Part III: Minoritarian performance: infraphysics of becoming

3.01. confluence 0.1. Plant-human tracking (detail). 9 April 2013, London.

3.0. Introduction

In this Part, the narrative will follow the coming into being of artistic projects properly speaking. As claimed previously, ontology of the present and analytics of the possible are two modes of praxis, which are entangled with experimentation with bodies in spacetime, or infraphysics of becoming. This research proceeded through a nonlinear series of encounters with other-than-human bodies to which i sought or was called upon to become response-able in the context of contemporary social apparatuses. Each project below is an attempt at a making of a naturalcultural performative apparatus.

Each project description begins with an analytics of a specific apparatus of capture, situating myself within it, and locating the extra-human entities within. This analytics is a process of learning the diagram, disposition, translations, modus operandi of the apparatus. After the analytics, i move on to describe development and enactment of performance that aimed to re(con)figure the apparatus so that it becomes more hospitable and open towards expressions of inhuman matter.

The title of this Part, infraphysics, indicates an onto-epistemic entanglement of the artistic practice. ‘Infraphysics’ is a double homage to Karen Barad’s agential realism, to its intra-active onto-epistemology and to the world of quantum physics. I have learned immensely from Barad’s electrons. This neologism is also meant to defamiliarise the traditional genres or media of visual art, in my case, site-specific performance, durational performance and performance of everyday life. Physics is to indicate the materiality of the work, its disposition towards a becoming-minor of the grids and scales of human operativity in favour of more subtle, situated, and intimate intra-activity with molecules of the inhuman. Physics is also a ‘political physics’ (Kirby, 2011), embedded and affirming a ‘more-than-human sociality’ (Tsing, 2013).

In this Part, the images on the left side of the spread follow the sequence of the text on the right.

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