暂停的临时性

Q3 Arts and Humanities
Lucie Tuma, Kiran Kumar
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引用次数: 0

摘要

作者注:我们共同撰写的“美学关系”会议出版物的背景是露西在2020年设计的一场表演,她邀请了基拉参加ṇ 作为合作者。然而,由于国际旅行的限制,我们在演播室和舞台上的物理合作在那一年一直暂停。尽管如此,在那场演出前后,我们的交流仍在不断变化。我们称之为“暂停”的正是这种情况,即相互妥协但又保持一致的关系。对我们来说,这种暂停起初确实是一种干扰,甚至是中断我们艺术流的焦虑。然而,在这一年中的某个时刻,这种膨胀的紧张情绪破裂了,一种奇怪的放松开始了。表面上什么都没有改变(旅行限制只是延长了),但我们的内心却发生了变化。尽管我们仍然跨越各大洲,但我们在会议上的在线演讲是一篇联合文章,旨在从文本和表演两个方面阐明悬浮这件事的谦逊复杂性。到2022年出版本书时,我们已于2021年8月在瑞士举行了实体会议,在一定程度上打破了这一暂停。因此,我们决定不对2021年1月会议上的文本进行编辑,只在其后面添加此上下文注释。在这里,我们必须补充一点,下面一节中的文字(以“请把头转向左边…”开头)旨在作为行动的分数。最初是用我们的声音说的,现在我们请您邀请另一个人以从容的速度大声朗读这一部分,同时您对文本的建议做出回应。就我们而言,通过我们正在进行的交流和即将到来的项目,我们继续我们的合作艺术研究,将暂停工作作为艺术策略。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Temporality of Suspension
NOTE FROM THE AUTHORSThe context of our co-authored contribution to the ‘Aesthetic Relations’ conference-publication is a performance devised by Lucie in 2020 to which she invited Kiraṇ as a collaborator. Due to international travel restrictions however, our physical co-pres-ence in a studio and on stage remained suspended throughout that year. Our exchanges nevertheless continued in adaptive turns both before and after that performance. It is this condition of, at once, compromised yet consistent relation with each other that we refer to as ‘suspension’. For us this suspension was at first admittedly a source of disruption, even anxiety of interrupting our artistic flow. Yet there came a point during the year when this swelling tension ruptured, and a strange ease set in. Nothing had changed on the surface (travel restrictions were only extended), yet something had shifted under our skins. While still physically across continents, our online presentation at the conference was a joint essay at articulating, both textually and performatively, the unassuming complexity of this thing that is suspension. By the time of this publication in 2022, we have somewhat broken this suspension by physically meeting in Switzerland in August 2021. As such we have decided not to edit the text that was performed at the conference back in January 2021, and only append it with this contextual note. Here we must add that the text in one of the sections to follow (which begins with “Please turn your head to your left..”) is intended as a score for action. Originally spoken in our voices, we now ask you to invite another person to read this section aloud to you at an unhurried pace, while you respond to the text’s suggestions. As for us, we continue our collabora-tive artistic research of working in and with suspension as artistic strategy through our ongoing exchanges and upcoming projects.
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
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