Interfaced Performance Phenomenology :~P

– Interfaced Performance Phenomenology is a playful undertaking of sociology and anthropology type stuff.

WHAT ITS LIKE – Susan Kozel on her work with phenomenology

– The purpose of this investigation is to come to achieve a critical practical awareness of the ins and outs of power dynamics, and our dynamic position with them. = the space within art and within which art exists. Conceptual spaces are every bit as “real” as the physical actions they incite, in relational dialog.

Interfaced Performance Phenomenology unites life, art, practice, and scholarship. The systematic method of art scholarship has a valuable place, but neglects what is not so easily categorized or “measured.” Interfaced Performance Phenomenology is a tall order to provide a space for critical dialog in academic “dance” of a more broad and inclusive spectrum – performance, and popular culture.

Foucault’s schema of self’s relation to self
ethical substance (material cause)

that part of oneself, whether it be, say one’s desires, feelings, sensations, or intentions, that requires one’s moral concern and hence functions as a matter or substance upon which one must bring to bear one’s formative energies.

mode of subjection (efficient cause)

“the way in which the individual establishes his relation to the rule and recognizes himself as obliged to put it into practice,” (The Use of Pleasure, 27) whether in response to social conventions, the claims of reason, divine law, the aesthetics of a beautiful life, etc.

forms of elaboration (formal cause)

the self-shaping practices that guide ehtical work – those, for example, of an ascetic regime of sudden renunciations, a hermeneutics of continuous self-examination, an agon of relentless psychic combat, or a perpetual indulgence in therapies of self-expression and self-discovery.

telos (final cause)

the mode of being to which the ethical subject aspires, whether it be that of tranquility and detachment, mastery and autonomy, oneness with God, or some other moral ideal.

Yes to spectacle yes to virtuosity yes to transformations and magic and make believe yes to glamour and transcendency of the star image yes to the heroic yes to the anti-heroic yes to trash imagery yes to involvement of performer or spectator yes to style yes to camp yes to seduction of spectator by the wiles of the performer yes to eccentricity yes to moving or being moved. YES TO NO.


Testing the limits. This is the game we play.

Further Perspective:

ideas: conceptual interfaces
nature: energetic interfaces
interface: limits for behavioral formulas

idea+nature covalent bond expresses spigots of formulas of exertion and recuperation.