · Performance’, held at Monash University, Caulfield Campus, Melbourne, 1–3 October 2009. The editors would like to thank the Centre for Theatre and Performance and Performance Research Unit at Monash University for funding and support. With special thanks to co-convenors Caroline Vains and Jeff Stewart, and Peter Snow and Peter Murphy for their full support. Further thanks go to these venues for their financial and curatorial assistance in co-hosting the event: DanceHouse, Australian Centre for the Moving Image, and the RMIT Design Research Institute.

xii Notes on Contributors

Richard James Allen, Co-Artistic Director of The Physical TV Company (www.physicaltv.com.au), has had a unique international career as a cho- reographer, director, writer, filmmaker, dancer, artistic director, cross-media artist, scholar and educator, with work screened, broadcast, performed, or published in 30 countries, and nominated for, or winning, major prizes in dance, filmmaking, screenwriting, poetry, new media, and scholarship. Widely published in anthologies, journals and online, Richard’s ten books include Fixing the Broken Nightingale, The Kamikaze Mind, Thursday’s Fictions and Performing the Unnameable: An Anthology of Australian Performance Texts, edited with Karen Pearlman. John Di Stefano is a visual artist/filmmaker, and Associate Professor at Sydney College of the Arts (University of Sydney) where his interdiscipli- nary research focuses on how concepts and perceptions of memory, space/ place, and time shape the articulation of subjectivities so as to reconcile the personal with the social, the everyday with history. His current research project examines notions of temporality and disappearance in hybrid forms of documentary practices and the essayistic form. His exhibition career spans over 25 years, and his studio practice is focused primarily in video, installation and photo-based media. His video work has been broadcast on American public television (PBS), and has won several awards, including the New Vision Award at the San Francisco International Film Festival. He is an editor of Art Asia Pacific, and has an active publishing career. His criti- cal writings appear in various international journals and publications. www. johndistefano.net Stuart Grant is a lecturer in Performance Studies at Monash University. He has published widely on the application of phenomenological method- ologies in the study of performance, and on many genres of performance, including site-specific performance, comedy, and musical theatre. He has also written on time and place in performance and was a member of the Advanced Seminar on Place and Performance at the University of Sydney. He is a site-specific performer and sings in a punk rock band. He is currently working with his performance group, the Urban Water Performance Group, on a series of performances around critical urban waterways. He is convenor of the phenomenology group in the Performance Philosophy organisation.

Dorita Hannah is Research Professor of Interdisciplinary Architecture, Art and Design at Australia’s University of Tasmania and Adjunct Professor of Stage and Space at Aalto University, Helsinki. Publishing on practices that

xiii xiv Notes on Contributors negotiate art, architecture and theatre, her interdisciplinary practice focuses on cultural and public environments. Through ‘event-space’ she investigates how the built environment housing an event is itself an event and an inte- gral driver of experience. Dr Hannah is an active contributor to the Prague Quadrennial (PQ) and World Stage Design (WSD), while sitting on several editorial and executive boards; including PSi (Performance Studies inter- national), OISTAT (International Organisation of Scenographers, Theatre Architects & Technicians) and Performance Paradigm. Her publications include Performance Design, an anthology on trans-disciplinary design per- formativity, as well as the guest editorship of journals with themed issues on Performance/Architecture and Sceno-Architecture. She is currently com- pleting a book for publication by Routledge Press titled Event-Space: Theatre Architecture & the Historical Avant-Garde.

Barry Laing is a performance maker and teacher with a wide and eclectic range of experience in many performance contexts, including theatre, dance, and visual arts. He has taught at Victoria University and Monash University among others. He is an associate editor for Theatre, Dance and Performance Training journal. He completed a PhD in Performance Studies, VU, 2002, titled ‘Rapture: Excursions in Little Tyrannies and Bigger Lies’. Publications include: ‘A Horse Throwing its Rider: Falling into Fiction and Practice-led Research’ in Leah Mercer, Julie Robson and David Fenton (eds) Live Research: Methods of Practice-led Inquiry in Performance (2012), ‘Who Needs Live Art’, Live Art Almanac 3 (2014), ‘Physical Practice/ Imaginal Play: Un-disciplining the Performer’, Australasian Drama Studies, ‘Lineages’ Issue, 53, 2008, and ‘Pseudologia Phantastica: Performance, Discursive Lies and Critical Fictions’, Double Dialogues, Art and Lies 1, 8, Summer 2007/08, http://www.doubledialogues.com/archive/issue_eight/ laing.html

Alphonso Lingis is Professor of Philosophy Emeritus at the Pennsylvania State University. He is the author of Excesses: Eros and Culture (1984), Libido: The French Existential Theories (1985), Phenomenological Explanations (1986), Deathbound Subjectivity (1989), The Community of Those Who Have Nothing in Common (1994), Abuses (1994), Foreign Bodies (1994), Sensation: Intelligibility in Sensibility (1995), The Imperative (1998), Dangerous Emotions (1999), Trust (2003), Body Modifications: Evolutions and Atavisms in Culture (2005), The First Person Singular (2007), Contact (2010) and Violence and Splendor (2011).

Gemma Loving-Hutchins graduated from Massey University’s Spatial Design programme in 2010. Her final year design project won first prize in the Design Institute of Australia’s Australasian Student Design Awards 2010 and Silver in New Zealand’s Designers Institute Awards 2010. Gemma is cur- rently working in New Zealand as a design professional. Notes on Contributors xv

Jeff Malpas is Distinguished Professor at the University of Tasmania and Visiting Distinguished Professor at Latrobe University. He was founder and, until 2005, Director, of the University of Tasmania’s Centre for Applied Philosophy and Ethics. He is the author or editor of 21 books with some of the world’s leading academic presses, and has published over 100 scholarly articles on topics in philosophy, art, architecture, and geography. His work is grounded in post-Kantian thought, especially the hermeneutical and phenomenological traditions, as well as in analytic philosophy of language and mind, and draws on the thinking of a diverse range of thinkers includ- ing, most notably, Albert Camus, Donald Davidson, Martin Heidegger, and Hans-Georg Gadamer. He is currently working on topics including the eth- ics of place, the failing character of governance, the materiality of memory, the topological character of hermeneutics, the place of art, and the relation between place, boundary, and surface. Erin Manning holds a University Research Chair in Relational Art and Philosophy in the Faculty of Fine Arts, Concordia University, Montreal, Canada. She is also the director of the SenseLab (www.senselab.ca), a labo- ratory that explores the intersections between art practice and philosophy through the matrix of the sensing body in movement. Her current art practice is centred on large-scale participatory installations that facilitate emergent collectivities. Current art projects are focused around the con- cept of minor gestures in relation to colour, movement and participation. Publications include Always More Than One: Individuation’s Dance (2013), Relationscapes: Movement, Art, Philosophy (2009), and, with Brian Massumi, Thought in the Act: Passages in the Ecology of Experience (2014). Forthcoming book projects include a translation of Fernand Deligny’s Les détours de l’agir ou le moindre geste and a monograph entitled The Minor Gesture: Fernand Deligny and the Uncommon Inventions of Autistic Perception. Adrian Martin is Distinguished Visiting Professor of Film Studies at Goethe University, Frankfurt (2013–15), and Associate Professor at Monash University, Melbourne. He is the author of seven books, the most recent being Mise en Scène and Film Style: From Classical Hollywood to New Media Art (2014), co-editor of LOLA (www.lolajournal.com), and regular contributor to Fandor (www.fandor.com). Brian Massumi is Professor of Communication at the University of Montreal. He specialises in the philosophy of experience, art and media theory, and political philosophy. His most recent publications include What Animals Teach Us About Politics (2014), Thought in the Act: Passages in the Ecology of Experience (with Erin Manning, 2014), and Semblance and Event: Activist Philosophy and the Occurrent Arts (2011). Ian Maxwell is Associate Professor in the Department of Performance Studies at the University of Sydney. He is a graduate of the Victorian College of Arts xvi Notes on Contributors

School of Drama, and has written extensively about a range of performance practices, most significantly hip hop culture in Australia. He lives with his wife and two daughters in Sydney, and dreams of moving to the Peloponnese.

Jodie McNeilly is an interdisciplinary researcher working at the intersection of dance and philosophy. She holds a degree in Philosophy and doctorate in Performance Studies from the University of Sydney and is currently under- taking research on Edmund Husserl and the structure of belief at the Centre for the Philosophy and Phenomenology of Religion, Australian Catholic University, Melbourne. She is a Sydney-based choreographer with interests in experimental dramaturgies for performance making and collaboration, and is currently working on a monograph provisionally titled Poetics of Reception: a phenomenology of dance and technology.

Karen Pearlman is the author of Cutting Rhythms: Shaping the Film Edit (Focal Press) and a Director of the multi-award-winning Physical TV Company. She is a lecturer in Screen Production at Macquarie University, and a 2014 recipient of a Macquarie University New Staff Grant for research into the theory and practice of Editing Thinking. From 2010 to 2013 Karen was a project investigator on an Australian Research Council Linkage Grant looking into arts practices as a potential source of innovation in interactive media. Karen’s other publications include editing Performing the Unnameable: An Anthology of Australian Performance Texts (Currency Press/RealTime), and editing eight issues of Lumina, the Australian Journal of Screen Arts and Broadcast. She has also published in the International Journal of Screendance, Participations Journal of Audience Research, The Journal of Performance Studies and other anthologies and journals.

Jack Reynolds is Professor of Philosophy at Deakin University. He has writ- ten four books: Chronopathologies: The Politics of Time in Deleuze, Derrida, Analytic Philosophy and Phenomenology (2011), Analytic Versus Continental: Arguments on the Methods and Value of Philosophy (2011, with James Chase), Merleau-Ponty and Derrida: Intertwining Embodiment and Alterity (2004), Understanding Existentialism (2006). He has also co-edited the following col- lections: Sartre: Key Concepts (2013), Continuum Companion to Existentialism (2011), Postanalytic and Metacontinental: Crossing Philosophical Divides (2010), Merleau-Ponty: Key Concepts (2008) and Understanding Derrida (2004). He is currently doing research on intersubjectivity and the perception of others, drawing on the phenomenological tradition as well as findings in develop- mental psychology and the cognitive sciences.

Lanei M. Rodemeyer works primarily in the areas of Husserlian phenom- enology, continental philosophy, the philosophy of time, and feminist/ gender philosophy of the body. She has done extensive research in Husserl’s works on inner time-consciousness and argues in her book, Intersubjective Notes on Contributors xvii

Temporality: It’s About Time (2006), that this apparently solipsistic structure is actually integrated with an open intersubjective structure. In her arti- cles and presentations, she takes up questions of the body as well as time, considering such notions as pregnancy, eating disorders, time and eternity, intersubjectivity, gender, and transsexuality.

Yuji Sone is a lecturer in the Department of Media, Music, Communication, and Cultural Studies at Macquarie University in Australia. He is a perfor- mance researcher. He initially trained with the experimental theatre company Banyu-Inryoku in Japan. In Australia, Yuji produced numerous media-based performance works. His hybrid performances have examined the question of cultural representation. Yuji’s recent performance experiments, which explore the interaction between live performance and technological systems, work in tandem with his academic research. Yuji’s research has focused on the cross-disciplinary conditions of mediated performance and the terms that may be appropriate for analysing such work, especially from cross-cultural perspectives. Yuji has published articles in a number of theatre and perfor- mance studies journals such as Performance Research, About Performance, and Performance Paradigm. Currently, he is working on a book on Japanese social and cultural frameworks concerning technology, embodiment, and performance.

Jeff Stewart is an artist and writer concerned with intimate local practice. He combines philosophical research, painting, toy theatre and writing to make work that is generally centred on his home or local community. The reading of Martin Heidegger and Luce Irigaray has influenced not only his writing but his practice in general toward a performative poetics. Jeff has also taught within a number of tertiary institutions as well as working over many years with Indigenous communities, and the disadvantaged in prisons and community studios, with each community significantly influencing the way he works.

Maeva Veerapen teaches at the University of Mauritius and the Open University of Mauritius during the day and teaches Argentine tango at night. Maeva’s research has been positioned at the intersection of performance studies and phenomenology. It is only recently that she has turned her academic eye to examining the structure of experience when dancing the Argentine tango. She is interested in applying a phenomenological approach to embodiment in order to gain new insights into performance practices, whether participating in digital environments or dancing the Argentine tango.

Amanda Yates is an architect and academic teaching in the Spatial Design programme at Auckland University of Technology. Her spatial practice operates in-between the disciplines of architecture, landscape architecture, urban, interior and performance design. Amanda’s published design-led research integrates theoretical inquiry and aesthetic production expressed through writing and through performative architectures and installations.