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Enacting Materialisms Through Performances

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Enacting Materialisms Through Performances Kunsthochschule für Medien Köln Fächergruppe Kunst- und Medienwissenschaften Body, Society, History: Enacting materialisms through performances Dissertation zur Erlangung des akademischen Grades Doktor der Philosophie (Dr. phil.) im Fach Kunst- und Medienwissenschaften vorgelegt von Mi You Köln, September 2018 Betreuer / Erstgutachter: Prof. Dr. Peter Bexte Professor für Ästhetik Kunsthochschule für Medien Köln Zweitgutachterin: Prof. Dr. Marie-Luise Angerer Professorin für Medientheorie/Medienwissenschaft Universität Potsdam Verteidigt am 18.2.2019 Some parts of this dissertation have been published elsewhere as articles but have been substantially rewritten here. Part of chapter two is based on "Taqiyyah, Language and Game: On Lawerence Abu Hamdan’s Contra Diction: Speech Against Itself," pubished in Performance Research 21 (4):113-121, 2016. Part of chapter three is based on "Desire, DNA and Transgenetic Technology: Life after Necropolitics," published in The Aesthetics of Necropolitics, edited by Natasha Lushetich. Lanham: Rowman & Littlefield, 2018. Part of chapter five is based on "Intermediating Immanence: On Ho Tzu Nyen’s Ten Thousand Tigers," published in Intermedial Performance and Politics in the Public Sphere, edited by Katia Arfara, Aneta Mancewicz and Ralf Remshardt, 229-243. London: Palgrave Macmillan, 2018. Part of chapter six is based on "Manchukuo, Capitalism and the East Asian Modern: Transhistorical Desire in Kishi the Vampire," published in Southeast of Now: Directions in Contemporary and Modern Art in Asia 2 (1):93-117, 2018. TABLE OF CONTENT 1. CHAPTER ONE 4 INTRODUCTION 4 1.1. OVERVIEW OF THE DISSERTATION 4 1.1.1. The aims 4 1.1.2. The structure and organisation of the dissertation 4 1.2. NEW MATERIALISMS AND PERFORMANCE 10 1.2.1. New materialisms 10 1.2.2. Performance as immanent, material process 13 1.3. MATERIALIST LENS ON POLITICS AND HISTORY 15 1.3.1. Non-material and material entanglement 17 1.3.2. History and desire 20 1.3.3. Schizophrenia 25 1.4. ON ‘ASIANNESS’ 27 1.4.1. Method and content 27 1.4.2. Animism 29 2. CHAPTER TWO 34 TAQIYYAH AND THE MATERIALITY OF LANGUAGE 34 ON LAWRENCE ABU HAMDAN’S CONTRA DICTION: SPEECH AGAINST ITSELF 34 2.1. LAWRENCE ABU HAMDAN’S WORKS 34 2.2. LANGUAGE, TRUTH AND CONTRADICTION 35 2.2.1. The Sense of Contradiction 35 2.2.2. Truth and Dissimulation 36 2.2.3. Subjectless subjectivity 40 2.3. LANGUAGE, MATERIALITY AND RELATIONALITY 44 2.3.1. Non-sensuous Similarity and Sense-perceived Meaning 44 2.3.2. Politics of Pronunciation: Form of Being and Sound 46 2.3.3. Another form of existence: more on onomatopoeia 47 2.3.4. Expression, sense perception and language 50 2.4. INSCRIPTION, LANGUAGE AND POLITICS 55 2.4.1. Inscription and overcodification 55 2.4.2. Writing 56 2.4.3. Taqiyyah and nomadic distribution 58 2.5. CONCLUSION 60 3. CHAPTER THREE 62 CODIFICATION, DESIRE, AND TRANSGENETIC TECHNOLOGY: 62 ON VANOUSE AND SPIESS/STRECKER’S WORKS 62 3.1. OVERCODIFICATION AND DNA AS SIGNIFIER 63 3.1.1. Paul Vanouse’s works 63 3.1.2. Abstract Sex and Meta-Stable Bodies 66 3.1.3. Content and Expression, or How DNA Becomes Overcodified 69 3.2. INORGANIC BECOMING AGAINST DEATH: SPIESS/STRECKER’S HARE’S BLOOD + 74 3.2.1. Hare’s Blood + Beuys, and ritual 74 3.2.2. Desire, Death and Capitalism 76 3.2.3. Biodigital Hypernature 82 3.3. CONCLUSION: HYPERNATURAL FUTURE 87 4. CHAPTER FOUR 89 STRANGE INTIMACIES CAUGHT BETWEEN EAST ASIAN FEMINISM AND ANIMISM: 89 ON GEUMHYUNG JEONG’S CHOREOGRAPHY 89 1 4.1. GEUMHYUNG JEONG’S WORKS 89 4.2. JEONG AND FEMINISMS IN THE WEST AND EAST 93 4.2.1. Jeong the feminist? 93 4.2.2. Confucian relationality 95 4.2.3. Confucian feminism 100 4.3. ANIMISM, MULTIPERSPECTIVISM AND RELATIONALITY 105 4.3.1. The Orientalisation of Animism 105 4.3.2. From the epistemological to the ontological: multiperspectivism 109 4.4. INTENSIVE RELATIONS: PREHENSION, PERCEPTION, INDIVIDUATION 114 4.4.1. Whiteheadian prehension and feeling 114 4.4.2. Perception, cognition beyond senses and the body 116 4.5. CONCLUSION 121 5. CHAPTER FIVE 122 IMMANENCE, PERFORMANCE AND HISTORY: 122 ON HO TZU NYEN’S TEN THOUSAND TIGERS 122 5.1. TEN THOUSAND TIGERS AND ITS RECEPTION 122 5.2. THE MULTIPLE TRANSFORMATIONS IN TEN THOUSAND TIGERS 124 5.2.1. The set as intermedial edifice 124 5.2.2. Transformation of Man and Tiger 126 5.2.3. The Camera and the Uncanny 128 5.2.4. Tiger and Transformation in War 132 5.2.5. The Japanese, Communists, Violence, and History 135 5.2.6. Divine Machine against Modernity, and Intermediating Immanence 137 5.2.7. The Epilogue of Ten Thousand Tigers 138 5.3. TEN THOUSAND TIGERS AND HISTORY 139 5.3.1. Tiger and time 139 5.3.2. Flow of desire, the schizo 142 5.3.3. Cruelty and animality, tiger and spy 148 5.3.4. Espionage, judgement and history 149 5.4. CONCLUSION 156 6. CHAPTER SIX 157 MANCHUKUO, CAPITALISM AND THE EAST ASIAN MODERN: 157 TRANSHISTORICAL DESIRE IN KISHI THE VAMPIRE 157 6.1. KISHI THE VAMPIRE 157 6.2. OPIUM, MANCHUKUO AND KISHI 160 6.2.1. Opium and the global economy 160 6.2.2. Manchukuo in the context of nationalism and Pan-Asianism 162 6.2.3. Kishi and the Industrialisation of East Asia 166 6.3. TRANSHISTORICAL MOVEMENTS: DESIRING PRODUCTION 168 6.3.1. Desire and capitalism 168 6.3.2. Necropolitics: desire, death and erotic-grotesque aesthetics 170 6.4. CAPITALISM TODAY 174 6.4.1. Manchukuo and Confucianism in political economy 175 6.4.2. Trade protectionism 177 6.4.3. Japan’s lost decade and Asian financial crisis 179 6.5. TERROR AND TERRITORY: RESONANCE BEYOND CAPITALISM? 182 6.5.1. Regrounding and the earth 183 6.5.2. The Kyoto School, Confucian cosmotechnics and modernity 184 6.6. OPIUM DREAM AND BUTTERFLY DREAM 190 6.7. CONCLUSION 196 7. CHAPTER SEVEN 198 CONCLUSION: FOR A MATERIALIST AND SPECULATIVE PROCESS 198 2 8. BIBLIOGRAPHY 206 9. FIGURES 215 3 1. Chapter One Introduction 1.1. Overview of the dissertation 1.1.1. The aims The dissertation starts locally. It starts with my observations on and engagements with contemporary artistic performances, a loosely defined category at the intersection of theatre/performing arts, performance art and media art. The dissertation explores performance as a form of thinking by itself which gives an access to non-representative forms of knowledge and reveals an immanent world in its making. The ‘(en)actors,’ as we will see, are as much the performers as the materials they choose to work with, embodied in the materiality of language, biological materials, machines, weretigers and vampires. Thinking with the performances as they unfold with the variant sets of ‘(en)actors,’ I inquire into the social and political contexts in which they are situated to launch critical investigations. The aim of the dissertation is to take the performances as enactments of different theories of materialism, to provide conceptual tools through which both material ‘things’ and socio-political processes could be understood in emergent, relational and dynamic ways. Hence, the dissertation rests on two interconnected pillars, on the one hand it takes the performances seriously as an immanent mode of thinking, and on the other it traces the social-political imaginaries they enact, expounded in a materialist philosophical inquiry into bodies, society and history. 1.1.2. The structure and organisation of the dissertation 4 The dissertation is organised in six chapters. Following the introduction chapter that lays the theoretical foundation, each of the five chapters that make up the body of the dissertation is dedicated to one artist and her or his respective works (with the exception that chapter three focuses on one artist and one artist collective). Each of the works, along with the historical, social and political contexts it is situated in, creates a constellation that as much demands rigorous analysis as it creates transversal connections with other constellations. What they all share is a practice of immanent unfolding of events, a focus on tactility and materiality, and sharpened sensibilities for the socio-political meanings resulting from the movements and conjunctures of the materials. The way the chapters are structured, or more precisely, stacked upon each other, and the way they interact with one another is inspired by the ‘plateaus’ of Deleuze and Guattari. Each chapter has its own movements and speed, as it tries to untangle different modes of political and historical codification and the production of subjects. Yet at the same time, they are interconnected by lines of flights that traverse different chapters. Sometimes the theoretical lines of flight work tangentially to the artistic works, and by so doing they enlarge the context under which the works could be viewed and map out hidden connections among the works. Sometimes they work paratactically, creating ‘contrasts’ as Whitehead terms it, and the patterned contrasts increase the ‘intensity of feeling’ of the experience (Whitehead 1929, 252). Sometimes, concrete figures like Pyotr Kropotkin and Antonin Artaud, or metaphorical figures like the schizo/tiger/vampire meander in passages connecting different chapters. The introduction chapter builds the theoretical foundation of the dissertation. The overarching question in all chapters goes: how are bodies imbricated in societies and histories? And how do societies and histories mark on the bodies? Even though my working methodology is akin to the rhizome or slime mould, that is to say, I start with analysing different artistic works locally and then a network of lines of thoughts emerge out of it, I find it useful to set forth a few theoretical parameters.
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