The Performance of Time in Fluxus Intermedia Natasha Lushetich

If the phrase “the performance of time” sounds slightly odd, the suggested action being both vaguely possible and, quite likely, impossible, it is because time is most often conceptualized as a flowing substance, an organizing principle, or a container in which events occur. In all of these cases, as indicated by the oft-used phrases “time flies” and “can you squeeze me in?” when refer- ring to an appointment or meeting, time is thought to have an existence independent of the human observer. As an externally observable phenomenon it can either be “perceived” by the

Figure 1. Alison Knowles, The Identical Lunch, Barton, Vermont, 1967. A residual object from one of Knowles’s “noontime meditations.” (Photo courtesy of the artist)

Natasha Lushetich is a PhD candidate at the University of Exeter and a lecturer at the University of Portsmouth, UK. She is also a performer, director, and interdisciplinary artist. Her publications include “On the Performativity of Absence” ( Performance Research, March 2010), “Ludus Populi: The Practice of Nonsense” ( Theatre Journal, March 2011), and “The Event Score as a Perpetuum Mobile” ( Text and Performance Quarterly, forthcoming). [email protected]

TDR: The Drama Review 55:4 (T212) Winter 2011. ©2011 New York University and the Massachusetts Institute of Technology 75

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76 Natasha Lushetich (Harry Ruhé this contextofperpetualprocessualitythatIproposetofocusonFluxusintermedia. ture, thesmile, thetextureofskin, thevoice, andnotleastofall, one’sconsciousness. Itisin passes changeonallfronts:itisnotonlythecolorofone’shairthatchangesbutalsopos- process, renderedimperceptibletotheagingsubjectbyverygradualnessofchange, encom- be determinedandwhichcontinueswellafterone’sdeathintheformofdecomposition. This point inone’soldage, butagradualprocessofcontinuouschangewhosestartingpointcannot ther abeginningnoranendsinceitisnotpassagefromfixedpointinone’syouthto ­growing ismarkedbyaclearbeginningandanapproximateend, theprocessofaginghasnei- can belikenedtotheprocessofagingasopposedthatgrowing. While theprocessof ferentiation, andmutation. Although difficulttograspaswellperceive, continuouschange logic operatesfromwithintheprocessofperpetualtemporalization, continuouschange, dif- of time” statically ized bytheverynatureoftheirexistence. Ratherthanobservingormeasuringthe “movement position outsideoftimesinceallthings, beings, andphenomenaarealwaysalreadytemporal- an eventoractivityproducestimeinitsoccurrence, whichfurthermeansthattherecanbeno is theexpressive activityofanygiventhing, being, orphenomenon. Insteadofoccurringintime, occurs. Iwouldliketosuggestwhatmightbecalleda “processualist” approachwherebytime view, timecannotbeperformedbutisameasureofperformance, thatinwhichperformance herself ofthesensesighttolookatastone, or, itcanbeignored. Onthisstatic, ­ human subjectifthechoosestoavailherselfof “time sense,” thewayshewouldavail ing, activity. However, thisstatement referstoaparticularspeciesoftime, operativeinthe seg- could beinterpretedtomeanthat musicgeneratestimeinitsexpressive, andthustemporaliz - Susanne K. Langer’snotionthat “[m]usic makestimeaudible” (inKramer1988:1), which In Deep Listening formance by thefactthatallFluxusworks, includingintermedialcompositions, film, anddurationalper range ofFluxusworksandthepercipient’smusicalizedmodeattention. This ismade­ formance oftimeoccursattheintersectionpervasive temporalization producedbyadivergent tinction (orrather, contamination)isofparticularimportancetothisdiscussionsince theper action music, aswellbetweenartmediaandlife(Higgins1998:222). The latterdis- by DickHigginstoreferworksthatfallconceptuallybetween mediasuchasvisualpoetryor and KenFriedman, andspanstheperiodofalmostfivedecades. “Intermedia” isatermcoined Maciunas, NamJunePaik, Takehisa Kosugi, LaMonte Young, Alison Knowles, DickHiggins, sports, instruments, andgadgets. Itincludessuchnamesas Yoko Ono, MiekoShiomi, George ists whoseactivityrangesfromconcerts, films, performances, andsightseeingtourstogames, times takestheformofart” (Friedman1998b:ix), Fluxusisalooselyknitassociationofart- arts ofthetwentiethcentury” (Doris1998:91)and “an activephilosophyoflifethatonlysome- mere extensionoftemporalization, asmusicstandsinan ambiguousrelationshiptotime. the factthatmusicalizationandtemporalizationhavemuchin common, musicalizationisnota ber ofways appear intheformofscoresmeansthattheycanberealizedby anyone, anywhere, inanynum- performance instructions, gamesorpuzzles, appear intheformofscores(250). That theworks ephemerality while “musicality” referstothefact thatmanyFluxusworks, whetherobjectsor Company,” “presence intime” referstotheworks’gradualdeployment, impermanence, and ence intime” and “musicality” (Friedman 1998a:250). As Friedmanelucidatesin “Fluxus and 1. The Time ofMusic,themusicologistJonathanD. Kramerengageswith thephilosopher Variously characterized as “the mostradicalexperimentalartmovementofthesixties” Experimental Art Movement of the Sixties. RuhéHarry is the author of the 1979 uncirculated exhibition catalogue — — the focalpointsofmyanalysis 1 in Armstrong 1993:16), a “singularly strangephenomenoninthehistoryof the onlycommondenominatorbeingmusicalizedduration(251). But, despite — as aprogressionfromstaticpoint A toastaticpointB The exhibition was held at A-Gallery, Amsterdam. — exhibit twofundamentalcharacteristics: “pres- FLUXUS, the Most and Radical — the ­ substantialist processualist possible - - Time in Fluxus Intermedia 77 ” quite irrespective of how long it lasted, quite irrespective of how long it lasted, . time performative — ” and “ordinary time” as “the time the piece takes “the time the piece as “ordinary time” and ” that we have “lost all sense of time” then we have in fact been experiencing time then “lost all sense of time” that we have

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awareness-heightening powers of sound began as early as the 1970s. In Deep 1970s. powers of sound began as early as the awareness-heightening A Listening: whether it was played fast or slowly and whether there were very many or very few whether it was played fast or slowly and whether notes (1959:65) most strongly. One of the reasons why this particular attentional configuration may be said to have the One of the reasons why this particular attentional at the end of a piece of music If we realize, A case in point is Takehisa Kosugi’s 1964 score: Takehisa A case in point is Cox) Anthony 1 (to South No. (in during a predetermined or indetermined duration. “SOUTH” Pronounce Friedman 1990:36) Paik) 2 (to Nam June South No. Pause for breath is during a duration of more than 15 minutes. “SOUTH” Pronounce permitted but transition from pronunciation of one letter to another should be smooth and slow. (36) regated realm of ideality, since, as Langer notes “music [...] suspends ordinary time and offers ordinary time and “music [...] suspends as Langer notes since, of ideality, regated realm distinction and defines Kramer affirms this (3). equivalent” ideal substitute and itself as an the piece evokes “the time as “musical time” This sort of listener involvement comes from the interplay of direct perception, memory, and memory, the interplay of direct perception, This sort of listener involvement comes from these three cognitive processes are related mostly According to Kramer, pattern recognition. cultural tra- Western tonality as exemplified by the although not solely to musical linearity and characteristic of such The main (1988:25). “goal-orientated” which is predominantly dition, and articulation of an intricate vari- timing, pacing, music is that it involves the listener in the However, “temporal content.” could be termed ety of shaped musical events that create what does not refer to an attempt to as operative in the Fluxus works, the notion of musicalization, in a nonmusical medium and in this way “content” implant a teleologically driven temporal of ordinariness it from the realm “suspending” the work to the realm of ideality by “elevate” mode “lived” it refers to the percipient’s very corporeal and On the contrary, and corporeality. Deep listening is thus an the work from its surroundings. which does not segregate of attention, attentional configuration that renders ordinary (7). He also states that the category of “deep listening” gives primacy to musical time over ordi- to musical time gives primacy “deep listening” of states that the category He also (7). but instead “deep listening” explicit definition of does not offer an Although Kramer nary time. (in [...] you are the music” heard so deeply that “music it as Eliot who describes T.S. refers to an attentional configuration of height- could be defined as “deep listening” Kramer 1988:7), and the correspond- caused by a high degree of concentration ened auditory susceptibility the listener to transcend the time the combination of which allows ing emotional involvement, exposure The term has also received much and enter the time the piece evokes. the piece takes whose investigations into the experimental composer Pauline Oliveros, through the work of the ­ prac- a composer’s as an art in itself, “deep listening” Oliveros defines Composer’s Sound Practice expand consciousness of sound in “intended to heighten and act tice as well as a meditational (2005:xxiii). humanly possible” of awareness and attentional dynamics as as many dimensions of the term does not refer to a sus- my use concomitant with Oliveros’s, Although in many ways attentional configuration. practice but remains concerned solely with intentional tained, to the nature of the is its attunement as Langer claims, “suspend ordinary time,” capacity to since music is which tends to solicit an extremely temporalized mode of attention, medium, “Structure in Indeed, process of disappearing. never given all-at-once but is in a continuous influence on a num- a figure of considerable Stockhousen, Karlheinz Time,” and Experiential axis of defines the relationship between music and time along the ber of Fluxus artists, ­perpetual disappearance: Or, his Or, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29September 2021

78 Natasha Lushetich up” (inKaye2007:41). it cannotbeputbacktogether. Onceyouthrowwater ontheground, youcannotscoopitback and changeable):irreversibility. As Paikaptly pointsout: “Once youbreakanexpensivepiano, nary” or “corporeal” time, nottobe foundinthe “ideal” speciesoftime(whichisrepeatable from Cage’sworkinthattheyperformthemostelusiveandyet mostessentialqualityof “ordi- of theperformer. However, Paik’sOnefor Violin SoloandotherFluxusworksdifferprofoundly (1974:17)thusextendingnotonlythetraditionalfunctionofpianobutalsothat source’” as atotalconfiguration practice exploitedaninstrumentnotasa “means ofmaking soundsintheacceptedfashion, but between thepianostrings. As Nymanpointsout inExperimentalMusic:Cage andBeyond, this niques, whichhebeganexperimentingwithintheearly 1940sbyinsertingavarietyofobjects Nyman’s expression, canbetracedtoJohnCageandhis preparedpiano, amongothertech- This wayofapproachingamusicalinstrumentas “total configuration,” toborrowMichel Dada inMusic, Theatre, Poetry, Art,” Maciunasasserts: sociating musicfromidealityandassociatingitwithconcretereality. Inhis1962essay “Neo- in whichpianokeysarenaileddownwithahammer, concretismplaysanimportant partindis- denly releaseddownwardsandsmashedtopieces, orGeorgeMaciunas’s1964PianoPieceNo. 13 Violin Soloinwhichaviolinisraiseddistendedmovementlastingseveralminutes, thensud- associated withthemore “violent” FluxuscompositionssuchasNamJunePaik’s1961Onefor of amusicalcompositiontothattheworldaroundit, namelyconcretism.usually Although to anotherelement, crucialtothetransferenceofdeeplisteningfromsegregatedtime-space cality ofnaturalprocesses, foundinaburningfireortheflightofbutterflies, thesepiecespoint the performancearea” (inNyman1974:70). ence”; or, his1960CompositionNo. 5, “Turn abutterfly(oranynumberofbutterflies)loosein Nyman 1974:68), orLaMonte Young’s 1960CompositionNo. 2, “Build afireinfrontofanaudi- in workssuchasKosugi’s1963Theatre Music whosescorereads: “Keep walkingintently” (in the temporalitiesinherentinenvironment. This amplificationismadeevenmoreexplicit Likewise, theexperienceoflisteningtominimallyvaried, “monolithic” compositionsamplifies confines thecircumferenceofourattention, viewingasculptureexpandsand “texturizes” it. the smellofcoffeecomingfromcafeteria. Incontrasttoviewingasmallpainting, which take inthewholespace, thecomingandgoingofothervisitors, thebillowingofcurtains, around thesculpture, drawclosertoitinspectaparticulardetail, walkaway, comebackto olfactory. When viewingasculpture, ourbodynegotiatesthepacingofexperience:wewalk sculpture, which, apartfrombeingvisual, isalsodeeplykinesthetic, possiblytactile, andeven opments. Suchlistenerengagementcanbecomparedtothespatialexperienceofviewinga tural consistencybothpermeatesthelistenerandactsasa “platform” fornumerousotherdevel- compositions donotaltertheconfigurationoflistener’sattention, sincetheirmonostruc- “transport” himorhertoadifferentworld. However, itwouldbeinaccuratetosaythatthese goal-direction andareassuchunlikelytohaveacaptivatingeffectonthelistenerthatwould They havenophrases, notension-buildingortension-releasingprogressions, variations, or Both compositionsaremonostructuralandconsistofasinglesoundaswellmovement. time, Paik’s Onefor Violin Soloperformstimeasprocess , inother wordsitsquiddity,the pro- and While touchingontheonlyuncontested pointinawidearrayofmutuallyexclusivetheories of The Processof Time and Time asProcess 1993:156–57) or materialreality immaterial, abstractandartificialsincethesounddoesnotclearlyindicateitstruesource ducing material A materialorconcretesoundisconsideredonethathascloseaffinitytothepro- Apart fromemphasizingextendeddurationaswellthemultisensoriallyperceptiblemusi- — — thus anotesoundedonpianokeyboardorbel-cantovoiceislargely — common actionofstring, wood, metal, felt, etc. (Maciunas[1962] the differencebetween ‘playing thepiano’and ‘piano assound Time in Fluxus Intermedia 79 the — different One for Violin Solo Violin One for the violin’s spatial — — the violin — , Neo-Dada in der Musik, Musik, der in Neo-Dada , Solo Violin for One the violin’s position seen as an accu- — One for Violin Solo embodies as well as performs both of Violin One for Figure 2. Nam June Paik, Paik, June Nam 2. Figure Dusseldorf, 1962. (Courtesy of George Maciunas Foundation Inc. All rights rights All Inc. Foundation Maciunas Dusseldorf,(Courtesy1962. George of 2011) reserved,

the paradox of time as the paradox —

By being both of time and being time, However, apart from revealing the additive aspect of time, or in other words its manner of apart from revealing the additive aspect of time, However, evidenced by the parallel but evidenced mutually exclusive existence of of two contrasting theories A-theory the aptly named time, As the time and the B-theory. eluci- theorist Heather Dyke and the “McTaggart dates in according Time,” about Truth or the so-called A-theory, to the time time, theory of “tensed” world. is a real feature of the the past and Despite the fact that the future can only be accessed through the present moment, which is in perpetual motion and thus in a continual process the present moment of passing, “loca- is nevertheless a real According to in the world. tion” time is not a real the B-theory, Events in space occur existent. unrelated to the tenselessly, and “past,” notion of “present,” and can only be spo- “future” such ken of in relational terms, “simultaneous as “earlier than,” (Dyke 2002:137–39). “later than” or with,” , in other words, its words, in other cess of time, In doing so the piece additivity. con- offers for experiential — or templation indeed enact - ment simultaneously inhabits the zone of the A- as well as the B-theory. Once the violin has reached Once the A- as well as the B-theory. simultaneously inhabits the zone of the is on the verge of beginning its journey downwards, the point above the performer’s head and into three different categories: (1) the present the temporal experience can be separated violin raised and held in an axe-like position; (2) the past which forms the notion of the future as a prospec- its imminent downwards journey direction, The moment the violin reaches the end of its journey and is tive addition of not-yet-presents. and smashed to pieces is the point at which the mutually reinforcing conditions of additivity have been brought to a logical or the process of time, which form the progression congruence, Paik’s One for conclusion with regard to the initial arrangement of the violin’s component parts. since the Solo embodies the tripartite division of time into distinct temporal aggregates, Violin of the violin state of the violin at the end of the composition is radically different from the state at the beginning of the composition. the In this regard, composition also reveals time as process. the same its processuality, unfolding, of the composition will be ­ “end” arrangement of the violin’s constituent parts at the these views. Due to the fact that it disrobes “ideal” musical time of its rhythmically and melod- musical time of its rhythmically “ideal” Due to the fact that it disrobes these views. the unidi- words, in other time, “material” it to ically created multidimensionality and confines body in space mensionality and unidirectionality of a moving mulation of past-presents congealed into a concrete form; (3) the future Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29September 2021

80 Natasha Lushetich mined, andthatisfilm. medium whoserelationshipto “objective” timeisconsideredtobemuchmorerigorouslydeter rial timeperformative, isnotonlyoperativeinFluxuscompositionsbutcanalsobefounda ena. However, thisworkofpervasive musicalizingtemporalization, whichrendersconcrete, mate- processuality andexpressive activity alwaysalreadyunderwayinallthings, beings, andphenom- and Young’s compositionssensitizethepercipienttotimeasexistence, thatistosaytimeas we listendeeplytomusic” (Kramer1988:6)totherealmofconcretereality, Paik’s, Kosugi’s, an objectivetimeoutthere, beyondourselves, buttheverypersonaltimecreatedwithinusas things materialandcorporeal. Bytransferringdeeplistening, which “makes timemove[...]not notion ofidealitysincehingesonpurity, theunattainablestateofuntaintednessby Kosugi’s, and Young’s compositionsaptlydemonstrate, itexposestheimpossibilityofvery cal” oridealtimeontheonehand, and “ordinary” ormaterialtimeontheother, but, asPaik’s, will, hasprofoundimplications. Notonlydoesitcollapsethebinaryoppositionbetween “musi- called existence, andwhich, unlike “musical time” cannotbestopped, rewound, or restarted at are alwaysalreadyinvolvedintheprocessualtransitioncalledtime, butwhichcouldequallybe other things, phenomena, andoccurrences. The experientialappropriationofthenotionthatwe words, externally temporal structureof “musical time,” cannotbeexperiencedfromadifferentangle temporal unidirectionalityoflivedcorporealityandmateriality, which, unlikethereversible accessible toourperceptionwithinthesphereoflived, materialreality;thereverseisnot. The ceptual lensprovidedbythe A-theory ortheB-theorythereisonlyonetemporaldirection puted sinequanonoftime percipient’s temporalexperienceofOnefor Violin Solo, thecompositionrevealsoneundis- “earlier than” ofthewholeness-conditionviolin. But, regardlessofthedifferencein the violinisrevealedasnomorethanarelationalcoordinate, a “later than” ifcomparedtothe perception, andexpectation. The momentthisframeisremoved, thesmithereens-conditionof only onaccountofthetriadiccompositionhumanperceptionconsistingmemory, direct the processofchangewillbeseenascorrespondingtonotionspast, present, andfuture is revealedtobeheavilydependentontheframeofreference. Ifframedbythehumanobserver, the stateofviolin-nessorviolin-wholenesstonon-violin-nessviolin-smithereens an objecttobecomeanonobjectthemomentitlosesits “stable identity,” thenthepassagefrom however, changeisseenasacontinuumandnotjustrearrangementofessentialtraitscausing change isseenasapurelytransientalterationinthespatialdistributionofessentialtraits. If, “non-violin,” (inotherwordsfromthecategoryofbeingtononbeing), onlyif enough tomarkacategoryshiftfromthenotion “violin” tothenotion “no-longer-violin” or of divisibilityinto discreteandequalunitsorinstants, exemplifiedby the successionofstatic artificially. We takesnapshots, asitwere, ofthepassingreality” (332). Incontrasttothenotion becoming ofthings, weplace ourselvesoutsidetheminordertorecomposetheirbecoming ject outsidethephenomenaor processes observed: “Instead ofattachingourselvesto the inner edge ingeneraland “objective” notionsoftimeinparticular, whichplacetheobservingsub- this “contrivance ofthe cinematograph” (1911:332)tothatofscientificand “objective” knowl- continuity, imitativeoftheoriginalcontinuousmotion. InCreative Evolution Bergsoncompares broken downintoaseriesofstaticsingleframesandsubsequently projectedasanillusionof ematic procedureinwhichmovementisfilmedascontinuous inreallife, thenmechanically ence isnotdirectedsolelyatthecinematographicprojection but encompassestheentirecin- and aremistakenlyperceivedasasingle, uninterrupted andcontinuousimage. Bergson’srefer of asecondlong, which, althoughstaticcannot be discernedassuchbythenakedhumaneye for thisistheillusionofcontinuitycreatedbyrapidsuccession ofstaticframesonly1/24 “externalized,” and “spatialized” timetocinematographic(1960:81;1911:329). The reason In The ProductionofLived Time inFluxFilms Time andFree Will aswellCreative Evolution, HenriBergsonlikensscientific, objective, — totime,testifies tothefactthataslivingbeingsweareinternal asareall — and thatisirreversibility. For, whetherregardedthroughtheper — in other - - - Time in Fluxus Intermedia 81 experienced of the different states of con- of the different states — the inward flow of a fluid through the inward flow of a —

theless remains “contained” in and by objective time, comparable to Bergson’s puzzle. The comparable to Bergson’s puzzle. in and by objective time, “contained” theless remains

Although both Bergson’s absolutistic terminology and his notions of spatial perception Although both Bergson’s absolutistic terminology cinematography—which could be seen as lacking Despite the fact that Bergson’s views on , time is for Bergson a nonquantifi ­ time is , and true duration , duration pure called duration, Variously sciousness in which the past becomes immanent in the present, memory flows into perception, memory flows into perception, past becomes immanent in the present, sciousness in which the is also the reason why time cannot be This and the virtual into the actual. fantasy into reality, of smaller units of equal magni- divided into a series externalized, objectively conceptualized, “successive Like the endosmosis. veils the continuous inner process of tude whose divided state (100), “in one another” perceived that both succeed one another and are (104) notes of a tune” pure duration spatial metaphors, used by Bergson as a way of avoiding a comparison frequently changes which melt into and permeate “a succession of qualitative is an inextensive multiplicity, in rela- any tendency to externalize themselves without without precise outlines, one another, (104). tion to one another” phenomenol- as not yet marked by zeitgeist, remain firmly bound by the early 20th-century ogy and its experiential self ’s concern-orientated conceptualization of space wherein an object as closer than the glasses they are using to look at an individual is looking at may be described arrange- Bergson’s notion of the spatialization of time denotes a fixed and ordered the object, spatialized Thus visualized, reminiscent of a closed circuit. ment of clearly delineated units, and teleologi- mechanistic, static, “closed,” is of which cinematographic time is a variant, time, regard which- it resembles a picture puzzle, , Evolution borrow a metaphor from Creative To cal. reassembled does not offer a change of content. less of how many times it is assembled and of speed and there will be a change in experience accompanying the varying degree Granted, the time permeating this action will remain inciden- proficiency in composing the puzzle but contrast this notion of time reduced To (1911:369). “an accessory” in Bergson’s words, or, tal, of pure duration which is creative and productive and (372) with that “time-length” to mere and a blank can- Bergson uses the example of an artist (372), “time-invention” thus elevated to or “time is no longer an accessory [...;] it is not an interval that may be lengthened vas where time is The reason why cinematographic (370). shortened without the content being altered” by which is meant because it does not produce pure duration, is according to Bergson, “inert,” presents a mere succession. instead, but, an unpredictable interpenetration of images, whereas the evolu- lack of formal complexity, in breadth—were shaped by the early cinema’s montage and the elevation of the shot to a tempo- tion of the cinema was to take place through For although operative in the intertwining Bergson’s point still has some validity. ral category, film as a medium and phenomenal time, and permanently changing zone of the viewer’s lived never­ sources: the phenom- time are derived from two different “phenomenal” and “lived” notions of and Maurice such as those articulated by Edmund Husserl enological accounts of temporality, as formulated by the Zen master Dogen and the and the Zen Buddhist views, Merleau-Ponty, a comparative study of the phenom- , Identity Personal In Beyond Zen philosopher Kitaro Nishida. the notion of phenomenal time in the following Gereon Kopf articulates enology of no-self, ‘I’ who acknowledges its own temporality” experiential “phenomenal time is posited by the way: phenomenal time is constituted as the subject’s external continu- In other words, (2001:171). as to its factu- marked by the notion of finitude within which the subject relates to its past ity, “established is the time by contrast, Lived time, ality and perceives its future as its possibility. by the creative activity of the self” It is time ­ (173) and refers primarily to the body. toward a fluid of greater concentration a permeable membrane able multiplicity, inseparable from its multiple states by an “imaginary instant” (1960:218). It is a (1960:218). instant” “imaginary by an multiple states from its inseparable able multiplicity, It with creative potential. permanently pregnant and as such change flux of qualitative permanent “endosmosis” or by interpenetration, is also characterized frames whereby “cinematographic time” is understood to mean time placed at the service of the placed at the service to mean time is understood time” “cinematographic frames whereby dura- is that of indivisible concept of time the Bergsonian of the cinematic narrative, mechanics tion without extensity. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29September 2021

82 Natasha Lushetich of theshotbymagnifyingit close upthatframesOno’slips, chin, andcheekinawaythattemporalizesthespatialdimension extended transpositiontoprojectiontime(theproportionbeing1:82), aswelltheextreme portion betweenthedurationofactionperformedinrealtimeanditshighlytemporally in 11minutesofscreentimewhenprojectedatnormalspeed. Becauseofthecolossaldispro- effect ofthiswasthatOno’sdisappearingsmile, filmedineightsecondsofrealtime, resulted It wasperformedin1966by Yoko Onoandshotusingahigh-speedslow-motioncamera. The time. ­objective of theconstitutingfeaturescinematographictime, thesefilmssubverttheverynotionof ize unchanged. The moststrikingfeatureofanumberFluxFilms poral relationshipbetweenthespeedofrecordingandprojectionthatremains determining relationships. time, fixedandmadeinertbythefilm’slength, tempo, andthestructureofitsinternal, content-­ chosomatic dispositionandengagement, therestillremainsanelementofunchangedobjective an entirelydifferentphenomenalaswelllivedtemporality, dependingontheviewer’spsy- time. This meansthatwhilewitheachrespectiveviewingafilmmaymanifestorgiveriseto to thefuture, isplacedoutsidethesubject, orrather, thesubjectisplacedoutsideofobjective ject; objectivetime, mostoftenconceptualizedasalineartemporalprogressionfromthepast surroundings. However, whilebothphenomenalandlivedtimecouldbesaidto “in” thesub- somatically thatmanifestsits “past” and “future” bycontinuallychangingitsrelationshipto For Varela, the­ a nonfigurativecomposition, pointtoathresholdphenomenon, astateofpermanent oscillation. ceived asstatic, andthat thefeaturesofOno’sfaceappearabstractbutnevermeltentirely into fact thatthemovementofdisappearing smileisalmostimperceptiblebutneverquiteper enough fortheshapesinshot toremaindiscernibleasbelongingahumanface. Boththe the disappearingsmiletoremain discerniblethroughoutthefilmandashotjustlong(faraway) ated bytwointertwinedcinematicelements:atempojustquick enoughforthemovementof on adailybasis. InthefilmversionofDisappearingMusicforFace, thisdiminuendoiseffectu - aural attentiontothesubtletiesofliminalsound), toa simple movementhumanbeingsperform nearing ofthethresholdaudibility(oftenaccompaniedby minutetuningofthelistener’s action” (2005:145). Inotherwords, theintention wastotransposethegradualandextenuating York observer. As Midori Yoshimoto pointsoutinIntoPerformance: Japanese Women Artists inNew particular isthatitisolatesandmagnifiestheminthesenseof “bringingthemcloser” tothe multi­ integration ofthedifferentframeworkstemporalperception (1997:n.p.). The effectthis tention” as “retention,” andthehorizonorfringeofwhatisabouttohappen, alsoreferredtoas “pro- of the “now moment,” boundedbya “horizon orfringe” ofwhathasjustpast, alsoreferredto itself composedofmultipletemporal “streamings” (1997:n.p.). Time Consciousness,” thespeciouspresent, whichisthesmallestunitof “temporal thickness” is presents.” As Francisco Varela explainsin “The SpeciousPresent: A Neurophenomenologyof theory torefertherichtextureoftemporaldimensioncomposed “complete specious manifests extreme “temporal thickness.” The term “temporal thickness” isoftenusedintime smile veryslowlyandgraduallytonosmile. (inFriedman1990:49) Performers beginthepiecewithasmileandduringdurationofchange Disappearing MusicforFace isbasedona1964scorebyMiekoShiomi, whichreads: In thecinematicproductionpropelledbynarrative, itisalsotheobjectivetem- Although Varela resortstoaspatialmetaphor the fixedandinertratiosbetweenrecordingprojectingspeed. Indistortingone , theoriginalintentionofShiomi’sscorewas “to visualizeadiminuendoofmusicbyhuman dimensional “streaming” hasonperceptioningeneral andtheperceptionofobjectsin

— he insistsonthemobilityofthesehorizons, thetexture ofthemovement, andthe retentive-protentive temporalintegration producedbythespeciouspresentisa — thus creatingatemporal “stretch” — that ofafieldwithcenterrepresentative is thefactthattheytemporal-

— Disappearing MusicforFace - Time in Fluxus Intermedia 83 the blank celluloid and the — , 1966. 1966. , Face for Music Disappearing This image has been removed due to copyright This image has been refer to the print version. Please restrictions. (Photo by Peter Moore © Estate of Peter Moore/VAGA, NYC) Moore/VAGA, Peter of Estate © Moore Peter by (Photo Figure 3. Mieko Shiomi, Shiomi, Mieko 3. Figure - to the cinematic gaze, devoid of any recorded material or any cinematic devoid of any recorded to the cinematic gaze, — distension of the spe-

— ­

posits a concrete present in its moving-image tale of the celluloid’s journey through the posits a concrete present in its moving-image tale of the celluloid’s journey through was transport mechanism of the projector [...,] a tale unique in each telling as Zen for Film those visibly changed by each viewing and maintained on its celluloid surface a record of rips and dirt, dust, observations and screenings in the form of accumulated scratches, (1993:137) splices. narrative-created temporal content. Instead, the film discloses what Paik has termed “abstract the film discloses what Paik has termed Instead, narrative-created temporal content. scholar Bruce as the Fluxus This notion, 2007:52). (in Kaye time: time without contents” with its “the pastness of filmic representation, contrast to is not only in sharp Jenkins points out, it also phenomena,” pre-existing indexical claims to capturing actual, ­projection apparatus , engages the viewer in the produc- , Nam June Paik’s 1964 Zen for Film In a similar fashion, unlike However, and discontinuous phenomenon. tion of time as a simultaneously continuous Consisting of a films. “slow” it does not belong to the category of , Disappearing Music for Face running time is approximately “closed” or “objective” a clear leader whose roll of 16 mm film, exposes the cinematic medium Paik’s Zen for Film 30 minutes, The Continuity of Discontinuity The Continuity - perma oscillating, permanently While process. nently “slipping” phases of the retention retains - act by causing a pro perceptual down of the gressive slowing - “slip perception or a velocity of - 1997:n.p.); pro (Varela page” into “slippage” tention links this work- The parallel affection. protention ing of retention and velocity of thus slows down the an perception while producing feeds back affective coloring that this way into retention and in - decelera produces a cumulative dis- a gradually distending tion, the ratio By distorting tension. between recording time and Disappearing projection time, introduces what Music for Face “creative warp” could be called a into objective cinematographic time within which the affec- tively colored — mellower, softer, “looser” The colos- cious present occurs. sal discrepancy between the average duration of a disappear ing smile in real life and 11 min- utes of cinematic duration causes alters the viewer’s sense of lived time by slowing down and “temporal swelling” a progressive effec- What this means is that Disappearing Music for Face her breathing and bodily movement. and does precisely “objective duration” tively perpetuates the production of time within the film’s time of being incapable of doing. “inert” or that which Bergson accused cinematographic Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29September 2021

84 Natasha Lushetich deteriorating natureofthematerial ents is “translated” intocontinuoustimebytheworking ofthehumanbrain. Becauseofthe working oftheprojectingapparatus, muchlikethemomentariness ofnoncontinuousexist- ents. Eachsubtlydifferentfromthenext, theirsuccession is “translated” intocontinuitybythe of theZenBuddhistnotionmomentarinessstaticfilm frames aremomentsorexist- ing microlife, fullofincessantbiologicaltransactions, whenmagnified. Fromtheperspective lithic identity view ofasurfacenormallythoughttobehomogenousandtemporallypersistentinitsmono- brings into focus. processual dialecticsofthe “eternal present” orthecontinuityofdiscontinuitythatZenforFilm mine thepercipient’smodeofperceptionanddeterminenextmomentorexistent. Itisthis and tum. The rapidsuccessionaswellgradualvariationinstructurewillmakethestatesofm, ness, whichwillinturnbedestroyedandreplacedbythestateofm+-nesssoonadinfini- from existence andgooutofimmediatelyafterwards. Ifaperceptualobjectmchangesand ing intime, aretemporalinnature. All existentsthuslastonlyamoment ents withoutexceptionarenonsubstantiveandnonpermanentevents, which, insteadofmov- Zen Buddhistnotionofmomentarinessandimpermanence. This notionsuggeststhatallexist- is placedentirelyoutsidetime, Nishida’s “eternal present” isadialecticalconceptrootedinthe which immanenttimeisalinearconstruct, asequentialprogressionofinstants, whileeternity coming fromthe “two world” heritagecharacteristicofthe Western metaphysicaltraditionin context oftheZentraditionwhereword “eternal” doesnotrefertotranscendence. Not nal present” asthebashooftime, or “that inwhichtimeturns” oughttobeunderstoodinthe Our worldcomesfromthepresentandreturnstopresent” (117). The notionofthe “eter past flowswhileturningtothepresent, whereasthefutureflowswhileturningtopresent. time disappearsandisdeterminedagaininthenextpresent. “present” isseveredfromthe “past present” byanon-present, whichmeansthatcontinuous every newmomentisdifferentfromthepreviouspreciselybecauseitdiscontinuous. Each ity andis “located” indiscontinuity, discontinuitybeingthebashoofcontinuity. Inotherwords, (6–7). Continuoustime, flowingfromthepasttofutureisbothdeterminedbydiscontinu- content ofbasho. The presentis, accordingtoNishida, “the bashooftime” andsoistheself is permanentlyengagedinadialecticalrelationshipwith “that which” orinotherwords, the porality. This theoryisrootedinthe “logic ofbasho” wherebybashomeans “that inwhich” and tinuity ofdiscontinuity” (1970:6), partofhisZen-aswellBergson-influencedtheorytem- discontinuous. Paradoxically, thetemporalstructureofZenforFilm seemstobebothcontinuousand unchanged, thusitselfalsoacontinuous andtemporallypersistententity, isthatofaperspec - porally persistent, continuous entity. The temporalpositionfromwhich ZenforFilm willappear them into “milestones” withinthesubject’sperceptionofitsowndeploymentin timeasatem- has thepowerto “thingify” occurrences, processes, andphenomena experiencedinordertoturn unchanged. This is duetotheunifyingnatureofsubject’ssensephenomenal time, which been replacedbyanother, contradictoryfeature, thatofbigness), mightmakethefilmseem color ofhisorhereyes, and areinvariablysurprisedbythefactthatthis “essential feature” has son whywerememberthesmallnessofachildhavenotseen for10years, ratherthanthe function ofmemory, whichtendsto “freeze” andarchivethemostessentialfeatures(therea- several timesoveralongerperiodoftime, suchasafew yearsoradecade, therepresentational manently changingnatureofcontinuityifviewedseveraltimes inarow. If, however, viewed tions inflictedbymultipleprojections, ZenforFilm willinfactrevealthediscontinuous, per In revealingavastamountofflickeringvisualdetail, ZenforFilm resemblesamicroscopic This discontinuoustimeislocatedinsomethingNishidacallsthe “eternal present”: “The This structureisbestunderstoodthroughtheprismofKitaroNishida’snotion “con- m+ appearidenticalandcontinuouseachpresentmomentorexistentwillbothdeter m mutatestom*, thestateofm-nesswillbedestroyedandreplacedbym*- — if observedbythenakedhumaneye — the celluloid — — as wellthenumeroustexturalaltera- but whichturnsintoafluxofswarm- — they comeinto - m* - - Time in Fluxus Intermedia 85 - - is - — You hardly You Identical Lunch and range from — — the form given to — that of lived and phenomenal —

a continuous elaboration through differentiation — which, once practice-ingrained and sequence-locked, no longer requires the per once practice-ingrained and sequence-locked, which,

— . Alison Knowles’s Identical Lunch most notably in Fluxus durational performance, momentary configurations of emptiness, emptiness can in turn only “appear” in and “appear” emptiness can in turn only as momentary configurations of emptiness, —

renders “palpable” the Nishidian notion of the “eternal present.” Here, the Here, “eternal present.” the Nishidian notion of the “palpable” renders Identical Lunch The (in Corner 1973:1), “noonday meditation” Described by Knowles as her between form and emptiness is a processual interaction Zen for Film By thematizing the continuous emergence of continuously proliferating differentiations, is inherently performative. This is to say that, unlike the films with a cinematic unlike the films This is to say that, performative. is inherently Zen for Film in Durational Performance in Durational time by (an action Knowles performed every day), was first discovered as a temporal objet trouvé emphasis (1, “elevated into a formal score” her fellow artist Philip Corner and subsequently no and butter, “a tunafish sandwich on wheat toast with lettuce The formal score read: added). its formal inception From the moment of (1). and a glass of buttermilk or a cup of soup” mayo, at exactly the same Knowles performed the score for a period of over a year, in February 1969, Numerous day. and approximately the same time of York, the Riss Restaurant in New place, As Jim at the Riss and elsewhere. score since then, other performers have also performed the per (Knowles’s collection of her own and other of the Identical Lunch Maya puts it in the Journal the surrounding “The identical lunch food demands little or no thought: formers’ observations): Their embossments the napkins. her lips, her hair, The waitress, activities take all your thought: When you’ve finished the heat. the chairs, The stools, or lack of embossments. This continuous mutual configuration between form and emptiness, between the already-­ between the form and emptiness, This continuous mutual configuration between in the present activity as a movement from the pres- “created existing and the not-yet-existing, is further (Nishida [1987] 1993:108), the creating” ent to the present and from the created to time scales deployed on two different but mutually configuring The Braiding of Lived and Phenomenal Time Time and Phenomenal of Lived The Braiding of the noonday lunch situation, part of the performer’s own continuity part of phenomenal continuity of the noonday lunch situation, existents. as existents. content, whose tempo and narrative temporality operate along a mirror-like actual-virtual axis, actual-virtual axis, a mirror-like and narrative temporality operate along whose tempo content, Zen for of these images, and the viewer’s interpretative processing involving the actual images making her inner temporality thus arena of the viewer’s virtuality, unfolds entirely in the Film of her virtual content and relationship between the percipient’s performance The performative. reflects one of the primary pos- of the blank celluloid “abstract time” the what Paik has termed “form is that numerous Zen masters, as Nishida suggests in reference to which, tulates of Zen, ([1987] 1993:103). form” is emptiness and emptiness the object of the subject’s contempla- while becoming which, subject, emptiness by the viewing “eter This dialectical determination is the to the viewing subject. form” “gives tion reciprocally the fleeting existents can only paradoxical formulation indicates that while whose nal present” appear essentially expounding the transparency This view, (in Knowles 1971:n.p.). know you’ve eaten” of habit (11); “tunafish is very watery; it is mid-week” ­observations about the varying quality of the fish: (12); the difference in time the sandwich comes uncut” “for the first the shape of the sandwich: such as when (13); to the impact she has on others, “L is young and Greek” staff who serve her: (16). “eat hurriedly and leave” a burn on her cheek makes those sitting opposite her The tivally construed continuity, which testifies to the possibility of alterity, namely discontinuity. discontinuity. namely possibility of alterity, which testifies to the continuity, tivally construed shows itself to too, it, , Zen for Film experience of watching the immediate temporal As regards ­ whether her retentive- perception, generated by the viewer’s of the threads be woven entirely cinematic content and the film has no Because of attention. or associative mode protentive temporal dimension the virtual content, the viewer’s own only content is indeed because the of former’s full attention and frees it up for the unforeseen, the marginal, and the accidental the marginal, former’s full attention and frees it up for the unforeseen, Knowles’s own entries reflect her engagement with time shared by numerous other performers. as a process of becoming Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00123 by guest on 29September 2021

86 Natasha Lushetich of existence. pure duration, aqualitative, multisensorially texturized, musicalizedimmersioninthe thickness ference beingthatofscale. Whether lastingseveralminutesorayear, thesepiecesproduce tical, ordinary-musical, actual-virtual, lived-phenomenalproductionofexistence, theonlydif- for Film, own individuation. former thattakesplacewithinthedurationaltemporalactivity ofKnowles’sscore, butalsoher identity. Itisthusnotonlytheelaborationanddifferentiation oftheworldaroundper of likes, dislikes, emotionalandcognitivehabits poral “other,” phenomenalcontinuityispersonalbecoming tion relatestotime. Muchastimeistemporalizationandnotitsexternallyviewedatem ­ process relatestotheperformer’sphenomenalcontinuityin samewaythattemporaliza- personality, in theconstitutionofherlivedtemporality, whichfurtherleadstothe formationofattitudesand ation. Ininvolvingtheperformerinacloseexaminationofemergentaffectivetonalitiesactive opposed processesorspeciesoftime, butexemplifiesunificationthroughperpetualdifferenti- of livedandphenomenaltime, which, likethecontinuityofdiscontinuity, doesnotdenotetwo matrixes andconsolidatingoldones. Inthissense, TheIdenticalLunch performsthe “braiding” the presentandsimultaneouslyconfiguresfuture, thuscreatingnewperceptual temporalization andcannotpositthesubject’spastfutureassomesortof “external other.” inside thepresent(Nishida[1987]1993:137), phenomenaltimeisalwaysalreadypartofthe is viewedfromtheperspectiveoflivedexperiencethattemporalizes andunifiespast-and-future who “always fightsinjustice” or “laughsinthefaceoflife.” However, if phenomenal continuity Within thishorizonthesubjectcomestoview herself “externally,” asacoherentwhole, aperson forms thehorizonofsubject’spastandfuturewithinwhichanarrativeidentityisproduced. larger scaleamalgamationofthesamehabitualizationsandanticipations. Phenomenaltime ualizations andfuturalanticipations;phenomenaltimeisconstitutedasan “externally” viewed, tially aninteractionbetweentheenvironmentandsomaticselfasexpressiveofpasthabit- the oppositionbetweenlivedandphenomenaltime. Incontrasttolivedtime, whichisessen- the durationalperformerinade-transparentization oftheprocesshabitualizationbycollapsing larity, whichinturngivesrisetoachangeaffective coloring. Inthissense, thescoreinitiates transparency ofhabitualization, which, paradoxically, isonlyfeltwhendisruptedbyanirregu- draws attentiontothefactthatthereisnosilenceand “background.” Rather, itamplifies the way drawsattentiontoalleventsintime-spaceframedbythisduration requires theperformertoremainsilentfordurationof4minutesand33secondsinthis alness.” Inperceptualterms, thisrankequalsbackground. MuchlikeCage’s195249 speed withwhichweprocessexperiencesandrelegatethemtotherankof “sameness” or “usu- sonal continuityareverycloselylinkedtowhatmightbetermed “experiential velocity,” the that framethedisparatesequenceofeventsascontinuity. Bothsituationalcontinuityandper a preexperientialgivenbutthatitbecomesapparent and occurs. Everypastandeveryfutureisinthissensemanifestedthepresentoccursalways ifested inthepresent, anditisinthepresentthatprospectiveframingoffuturalevents of napkins. the smellofsoupcomingfromkitchen, thesogginessofsandwich, ortheabsence “disparate moments” ofwhichtheperformer’slivedtimeconsists aswellnarrativeidentity,and thushistory isdeterminedalwaysanewinthediscontinuityof In thissense, TheIdenticalLunch, likeOnefor Violin Solo, structuring activityoftemporalizationHabit formationisthusthestructuring inwhichthepastconfigures Although determinedbytheperformer’spastexperiences, herperceptualframeisman- only inthepresent. This meansthattheperformer’sphenomenalcontinuitycannotbe timebyinvolvingthepercipient/performer inlisteningdeeplytothedialec - performs The IdenticalLunch sensitizestheperformertoprocessofpersonal becoming. This — and notacongealed “whole” personalityor — or, isconstituted — Disappearing MusicforFace, andZen the formationanddifferentiation — her physicaldisposition, — — The only insituations Identical Lunch 330 — which - - Time in Fluxus Intermedia 87 , ed. Ken ed. Fluxus Reader, , ed. Ken Friedman, 237–53. 237–53. Ken Friedman, ed. Fluxus Reader, , ed. Ken Friedman, 91–135. Chichester: 91–135. Ken Friedman, ed. The Fluxus Reader, . San Francisco: Nova Broadcast Press. San Francisco: Nova Broadcast Press. . of the Identical Lunch Journal

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