Practices of Relations in Task-Dance and the Event-Score: A Critique of Performance

Cover
Half Title
Series
Title
Copyright
Dedication
Contents
Acknowledgements
Introduction: from a cultural to a critical concept of performance in art
	Performance, performativity and its disciples
	Marx’s epistemology: a critical methodology
	Post-mediality and a generic concept of performance
	Task-dance and the event-score: epistemological problems
	Chapter summary
1 Practice: performance, a practice of relations
	Practice and a metaphysics of practice in Aristotle
	From action painting to performance art
	From musical modernism to performance in general
	Marx’s relational practice: Smith, Hegel and Feuerbach
	Performance, a practice of relations
2 Experience: Art as Experience or an art to experience?
	Dewey’s concept of experience: unmediated interaction
	Art as experience: Ono and Forti
	Critical limits of experience: Kant versus Dewey
3 Object: acts of negations of the medium-specific art object
	The minimalist and the dematerialised object
	From independent things to acts of the subject
	Dance and event as an Objekt: Kant
	Phenomenal objectities in task-dance and event-score practices: Husserl
4 Abstraction: task-dance’s abstract ontology
	Rainer’s No-Manifesto and other negations
	The social form of abstract labour
	The autonomous artwork in Adorno
	Division of labour, abstract time and the disciplined body
5 Structure: the performative structure-object
	Structural objects in task-dance and in structuralism: Trisha Brown’s Accumulation
	The performativity of the Cartesian I
	Labour in general, art in general, performance in general
Index