[-empyre-] myths of conservation / the extents of learning experiences

Gabriel Menotti gabriel.menotti at gmail.com
Wed Feb 22 09:04:58 EST 2012

>myth […]: the opening of a space that allows one to create
>rituals of understanding around the social space,
>around pervasive epistemological-ontological
>constructs; [IOANA JUCAN]

I was not familiar with Dominguez’s ideas, and now I’m wondering if he
also considers the more normative dimension of rituals, as well as
those myths not about transformation, but about conservation (nature
as an ever-returning cycle both in pagan legends and in the abrahamic
Ecclesiastes, etc). This trope seems particularly central to some
stories about eternal punishment (such as Sisyphus’ and Prometheus’),
in which there is a sort of endless feedback cycle leading nowhere (or
forever-denied transformations/ deterioration).

>How can I make of my performance-making practice a learning
>experience (that materializes in some kind of knowledge
>acquisition or understanding) rather than an application of the
>theoretical outcomes of my research? [IJ]

Do you also extend this question to the moment of performance itself?
Can being on stage be a learning experience, instead of the
application of the outcomes of another process (e.g. scriptwriting,
rehearsal, etc )?

>(How) am I to justify my art practice in relation to
>my theoretical research and demonstrate its
>relevance to the latter? [IJ]

I believe this concern also connects to Magda’s questions about the
validation of practice within academia. In that sense, at this point,
do you feel inclined towards any of the three different approaches
outlined by her?


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