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Performance Art and the Prosthetic

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Performance Art and the Prosthetic Performance Art and the Prosthetic Suzie Gorodi 2014 Auckland University of Technology School of Art and Design A thesis submitted to Auckland University of Technology in partial fulfillment of the requirements for the Doctor of Philosophy (PhD) For Martin 2 Table of Contents Attestation of Authorship ........................................................................................................................................ 5 Acknowledgements .................................................................................................................................................... 6 List of Figures ............................................................................................................................................................... 7 Appendicies 1 ............................................................................................................................................................. 10 Appendicies 2 ............................................................................................................................................................. 11 Abbreviation of Heidegger Texts ........................................................................................................................ 11 Abstract ........................................................................................................................................................................ 12 Preface .......................................................................................................................................................................... 13 Prometheus and Epimetheus ...................................................................................................................................................... 13 Chapter 1 – The Apparatus and the Prosthetic ................................................................................................ 28 1.1 Technology as a Way of Revealing ................................................................................................................................... 29 1.1.2 What is the Apparatus? ...................................................................................................................................................... 30 1.1.3 The Apparatus, Forgetfulness and a Discussion of Handy Things .................................................................. 31 1.1.4 Prosthetics, (Memory-Support) and Da-sein as a Subset of the Apparatus ............................................... 34 1.1.5 Other Causes ............................................................................................................................................................................ 36 1.2 The Epistēmē and a Relation of Technē ......................................................................................................................... 41 1.3 Revealing and Poiēsis .............................................................................................................................................................. 44 1.3.1 Revealing and Affect ............................................................................................................................................................ 47 1.3.2 Affect and Prosthetic Relations ...................................................................................................................................... 50 Chapter 2 – Attunement and Disclosure ........................................................................................................... 55 2.1 Encountering Blind Spot, 2003 ........................................................................................................................................... 56 2.1.1 Effect and the Cinematic Apparatus ............................................................................................................................ 59 2.2 Synoptic Positions and Participatory Exchanges ....................................................................................................... 63 2.2.1 Chiasm and Seeing as Mine .............................................................................................................................................. 68 2.2.2 Beneath Synoptic Bodies .................................................................................................................................................... 71 2.3 Ereignis and Disclosive Belonging .................................................................................................................................... 74 2.3.1 Forgetfulness, Place and Ereignis .................................................................................................................................. 75 2.4. Attunement and Disclosure ................................................................................................................................................. 79 Chapter 3- Homelessness and the Uncanny .................................................................................................... 83 3.1 Freud, Heidegger, and the Unheimlich ........................................................................................................................... 84 3.1.1 The Uncanny and Homelessness ..................................................................................................................................... 88 3.1.2 Spatiality and Locale a Dwelling that Takes Place ............................................................................................... 91 3.2 Uncanny Excess and Facticity ............................................................................................................................................. 94 3.2.1 Facticity and Revealing ...................................................................................................................................................... 95 3.2.2 Meetings with Self and Dreyer’s, Vampyr ............................................................................................................... 101 3.2.3 Encountering Guy Sherwin’s Man with a Mirror, 1976/2006 ....................................................................... 102 3.2.4 Stealth and Danger ........................................................................................................................................................... 106 3.2.5 Encountering Alex Monteith’s, Passing Manouevre, 2008 .............................................................................. 107 Chapter 4 – Liveness and Revealing ................................................................................................................ 114 4.1 Liveness and Performance ................................................................................................................................................. 115 4.1.1 Live Performance and Spectatorship ........................................................................................................................ 116 4.2 Encountering Corridor Series, 2012 -2014 ................................................................................................................ 120 4.2.1 Exploring the Essence of a Prosthetic Liveness .................................................................................................... 129 4.3 Spectatorship and Equality ............................................................................................................................................... 136 4.4 A Live Archive is a Prosthetic ........................................................................................................................................... 137 4.4.1 Placing Emphasis on Da-sein’s Facticity in its Own Space and Time (real time) ................................. 141 4.4.2 Encountering Rebecca Horn’s Two Hands Touching Both walls Simultaneously, 1974................... 146 3 4.4.3 Encountering Dan Graham’s Roll, 1970 .................................................................................................................. 150 Conclusion ................................................................................................................................................................ 156 4 Attestation of Authorship “I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person (except whereby explicitly defined in the acknowledgements), nor material which to a substantial extent has been submitted for the award of any other degree or diploma of a university or other institution of higher learning.” 5 Acknowledgements I salute and celebrate my dear friends and family: Martin Selman, Liz Maw, Patricia Clifton, Claire McCormick, Sarah Horn, Philip Baker, Andrew Mcleod, David Guerin, and Michael Hawksworth with your love and support I exceed my expectations. To my father Matthew Gorodi, my sister Kym Wilson, and for my mother Alice, and stepfather Byron Buchanan, thank you for your love, support and encouragement. Additionally, I would like to acknowledge Barbara and Glynne Selman. I extend wholehearted gratitude to my primary supervisor Dr. Christopher Braddock who consistently inspired me to pursue my own path through practice led research. It has been an honor to work with a supervisor who provided extraordinary skill and
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