The question of the dark precursor should not be mistaken as an instant in a chronological unfolding of events. In determining intensities “in advance but in reverse, as though intagliated” the dark precursor actually lacks a sense of empirical time and it lacks its article. It is not a mere “one” but a singularity—that is, an actual occasion beyond the measure of time while being in time. What if we conceive of the performative dislodged from a simplified sense of present while accounting for its power of instauration—its capacity for making present that which is in time but never of a mere present moment? With the participants of this Dialogue, we will explore different modes of untimely fabulation, a mode of thinking and literally invoking the in-act of performance across forms of creative practice in philosophy and art. Performance becomes the point of entry for negotiating a sensibility for ethico-aesthetic attunements toward emergence, without knowing in advance how a situation, a body, or relations will play out in their actualisation. The in-act of performance designates a thought and practice in the act of its very own fabulation—that is, of the coming Dialogue.
Christoph Brunner, chair
about the author(s)
Christoph Brunner is research fellow at the Department of Art & Media, Zurich University of the Arts. He participates in the research project Immediations: Media, Art, Event, a partnership grant with eleven research institutes in Canada, Europe and Australia spanning from 2013-1019. Immediations. His dissertation Ecologies of Relation: Collectivity in Art and Media deals with questions of collectivity in art and philosophy. He received his MA in Cultural Studies from Goldsmiths, University of London and holds a BA in Social Anthropology and Religious Studies. Christoph is member of the SenseLab and part of the editorial collective of Inflexions. His most recent developments and further interests can be found at Molecular Becoming. Since 2016 assistant professor (Juniorprofessor) for cultural theory, Institute for Philosophy and Art Studies, Leuphana University Lüneburg
info & contact
Leuphana University, Lüneburg, DE
christoph.brunner [AT] leuphana.de
Arno Böhler (Univ.Doz.Dr.habil.) teaches philosophy at the University of Vienna and is founder of the philosophy-performance festival Philosophy On Stage. He was research fellow at the University of Bangalore, University of Heidelberg, New York University, University of Princeton, and University of Bremen. He heads the PEEK project “Artist-Philosophers. Philosophy AS Arts-Based-Research” (AR275-G21) at the University of Applied Arts Vienna, sponsored by the Austrian Science Fund (FWF).
info & contact
University of Vienna, AT
arno.boehler [AT] univie.ac.at
Susanne Valerie Granzer
Susanne Valerie Granzer (Univ.Prof.Dr.) is Professor of the central artistic subject Acting at the University for Music and Performing Arts Vienna, Max Reinhardt Seminar. As an actress she played starring roles at National State Theatres across Europe (Vienna, Basel, Düsseldorf, Frankfurt, Berlin). Parallel to her professional work as an actress she studied philosophy at the Goethe-University Frankfurt and the University of Vienna and achieved her PhD in philosophy in 1995. In 1997 she founded the Viennese art factory GRENZ-film, together with the Vienna-based philosopher Arno Böhler.
info & contact
University for Music and Performing Arts, Vienna, AT
granzer [AT] mdw.ac.at
Julien Bruneau (Belgium) is a dancer, choreographer, and visual artist based in Brussels. At the intersection of movement, drawing, and language, his work investigates the dynamic interplay between interiority and collectivity. Since 2010, he has given his research the name phréatiques (aquifers), a project developed with the collaboration of M. Dalinsky, A. Llaurens, L. Myers, S. Si Ahmed, and J. Peeters. In this frame, he has created performances and dance pieces, as well as drawings, in situ installations, an experimental discursive event, and an online publication. As a whole, his practice addresses the interactions between the many layers of our being in the world. More importantly, his work aims to invoke the ungraspable flow that animates these layers and percolates through them. Bruneau’s work has been supported, produced, and/or shown by Bains Connective, Sarma, Kaaistudio’s, Netwerk, Les Halles, Zsenne, De Pianofabriek, Roma Europa Festival, Vooruit, Workspacebrussels, WP Zimmer, Iselp, and The Drawing Box, among others. He graduated from La Cambre (Brussels) in 2002 and completed a master’s in choreography at the Theaterschool (Amsterdam Master of Choreography) in June 2014.
info & contact
Independent dancer, choreographer, and visual artist, Brussels, BE
bruneaujulien [AT] hotmail.com
Erin Manning holds a University Research Chair in Relational Art and Philosophy in the Faculty of Fine Arts at Concordia University (Montreal, Canada). She is also the director of the SenseLab, a laboratory that explores the intersections between art practice and philosophy through the matrix of the sensing body in movement. Her current art practice is centred on large-scale participatory installations that facilitate emergent collectivities. Current art projects are focused around the concept of minor gestures in relation to colour, movement, and participation. Publications include Always More Than One: Individuation’s Dance (Duke UP, 2013), Relationscapes: Movement, Art, Philosophy (Cambridge, MA.: MIT Press, 2009), and, with Brian Massumi, Thought in the Act: Passages in the Ecology of Experience (Minnesota UP, 2014). Forthcoming book projects include a translation of Fernand Deligny’s Les détours de l’agir ou le moindre geste (Duke UP) and a monograph entitled The Minor Gesture (Duke UP).
Christel Stalpaert is Full Professor of Theatre, Performance, and Media Studies at Ghent University (Belgium) where she is director of the research centres S:PAM (Studies in Performing Arts and Media) and PEPPER (Philosophy, Ethology, Politics and Performance). Her main areas of research are the performing arts, dance, and new media at the meeting point with philosophy. She has contributed to many journals such as Performance Research, Text & Performance Quarterly, Contemporary Theatre Review, and Dance Research Journal and edited works such as Deleuze Revisited: Contemporary Performing Arts and the Ruin of Representation (2003), No Beauty for Me There Where Human Life is Rare: on Jan Lauwers’ Theatre Work with Needcompany (2007), and Bastard or Playmate? Adapting Theatre, Mutating Media and the Contemporary Performing Arts (2012). She is Editor in Chief of Documenta, Studies in Performing Arts and Film (Academia Press Ghent) and is currently finishing her book on Performing Violent Conflicts and Traumas: Towards an Embodied Poetics of Failure.
info & contact
University of Ghent, BE
Christel.Stalpaert [AT] UGent.be