1. Alain Badiou, Handbook of Inaesthetics, Stanford University Press, 2005, pp.58—9.

2. See for example in Hélène Cixous Stigmata: escaping texts, Routledge, 1998; Cixous, Coming to writing and other essays, Harvard University Press, 1991; Gertrude Stein, Composition as explanation, L. & V. Woolf / Hogarth Press, London, 1926; or on Stein see Ulla E. Dydo, Gertrude Stein: The Language That Rises - 1923-1934 (Avant-garde and Modernism Studies) Northwestern University Press, 2009)

3. Gilles Deleuze, Negotiations: 1972 — 1990 (New York: Columbia University Press, 1995), p.95.

4. Avis Newman, in The Stage of Drawing: Gesture and Art, (ed.) Catherine de Zegher and Avis Newman, Tate Publishing, 2003, p.169.

5.  John Berger, Berger on Drawing, 1958/2007.

6. Emma Cocker, Nikolaus Gansterer, Mariella Greil, extracts from recorded conversation, Beyond the Line, WUK, Vienna and Bonington, Nottingham, 2013—14.

7. The critical interlocutors function in the spirit of ‘sputniks’, a Russian term used by curator Maria Lind to describe a ‘partner or travelling companion’, whose role serves an interruptive and interlocutory function, by offering timely advice and critical commentary. Sputnik, Alex Arteaga studied music theory, piano, composition, electronic music and architecture in Berlin and Barcelona and earned a Ph.D. in philosophy at Berlin’s Humboldt University. In addition to his artistic activities, he is currently a research associate at the Collegium for the Advanced Study of Picture Art and Embodiment (Humboldt University Berlin), visiting professor for embodiment and aesthetics at the Inter-University Center for Dance, Berlin, co-director of the Aural Architecture Research Unit (Berlin University of the Arts, UdK), and researcher at the Social Sculpture Research Unit (Oxford Brookes University).

8. See Erin Manning, Relationscapes: Movement, Art, Philosophy (Technologies of Lived Abstraction Series), MIT Press, 2012. Following Bergson, Manning places emphasis “on the immanence of movement moving: how movement can be felt before it actualizes. Preacceleration refers to the virtual force of movement’s taking form. It is the feeling of movement’s in-gathering, a welling that propels the directionality of how movement moves … Important: the pulsion towards directionality activates the force of a movement in its incipiency. It does not necessarily foretell where a movement will go. Incipient movement preaccelerates a body toward its becoming”, p.6

9. Alex Arteaga, extract from recorded conversation, Method Lab I, Summer 2014, Vienna.

10. See Maharaj, in Sarat Maharaj and Francisco Varela, ‘Ahamkara: Particules élémentaires of first-person consciousness’, in Intellectual Birdhouse: Artistic Practice as Research, (Koenig Books, 2012), p.7 and Sarat Maharaj, ‘Unfinishable Sketch of “An Object in 4D”: Scenes of Artistic Research’, in: Annette W. Balkema and Henk Slager (eds), Artistic Research, L&B, Volume 18 (Amsterdam/New York: Lier en Boog, 2004).

11. Alex Arteaga, extract from recorded conversation, Method Lab I, Summer 2014, Vienna.

12. On ‘coming into language’ see for example, Hélène Cixous, Coming to writing and other essays, (Harvard University Press, 1991), p.57 and also Erin Manning, Relationscapes: Movement, Art, Philosophy (Technologies of Lived Abstraction Series) (MIT Press, 2012). Manning states, “To come to language is more than to finalize form. To come to language is to feel the form-taking of concepts as they prearticulate thoughts/feelings … to create concepts is to move with language’s prearticulations. In this mode of thinking/feeing, language does not yet know what it means. It has not yet defined where it can go … to arrive at a language in the making Relationscapes begins with the concept not of prearticulation but of preacceleration. The reason for this is that to think language before it takes form we must first understand how to conceive of taking form itself”, p.5.

13. Antonio Negri, Time for Revolution, (New York and London, Continuum, 2003).

Back to main exposition

14. Alain Badiou, in Being and Event, trans. O. Feltham (London: Continuum, 2005), p.398. He states: (T)he meaning of a subject-language is under condition. Constrained to refer solely to what the situation presents, and yet bound to the future anterior of the existence of an indiscernible, a statement made up of the names of the subject-language has merely a hypothetical signification”. p.400.

15. Sputnik, Lilia Mestre is a Portuguese performing artist and researcher living and working in Brussels. She was one of the founding members of Bains Connective Art Laboratory in Brussels where she took the role of project dramaturge in 2006 and artistic coordinator in 2009. She has been working at a.pass (advanced performance and scenography studies in Brussels) as curator, mentor and workshop leader, and is currently Associate Program Curator (2013-2016). Along with this she has been a dramaturge for several projects, teaches workshops on choreographic composition and also mentors occasionally in other education institutions as PARTS and Master of Choreography Amsterdam.

16. Gabriele Brandstetter, & G. Boehm. & A. Von Müller, Figur und Figuration: Studien zu Wahrnehmung und Wissen. Munich Wilhelm Fink Verlag. p.7.

17. Gabriele Brandstetter, & G. Boehm. & A. Von Müller, Figur und Figuration: Studien zu Wahrnehmung und Wissen. Munich Wilhelm Fink Verlag.(2007), p.10.

18. Derek McCormack, Thinking Spaces for Research Creation (2008). Available at: http://www.senselab.ca/inflexions/htm/node/McCormack2.html

19. See Sarat Maharaj, ‘Unfinishable Sketch of “An Unknown Object in 4-D”: Scenes of Artistic Research’, in Artistic Research (eds.) Annette Balema and Henk Slager (Lier & Boog) Rodopi, 2011)

20. Victor Turner, From ritual to theatre: the human seriousness of play. New York City, Performing Arts Journal Publications, 1982, p.24.

21. Gilles Deleuze and Felix Guattari. A Thousand Plateaus, Minneapolis University of Minnesota Press. 1987, p.499. cited by Susanne Leeb, ‘A Line with Variable Direction, which Traces No Contour, and Delimits No Form’, in Drawing a Hypothesis: Figures of Thought, (ed.) Nikolaus Gansterer, (Springer, 2011).

22. Petra Sabisch, Choreographing relations: practical philosophy and contemporary choreography: in the works of Antonia Baehr, Gilles Deleuze, Juan Dominguez, Félix Guattari, Xavier Le Roy and Eszter Salamon. München, epodium, (2011). p.127. The full quotation reads: “Signs surface from changes of the differentiate relations in the idea, indicate and dramatize these transformations and partake, through the interplay of difference and repetition, in the redistribute of singular points. Analyzing Deleuze’s sign as intensive and dynamic sign, a sign that bears on its own becoming-sign, compels, however, the reconsideration of the way in which this sign, a differentiation of sense, can still account for the signifying activity”.

23. Karin Harrasser, "Drawing Interest / Recording Vitality", in Nikolaus  Gansterer, Drawing a Hypothesis – Figures of Thought  2011, Springer,  Wien/New York. The full quotation reads: “How can these visual artefacts be comprehended? I would suggest, following Roland Barthes, that they be conceived as “figures”. In the preface to A Lovers Discourse: Fragments (German ed. 1984), he writes: ‘We can call these fragments of speech ‘figures’. The word is to be understood, not in its rhetorical sense, but rather in its gymnastic or choreographic acceptation; in short, in the Greek meaning σχήμα [ˈsçima] is not the schema, but, in a much livelier way, the body's gesture caught in action and not contemplated in repose: the body of athletes, orators, statues: what in the straining body can be immobilised.’ Consequently, the drawing is only a fragment in the research process. It is the moment in research which can be captured and fixed, if only momentarily. Figures are thus snapshots of a process of knowledge production; they sort results and interpretations, and emphasise one direction of thought out of the pool of ideas and of ways of thinking. In addition, their material aspects provide contextual hints about the social and cultural embeddedness of research”.

24. Simon O’Sullivan, Art Encounters: Deleuze and Guattari: Thought Beyond Representation, (Palgrave, 2006).

25. Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics, Routledge, 2008.

26. Fischer-Lichte, 2008, p.141

Bibliography

Alain Badiou, Handbook of Inaesthetics, Stanford University Press, 2005.

Alain Badiou, Being and Event, trans. O. Feltham, London: Continuum, 2005.

John Berger, Berger on Drawing, 1958/2007.

Gabriele Brandstetter, & G. Boehm. & A. Von Müller, Figur und Figuration: Studien zu Wahrnehmung und Wissen. Munich Wilhelm Fink Verlag, 2007.

Gabriele Brandstetter,  Notationen und choreographisches Denken. Freiburg i. Br, Rombach, 2010.

Hélène Cixous, Stigmata: Escaping Texts, Routledge, 1998.

Hélène Cixous, Coming to Writing and Other Essays, Harvard University Press, 1991.

Emma Cocker, 'The Restless Line, Drawing', in Hyperdrawing: Beyond the Lines of Contemporary Art (eds.) Russell Marshall and Phil Sawdon, I. B. Tauris, 2010.

Gilles Deleuze and Felix Guattari, A Thousand Plateaus, Minneapolis University of Minnesota Press. 1987.

Gilles Deleuze, Negotiations: 1972 — 1990, New York: Columbia University Press, 1995.

Ulla E. Dydo, Gertrude Stein: The Language That Rises - 1923-1934 (Avant-garde and Modernism Studies) Northwestern University Press, 2009.

Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics, Routledge, 2008.

Karin Harrasser, 'Drawing Interest / Recording Vitality' in Drawing a Hypothesis: Figures of Thought, (ed.) Nikolaus Gansterer, Springer,  Wien/New York, 2011.

Susanne Leeb, ‘A Line with Variable Direction, which Traces No Contour, and Delimits No Form’, in Drawing a Hypothesis: Figures of Thought, (ed.) Nikolaus Gansterer, Springer,  Wien/New York, 2011.

Sarat Maharaj and Francisco Varela, ‘Ahamkara: Particules élémentaires of first-person consciousness’, in Intellectual Birdhouse: Artistic Practice as Research, Koenig Books, 2012.

Sarat Maharaj, ‘Unfinishable Sketch of “An Object in 4D”: Scenes of Artistic Research’, in Artistic Research,  (eds) Annette W. Balkema and Henk Slager, L&B, Volume 18, Amsterdam/New York: Lier en Boog, 2004.

Erin Manning, Relationscapes: Movement, Art, Philosophy (Technologies of Lived Abstraction Series), MIT Press, 2012.

Derek McCormack, Thinking Spaces for Research Creation (2008). Available at: http://www.senselab.ca/inflexions/htm/node/McCormack2.html

Jean-Luc, Nancy & C. Mandell, Listening, New York, Fordham University Press, 2007.

Antonio Negri, Time for Revolution, New York and London, Continuum, 2003.

Avis Newman, The Stage of Drawing: Gesture and Art, (ed.) Catherine de Zegher and Avis Newman, Tate Publishing, 2003.

Simon O’Sullivan, Art Encounters: Deleuze and Guattari: Thought Beyond Representation, Palgrave, 2006.

Petra Sabisch, Choreographing relations: practical philosophy and contemporary choreography: in the works of Antonia Baehr, Gilles Deleuze, Juan Dominguez, Félix Guattari, Xavier Le Roy and Eszter Salamon. München, epodium, 2011.

Spinoza, B. D., Ethics. London, Penguin Books, 1996.

Gertrude Stein, Composition as explanation, L. & V. Woolf / Hogarth Press, London, 1926.

Victor Turner, From Ritual to Theatre: the Human Seriousness of Play. New York City, Performing Arts Journal Publications, 1982.

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