Starting from Husserl’s somewhat controversial claim about the immortality of the constituting subjectivity, this thesis uses the limit-case of death in order to present a phenomenological... Show moreStarting from Husserl’s somewhat controversial claim about the immortality of the constituting subjectivity, this thesis uses the limit-case of death in order to present a phenomenological exploration of the notion of subjectivity and its relationship to nature. It also offers a second-order discussion about the method and nature of phenomenology in the face of naturalism. The main conclusion of the research is that, in order to make sense of death while abiding by Husserlian methodological rules, it is necessary to reconsider the notion of subjectivity Show less
The PhD project Territoriality and Choreography in Site-Situated Performance is conducted through artistic practice and theoretical inquiry. The project performatively activates a series of... Show moreThe PhD project Territoriality and Choreography in Site-Situated Performance is conducted through artistic practice and theoretical inquiry. The project performatively activates a series of residential sites in Canada and the Netherlands. Site-situated performance refers to an artistic process that begins and ends on-site, working within the specific conditions of a location. The key terms territoriality and choreography here represent concepts and practices that express and navigate space-time(s). The project animates qualities of territoriality through a choreographed encounter between host-dancer, guest-audience and site-performance. Written and explored from the perspective of a Canadian settler scholar and artist, the project attunes to the material and discursive agency of the guest, host and site within colonial and settler colonial conditions. The project develops a critical and creative mode of engagement with the social, material and political characteristics of a site and with the world-building potential of performance. Show less
This dissertation commences from the concept of poiesis, informed chiefly by Hannah Arendt’s use of the term in The Human Condition (1958) to indicate a form of creativity married to craftsmanship.... Show moreThis dissertation commences from the concept of poiesis, informed chiefly by Hannah Arendt’s use of the term in The Human Condition (1958) to indicate a form of creativity married to craftsmanship. This poietic framework will then be used throughout the dissertation to inform a practice-based analysis of the learning process involved with physically polyphonic notations (herein defined as notations of dissynchronous physical actions within a single performative body). Despite polyphonic asynchrony, the unifying performative demands of these pieces are the learning strategies necessary to accomplish this eventual reassembly of instrumental practice within a single, performing body. The following essays will explore the physically polyphonic repertoire of the trombone specifically as a laboratory for problematizing this poietic approach to the learning process. Show less
Performances of solo keyboard repertoire can sound more or less polyphonic depending on the performer’s use of divergence in expression. Rather than being a purely cerebral experience, this... Show morePerformances of solo keyboard repertoire can sound more or less polyphonic depending on the performer’s use of divergence in expression. Rather than being a purely cerebral experience, this expressive divergence is situated in an ecological relationship between keyboard and player where the gestural dynamics of technique and musicianship overlap. Specific body schemata relating to expressive divergence are therefore foundational to the interpretive freedom of the performer in creating polyphonic expression, and feature transparently in the musical result. This dissertation theorises expressive divergence by examining the embodiment of single voices through the hierarchical structuring of coarticulation, and by showing how these multi-layered gestures combine in the polyphony of expression. This performative view of polyphony is contextualised not only in musical practice, but also in the wider interdisciplinary use of polyphony as a metaphor. Single-player polyphonic expression is shown to enact or demonstrate an inner experience of the plurality of subjective agency, an experience made possible by its embodied dimension. Besides verbalising and theorising polyphonic expression, this dissertation provides experiments and exercises useful for developing such a practice, as well as examples of its application in concert Show less
This book is about what happens when two people meet. Its main aim is to present an account of intersubjectivity. Most contemporary explanations of intersubjectivity fall into two main categories... Show moreThis book is about what happens when two people meet. Its main aim is to present an account of intersubjectivity. Most contemporary explanations of intersubjectivity fall into two main categories: theory theory and simulation theory. This book seeks to undermine the picture of intersubjectivity taken for granted by these accounts, and instead shows what social sense-making looks like from a pragmatic point of view. It proposes that intersubjectivity is enabled through a large range of second-person practices: (i) embodied practices allow us to employ various innate or early developing capacities that constitute a base-line for social understanding, (ii) embedded practices enable us to understand others within a broader social and pragmatic context, and (iii) narrative practices provide us with stories about self and other in order to further fine-tune and sophisticate our intersubjective interactions. Show less
