Browsing by Subject "non-discursive"

I study the incarnated complexes of temporality in Kazuo Ohno’s (1906-2010) late work, especially the performance Admiring La Argentina, which I saw in 1982. The research problem is the unsuitability of discourses concerning the pathic puzzle and miracle of this dance. To my knowledge, there is no research tackling the complex of temporalities and the non-measurable temporality of subjectivity. My research tools and theoretical-methodological base come from the concepts of metamodeling of subjectivity from F. Guattari’s Chaosmose as well as Agamben’s theory of the epistemic and methodical paradigm. I place Ohno’s solo dance into a specific microtemporality, which I name dis≈tanssi, and the constructive event loci, a photograph, which I name ins-tanssi. I also depict different qualities of dis≈tanssi: the dis-tango and the ambi-waltz. Ohno’s performance with its dis-forming and the virtual auditorium assemblage are Guattarian aesthetic-ethic paradigms for enriching subjectivity, for which there is a practical need in societies subdued by capital. I study the incarnated multitemporality of Ohno’s dance as well as the attaining of the non-discursive part of the (Guattarian) collective and individual subjectivity in Ohno’s work. This pursuit occurs through the linguistic bridges I have collected. A component of the study is a virtual spectator composition, a foyer, a waiting place, which consists of a collective breath and some named and anonymous expectators, singular pieces of art as aesthetic Agambenian paradigms. My main question was answered, namely how the trauma and miracle that were experienced after K. Ohno’s performance could be named, as well as how they happened: it was about a miracle or a complex of miracle and trauma. My secondary question was how and in what kind of an ontological context to study the pathic, non-discursive part of subjectivity. A new paradigm method and new concepts, a new aesthetic context and approaching the performance as an idiosyncratic process of becoming written answered the secondary, methodological question. My own aesthetic research application was formed as a result of this study, combining Guattari and Agamben’s paradigms and providing a new ontological context, making space for the uniqueness of the research subject. As the methodological result, a new set of concepts describing the dance and the expectators, was formed from Ohno’s idiosyncratic dance. Additionally, I dis-formed the performance by introducing diverse, idiosyncratic linguistic bridges.