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Rhizo-Memetic Art

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Rhizo-Memetic Art RHIZO-MEMETIC ART: The Production and Curation of Transdisciplinary Performance James Alan Burrows Submitted in accordance with the requirements for the degree of Doctor of Philosophy Edge Hill University Department of Performing Arts October 2017 The candidate confirms that the work submitted is his own, and that appropriate credit has been given where reference has been made to the work of others. ACKNOWLEDGEMENTS The production of Rhizo-Memetic Art has involved the support, interest and commitment of many people. I would like to acknowledge and sincerely thank the various people who have been involved over the last four years. I would like to thank all of the artist-participants who have been involved with the various stages of the project, the many people who were involved with the performances and exhibition, my supervisory team and my colleagues in the Department of Performing Arts at Edge Hill University. I would especially like to thank Professor Victor Merriman for his constant sound advice and support. I extend my gratitude to Dr. Rachel Hann for guiding me towards a truer understanding of my own practice. In the same regard I’d like to thank Dr. Helen Newall – our conversations have sparked my imagination. I reserve the greatest of recognition for my parents, Yvonne and Edmund Burrows, whose kind words of encouragement have long sustained me. Lastly, I’d like to dedicate this work to Christopher Valentine, who has supported, challenged, discussed and nurtured this project alongside me, and who has put up with maximum possible disruption to our life together with good humour and love. Thank you. i ABSTRACT Contemporary discourse in the field of Memetics offers potential new insights upon the ways and means of producing and curating contemporary Performance beyond the limits of discipline specific Performance taxonomies. Alongside the rise of Internet Culture and the rapid adoption of social media, it is argued that contemporary artistic practice is becoming ‘more fluid, elastic, and dispersed’ (Cornell, 2014: online). Given this circumstance, the researcher acknowledges that notions of disciplinarity, performative agency and materiality remain in a state of flux and in need of reconsideration. Utilising a Practice-as-Research (PaR) framework, and based upon the above context, the researcher initiated an innovative three-phase methodological approach focused on the application of insights drawn from the concept of the ‘Meme’ (Dawkins, 1974) alongside a primarily Deleuze & Guattarian philosophy upon methods of artistic production, and the curation of transdisciplinary performance. The resulting praxis: ‘Rhizo-Memetic Art’ produced three major artworks including the hypertextual assemblage - Corpus 1 (2012-13), produced collaboratively online with users of Twitter and Facebook; the Florilegium: Exhibition (3rd -24th November, 2014): produced and curated alongside an invited group of contributing artists; and Florilegium: Remix (24th April 2015): an intermedial Live Art lecture. Each of these elements plugs into the following exegetic writing, and alongside the documentation of its artefacts (available on the project website), these elements produce the thesis. The outcomes of this PaR are twofold. The first outcome is a new theoretical understanding of the mechanisms of interdisciplinary creative practice emerging out of ii the synthesis of meme and rhizome. This outcome can be further developed to reveal insights relevant to the production of transdisciplinary performance and archival/curatorial discourses. The second outcome can be identified as the Rhizo- Memetic Artwork itself, or, rather the multiple creative artefacts and actions that combine to produce its assemblage. The implications of this research suggest that the functioning of Rhizo-Memetic Art raises permanent questions about the status of Performance in terms of its materiality and efficacy outside of the limitations of disciplinarity.1 1 Key words: production, curation, memetics, rhizome, performance, performativity, discipline, transdisciplinarity, materiality, agency, archive, documentation, social media, new-media, aesthetics, generative, internet, networks, digital, live, hybridity, nomadism iii TABLE OF CONTENTS ACKNOWLEDGEMENTS i ABSTRACT ii TABLE OF CONTENTS iv LIST OF ILLUSTRATIONS vii RESEARCH AIMS AND OBJECTIVES ix NAVIGATION x A NOTE ON TRANSDISCIPLINARITY xi A NOTE ON PERFORMANCE xii 1. MAPPING TERRAIN 1 1.1. PLATEAUX 2 1.2. MAP OF PRAXIS 5 1.3. FRAMEWORKS 6 1.4. PRAXIS OUTLINE 14 1.5. AUTO-PORTRAITS 19 1.6. EXEGESIS 20 2. CROSSING STREAMS 24 2.1. TRIBUTARIES 25 2.2. CONFLUENCE 26 2.3. INTRODUCING THE MEME 29 2.4. MEME/RHIZOME SYNTHESIS 35 2.5. TOWARD RHIZO-MEMETIC ART 39 2.6. CONCEPTUALISING RHIZO-MEMETIC ART 42 2.7. WE ARE THE BORG 44 2.8. CONCEPTUALISING RHIZO-MEMETIC ART (CONT. 1) 45 2.9. THE ETERNAL NETWORK 46 2.10. CONCEPTUALISING RHIZO-MEMETIC ART (CONT. 2) 47 2.11. THE EMERGENCE OF RHIZO-MEMETIC ART (1900-2017) 54 2.11.1. DECONSTRUCTION & ENTANGLEMENT 58 2.11.2. THE MODERNIST AVANT-GARDE 60 2.11.3. AGENCY & PARTICIPATION 70 2.11.4. HYBRID SPACES & AFFECTIVE NARRATIVES 78 2.12. DOOMSDAY 86 2.13. CORPUS 1 (2012-13) 87 2.14. MEMETIC NODES: 95 2.14.1. ITERATIVE 97 2.14.2. WOLF/MOUTH 98 2.14.3. EMERGENT 99 2.14.4. EMERGENT (CONT.) 101 iv 2.15. AFTER THE CROSSING 102 3. CLIMBING MOUNTAINS 107 3.1. SEDIMENTS 108 3.2. SETTLING VELOCITY 109 3.3. CONCEPTUALISING THE FLORILEGIUM 112 3.4. DOCUMENTAL / CURATORIAL SYNTHESIS 115 3.5. THE COLLECTIVE 119 3.6. ELEMENTS OF THE FLORILEGIUM: 129 3.6.1 EXHIBITION FEEDBACK SAMPLE 130 3.6.2. FLORILEGIA 1: EPHEMERA 131 3.6.3. EXHIBITION FEEDBACK SAMPLE 134 3.6.4. FLORILEGIA 2: ARTWORKS & PERFORMANCES 135 3.6.5. EXHIBITION FEEDBACK SAMPLE 139 3.6.6. FLORILEGIA 3: GENERATIVE ARCHIVE 140 3.6.7. EXHIBITION FEEDBACK SAMPLE 147 3.7. REFLECTIONS: 148 3.7.1. CLONER 149 3.7.2. INTO THE DARK 150 4. FINDING ZORA 154 4.1. VALENTINES DAY 155 4.2. PRELUDE TO DELIRIUM 158 4.3. CONCEPTUALISING FLORILEGIUM: REMIX 163 4.4. LINES OF FLIGHT: 168 4.4.1. FLIGHT 1: DEVISING 169 4.4.2. FLIGHT 2: DESIGN 173 4.4.3. FLIGHT 3: PERFORMANCE 179 4.4.4. DADDY 182 4.4.5. FLIGHT 3: PERFORMANCE (CONT.) 183 4.4.6. WHERE THERE IS DISCORD 187 4.4.7. FLIGHT 4: PARTICIPATION 189 4.5. REFLECTIONS: 195 4.5.1. BECOMING LICHEN / LYCAN 196 4.5.2. TOWARD A PLANE OF IMMANCENCE 199 4.5.3. A HAUNTING 202 4.5.4. REVELATIONS 210 5. CONCLUSIONS 211 5.1. PRE-SCRIPT DELIRIUM 212 5.2. EXEGESIS AS A LINE OF FLIGHT 216 5.3. THE ARCHIVE AND THE CURATORIAL 219 v 5.4. THE RHIZO-MEMETIC & THE POLITICAL 224 5.5. IMPLICATIONS FOR THEORIES OF TRANSDISCIPLINARITY 227 5.6. IMPLICATIONS FOR TRANSDISCIPLINARY PERFORMANCE 231 5.7. PLATEAUX 236 6. BIBLIOGRAPHY 239 7. APPENDICES 252 vi LIST OF ILLUSTRATIONS 1. Photograph: Assemblage, New Museum, New York. Image credit: Harm Van Dorpel, Wilkinson Gallery. 2. Screenshot: Initial Tweet of Corpus 1, Online, 22.12.12. Image credit: authors own. 3. Screenshot: Responses to initial Tweet of Corpus 1, Online, 23.12.12. Image credit: authors own. 4. Screenshot: Co-operative Authorship within Corpus 1, Online, 21.02.13. Image credit: authors own. 5. Screenshot: Contributions on Facebook to Corpus 1, Online. 16.05.13. Image credit: authors own. 6. Composite image: Visual representation of Iterative Memetic Node, 03.06.14. Image credit: authors own. 7. Composite image: Visual representation of Emergent Memetic Node, 03.06.14. Image credit: authors own. 8. Scanned document/photograph: Daria D’Beauvoix writes an open letter to her ‘old idea’, Online, 12.09.14. Image credit: Daria D’Beauvoix. 9. Photograph: Process documentation submitted by WeAreCodeX, Online, 11.10.14. Image credit: David Henckel. 10. Scanned document: Audience feedback example 1, Florilegium: Exhibition, Arts Centre, Ormskirk. 03.11.14. Image credit: authors own. 11. Photograph: Aspect of Florilegia: 1: Ephemera, Florilegium: Exhibition, Arts Centre, Ormskirk. 15.11.14. Image credit: authors own. 12. Scanned document: Audience feedback example 2, Florilegium: Exhibition, Arts Centre, Ormskirk. 10.11.14. Image credit: authors own. 13. Photograph: Catarina Soromenho performs ‘Lupine’, Florilegium: Exhibition, Arts Centre, Ormskirk. 03.11.14. Image credit: authors own. 14. Scanned document: Audience feedback example 3, Florilegium: Exhibition, Arts Centre, Ormskirk. 17.11.14. Image credit: authors own. 15. Screenshot: Generative Archive interface, Online, Florilegium: Exhibition, 17.11.14. Image credit: authors own. 16. Scanned document: Audience feedback example 4, Florilegium: Exhibition, Arts Centre, Ormskirk. 24.11.14. Image credit: authors own. vii 17. Photograph: Calun Griffin performs an adaptation of ‘The End’, Florilegium: Remix, Arts Centre, Ormskirk. 24.04.15. Image credit: David Berry. 18. Photograph: Projection mapping in rehearsal, Florilegium: Remix, Arts Centre, Ormskirk. 03.03.15. Image credit: authors own. 19. Photograph: Final scenographic design for Remix space, Florilegium: Remix, Arts Centre, Ormskirk. 24.04.15. Image credit: David Berry. 20. Photograph: Glitched image of Remix space, Florilegium: Remix, Arts Centre, Ormskirk. 24.04.15. Image credit: Danielle Kerwick. 21. Photograph: An audience member draws in the Remix space, Florilegium: Remix, Arts Centre, Ormskirk. 24.04.15. Image credit: Dr. Helen Newall, Edge Hill University. 22. Photograph: Professor Matthew Reason performs an excerpt of text, Florilegium: Remix, Arts Centre, Ormskirk. 24.04.15. Image credit: Dr. Helen Newall. Edge Hill University. viii RESEARCH AIM & OBJECTIVES The research aim and objectives for this project were developed and refined reflexively throughout the research process, focusing explicitly upon elucidating insights imbricated within the creative praxis. The following aim emerged: To highlight the extent to which the application of insights drawn from Memetic Science and Deleuze and Guattari’s rhizome theory might impact upon methods of production, and the curation of transdisciplinary performance. Within that aim, the specific methodological objectives are as follows: 1.
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