Papers by Simon Taylor
This thesis presents a study of dandyism with
reference to Oscar Wilde and Dorian Gray in
the f... more This thesis presents a study of dandyism with
reference to Oscar Wilde and Dorian Gray in
the form of a comparative analysis. It
provides a critique of the social and cultural
theories of dandyism of Ellen Moers, Sima
Godfrey, Carter Ratcliff, in relation to the
dandyfied views of Charles Baudelaire and
Barbey D'Aurevilly. It establishes a
philosophical tradition of dandyism, bearing
on the positions of Jacques Derrida, and on
Jean Baudrillard's characterization of
postmodernity. Employing the ideas of Walter
Benjamin and Andrew Ross, it puts the thesis
of the dandy as a point of confluence between
fashion and philosophy, ethics and aesthetics.
The following adds to my ongoing consideration of cinematic time after Bergson’s concept of durat... more The following adds to my ongoing consideration of cinematic time after Bergson’s concept of duration and alongside Deleuze’s of the time-image. Although they are nonconsecutive, they build. The first part is called "Enduring Dreams," the second "Plan vital," the third, "Things I left out of a note on cinematic time," the fourth, "Theory of the moving image, to be contd.," the fifth, "Linking the computus and moving image: a more direct statement," now this, by which the fourth is continued and completed, is the sixth.
The following adds to my ongoing consideration of cinematic time after Bergson’s concept of durat... more The following adds to my ongoing consideration of cinematic time after Bergson’s concept of duration and alongside Deleuze’s of the time-image. Although they are nonconsecutive, they build. The first part is called Enduring Dreams, the second Plan vital, the third, Things I left out of a note on cinematic time, the fourth, Theory of the moving image, to be contd., now this is the fifth.
What have we learnt? In the first place, in the long note on cinematic time, the timely time, clo... more What have we learnt? In the first place, in the long note on cinematic time, the timely time, clocktime and the time able to be measured by reference to the points articulating it, in cinema, on film, replaced any idea of time we might have from Bergson. This was the difficulty in understanding Bergson, reading him today. We can't get at the thing he's best for because, I think, the mysterious aura of the cinematic image, the moving image, eclipses it.
This is the third part of my consideration of cinematic time after Bergson's concept of duration ... more This is the third part of my consideration of cinematic time after Bergson's concept of duration and Deleuze's of the time-image. Although they are nonconsecutive it follow the first called "Enduring Dreams," also uploaded here, and the second, "Plan vital." Please feel free to contact me if you have any questions or comments.
A sidenote to the long note on cinematic time, this text presents the concept of a plan vital. It... more A sidenote to the long note on cinematic time, this text presents the concept of a plan vital. It draws equally from Bergson's élan vital and Deleuze's transcendental plan(e). The virtual is a reflection not in space, in time. NB: Choose download to view paper. The download function works although it looks like the preview function does not.
A note on cinematic time has it that to cinema and its spread is due a change in the prevailing v... more A note on cinematic time has it that to cinema and its spread is due a change in the prevailing view of what time is and how it works. Bergson's and Russell's views on time are contrasted as being exemplary of a scientific, mathematical time, Russell, and a processual natural time, Bergson, a time of duration. A note on cinematic time ends with the contrast between what endures and what is inert to suggest that the time that belongs to dreams and to films and that in them is suspended endures.
this portable document format text was written when I realised that the book I had been working o... more this portable document format text was written when I realised that the book I had been working on, about theatre pt. 1, about writing, pt. 2, begged the question. The question it assumed answered, that it took for granted, was, What’s the point of art research? Sometimes called practice-as-research and artistic research, I mean, What is it? And, why should I care to look at theatre or at writing from the perspective of these being two different research practices, as two different avenues for art or artistic research?
I attempt to answer these questions, I assay to and these attempts are recorded as the 3 essays; and whether successful or not, they have 3 endings.
I completed pretty much the whole of the part about theatre (as art research) before I realised it was begging the question (I hope I’m using that phrase correctly. My understanding is that it doesn’t mean asking or raising the question but proceeding without thought for there still being a question at all). 3 essays 3 endings looks forward to this part and the part about writing (as art research). They are preparatory essays, an extended pretext, setting out the reasons for art research before doing it with theatre and writing.
I went backwards, kind of unwriting the book I thought I was writing. I also went sideways, like one of those battery-operated toys, that, when it hits an obstacle, changes direction at random.
I decided to run through the entirety of my findings from the part about theatre in a series of 68 letters. These were addressed to ‘you’ the reader at https://squarewhiteworld.com (against the darkroundearth). The series is available at squarewhiteworld as theatre | …: first half in epistolary form, under the heading Ἀκαδήμεια.
What I wanted to say about writing as art research has so far only come out in the two lectures presented at Auckland University of Technology in 2021. These have audio. The Lecture on Reflective Writing is and the Lecture on Academic Writing are at squarewhiteworld.
Since writing 3 essays 3 endings, I also presented ten lectures on moving image theory and context. This series of lectures takes up on many of the ideas from the book; that an art practice, making work in moving image, is a way of thinking, or can be; that to engage creatively with a medium is to think with it; that this constitutes a form of art research. The series is also at squarewhiteworld.
If you would like to support the completion of the book… or you might prefer to support its noncompletion… please contact me. Comment and critique is welcome, either through contact or comments. Thanks!
Best,
Simon
What kind of maps are adequate for the second millennium? And what kind of map-making? We are 1.4... more What kind of maps are adequate for the second millennium? And what kind of map-making? We are 1.4% of the way in and the maps we currently have do not so much orientate us as locate us: navigation is automatic as long as we know where we are going. Current map-making separates the functions of navigation and location. The surface of the earth is available to us on our screens at a distance so great as to be abstract and at a proximity so close as to be a forced intimacy. These of course are still frames. But then the features in maps we used to need to steer by did not used to require constant updating, so that the promise of real-time accuracy might seem to have less to do with a geographic than with a temporal mapping. The time-scale might seem to have taken priority over the space scale, however using the maps we have what is hardest to grasp is exactly where we are in time. Where spatial distances have collapsed and the middle distance like the middle class is in the process of disappearing -recuperable only in old media, on TV, in books, on paper: where it is less a problem of perpetuating values than of preserving the record of their passing -distances in time have exploded. A thousand years has become impossible to conceive of let alone map. The temporal horizon itself has receded beyond the reach of any map. There are people who offer as the reason for this evacuation of time the observation that we are in constant movement: time is an issue as long as we arrive where we are going in time; and generally knowing where we are is more important to us than knowing how we get there. We have the maps we deserve.
You are saying something to me. But I can't hear you over the roar of the river.
Conference Presentations by Simon Taylor
From the current paper, entitled “A Picturebook of Practice: Jacob von Uexküll's Raids on the Unk... more From the current paper, entitled “A Picturebook of Practice: Jacob von Uexküll's Raids on the Unknown”, the following experiment is missing. Uexküll, whose name has been proletarianised throughout, places a bee in front of a cup of honey, from which it starts to suck. The bee's abdomen is cut away but the bee drinks on regardless and the honey drips onto the experiment table. The bee will carry on drinking for as long as it lives or until the supply of honey is exhausted. From experiments such as this, and there are many, including a tick that is kept alive in the laboratory for 18 years, the tick Gilles Deleuze admired for having only three elements to its world—another tick—(it is also a question of the relation between Deleuze and Uexküll) the biologist brought about what he considered to be a revolution in biology and in our understanding of life in general. He showed that all living organisms produce signs and that these signs, borrowing some words from Deleuze and Félix Guattari's Anti-Oedipus, “command the things they signify” (1972/2008:206): they compose the worlds in which individuals, whether animal, insect, fungus or human, live, that are all they know. Uexküll invented the term Umwelt to depict these subject-worlds. The discussion of Uexküll makes several detours, in particular one taking in Martin Heidegger's appropriation of Uexküll's work, which prepares his philosophical up-take; at issue is the relationship between practices and their mutual imbrication or reciprocal expression. Can a picturebook depict biology—even if its aim is to blow minds with how a dog, fly or child sees the world—? and if this is its aim, does it translate? Can an image stand for a sign? without the sign escaping into another? Is debt—Anti-Oedipus again—before exchange?
Thesis Chapters by Simon Taylor
MINUS THEATRE: SCENES | ELEMENTS, 2017
Abstract
Minus Theatre: scenes, elements experiments with theatre as the art, method and techniq... more Abstract
Minus Theatre: scenes, elements experiments with theatre as the art, method and technique, to explore processes of individuation. It entitles a PhD thesis, undertaken at the Auckland University of Technology (AUT), consisting of artistic research in theatre, conducted from March 2014 with the group called Minus, under the direction of the candidate, over the duration of the candidacy, to achieve completion early 2017 in a written exegesis and theatre production.
In Minus Theatre the primary agency of the actor is no longer the given of theatrical display or dramatic performance because the unity of form of the individual, of the acting physical agency and of the speaking linguistic subject, is subtracted. The human actor is neither the object of the scenographic composition, nor the subject of dramaturgical exposition. In individuation, the individual ceases to be either the locus of judgement or source of coherence marshalling, governing and bringing into harmony and order forces and powers which exceed it. It is these forces and powers, in the tensions of their disharmony and disorder, that become intensive materials and energetic compounds in the process of individ-uation. These are the focus of the practice, its scenes.
From the negation of the unity presumed of the individual, from the minusing of the individual, comes not less but rather more. Where the addition of a mask marks the theatre presupposing human agency of individual actors with the multiplication of characters, performing their dramatic, nondramatic or postdramatic actions in a setting social for be-ing based on the individual, Minus Theatre turns this insight of theatre onto individuation by way of the multiplicity of characters and masks, psychic, social, cultural and linguistic, of which the individual mask is just one more—and can be gone without. This multiplicity includes the figure, mask or character, which are its representative means and would conventionally integrate it. Comprising asignifying and impersonal be-longings, not beings, these are characteristic singularities constitutive of unique points of view—so many as Simondon gives to them the terms metastability and transindividual, since from their propensity to de-phase, to fall out of phase with one other, flow states, which go beyond them, of becoming and transformation.
The study encounters elements as that which supports life. Since they are not granted to all to enjoy or endure but are limited in duration and restricted in the sustenance they deliver, the elements are not primordial or universal conditions but provisional understandings. Such understand-ings the Anthropocene carries forth in terms of imposing an internal geotemporal limit to human life on the basis of which the prospect of its extinction emerges. The importance to the study of this notion is that it also individuate, as elemental of a causation more profound, and in surpassing the given. Prompting the negation of the individual in the practice is that such an understanding as is offered by extinction lead to new possibilities of life that affirm its provisionality and transitory nature, understood elementally in theatre as the ephemeral art par excellence.
With a voluntary membership of performers from divers disciplines, including drama, dance and music, each with different levels of skill and experience, rather than teach, moderate and resolve differences, I have in Minus, as director, devised to encourage their expression, in a form of theatre we have, as a group, called a theatre of individual life—theatre as what expresses and life as what exceeds the individual in individuation. From this form of theatre has developed thief as a directorial method. The method (thief—acronym for theatre of imitation, expression and f___ery) opens the way for the imitation of what each member of Minus perceives and can understand to be part of the multiplicity of asignifying and impersonal forces and energies involved in the process of another
performer's individuation. The f___ery comes about with the exacerbation of, the introduction of disorder into, the metastable field of material forces and energetic compounds, distributed over the space and temp-orally, over the duration of the scene, so as to intensify differences and promote the dephasing of individuation.
The use in performance of English and of spoken languages other than English as expressive elements rather than as means of communicative exchange, informing the social construction of the linguistic subject, aids in this intensification. Languages and cultures contributing to the individ-uation of the group have included Korean, Russian, Chinese (Mandarin, Cantonese), Congolese (Swahili, Ugandan, Xhosa), Brazilian, Guadalupian (Creole), Mexican, Macedonian, Indian (Hindi), Solomon Islands (Pidgin), UK, US and NZ (Maori, Pakeha).
The study closely follows the development of Minus's theatrical and my own directorial practices, through to our continuing work with and research into a theatre of elements, which understands elements to be what supports life in its impermanence, transience and ongoing transformation. This impermanence, transience and ongoing transform-ation is of individuals, scenes and elements. Theatre of elements extends, and contrasts with, the approach of thief in a method of assembling cultures and languages, the human, with the inhuman, the inside with what is without it—in the giving of exteriority as such.
This is a sample chapter from the exegesis following my successfully completed PhD artistic resea... more This is a sample chapter from the exegesis following my successfully completed PhD artistic research in theatre, directing the group Minus Theatre.
I am currently considering the best route to take towards the publication of the book-length exegesis in its entirety.
If you have any interest, questions, suggestions or recommendations please don't hesitate to contact me.
Best,
Simon Taylor
Uploads
Papers by Simon Taylor
reference to Oscar Wilde and Dorian Gray in
the form of a comparative analysis. It
provides a critique of the social and cultural
theories of dandyism of Ellen Moers, Sima
Godfrey, Carter Ratcliff, in relation to the
dandyfied views of Charles Baudelaire and
Barbey D'Aurevilly. It establishes a
philosophical tradition of dandyism, bearing
on the positions of Jacques Derrida, and on
Jean Baudrillard's characterization of
postmodernity. Employing the ideas of Walter
Benjamin and Andrew Ross, it puts the thesis
of the dandy as a point of confluence between
fashion and philosophy, ethics and aesthetics.
I attempt to answer these questions, I assay to and these attempts are recorded as the 3 essays; and whether successful or not, they have 3 endings.
I completed pretty much the whole of the part about theatre (as art research) before I realised it was begging the question (I hope I’m using that phrase correctly. My understanding is that it doesn’t mean asking or raising the question but proceeding without thought for there still being a question at all). 3 essays 3 endings looks forward to this part and the part about writing (as art research). They are preparatory essays, an extended pretext, setting out the reasons for art research before doing it with theatre and writing.
I went backwards, kind of unwriting the book I thought I was writing. I also went sideways, like one of those battery-operated toys, that, when it hits an obstacle, changes direction at random.
I decided to run through the entirety of my findings from the part about theatre in a series of 68 letters. These were addressed to ‘you’ the reader at https://squarewhiteworld.com (against the darkroundearth). The series is available at squarewhiteworld as theatre | …: first half in epistolary form, under the heading Ἀκαδήμεια.
What I wanted to say about writing as art research has so far only come out in the two lectures presented at Auckland University of Technology in 2021. These have audio. The Lecture on Reflective Writing is and the Lecture on Academic Writing are at squarewhiteworld.
Since writing 3 essays 3 endings, I also presented ten lectures on moving image theory and context. This series of lectures takes up on many of the ideas from the book; that an art practice, making work in moving image, is a way of thinking, or can be; that to engage creatively with a medium is to think with it; that this constitutes a form of art research. The series is also at squarewhiteworld.
If you would like to support the completion of the book… or you might prefer to support its noncompletion… please contact me. Comment and critique is welcome, either through contact or comments. Thanks!
Best,
Simon
Conference Presentations by Simon Taylor
Thesis Chapters by Simon Taylor
Minus Theatre: scenes, elements experiments with theatre as the art, method and technique, to explore processes of individuation. It entitles a PhD thesis, undertaken at the Auckland University of Technology (AUT), consisting of artistic research in theatre, conducted from March 2014 with the group called Minus, under the direction of the candidate, over the duration of the candidacy, to achieve completion early 2017 in a written exegesis and theatre production.
In Minus Theatre the primary agency of the actor is no longer the given of theatrical display or dramatic performance because the unity of form of the individual, of the acting physical agency and of the speaking linguistic subject, is subtracted. The human actor is neither the object of the scenographic composition, nor the subject of dramaturgical exposition. In individuation, the individual ceases to be either the locus of judgement or source of coherence marshalling, governing and bringing into harmony and order forces and powers which exceed it. It is these forces and powers, in the tensions of their disharmony and disorder, that become intensive materials and energetic compounds in the process of individ-uation. These are the focus of the practice, its scenes.
From the negation of the unity presumed of the individual, from the minusing of the individual, comes not less but rather more. Where the addition of a mask marks the theatre presupposing human agency of individual actors with the multiplication of characters, performing their dramatic, nondramatic or postdramatic actions in a setting social for be-ing based on the individual, Minus Theatre turns this insight of theatre onto individuation by way of the multiplicity of characters and masks, psychic, social, cultural and linguistic, of which the individual mask is just one more—and can be gone without. This multiplicity includes the figure, mask or character, which are its representative means and would conventionally integrate it. Comprising asignifying and impersonal be-longings, not beings, these are characteristic singularities constitutive of unique points of view—so many as Simondon gives to them the terms metastability and transindividual, since from their propensity to de-phase, to fall out of phase with one other, flow states, which go beyond them, of becoming and transformation.
The study encounters elements as that which supports life. Since they are not granted to all to enjoy or endure but are limited in duration and restricted in the sustenance they deliver, the elements are not primordial or universal conditions but provisional understandings. Such understand-ings the Anthropocene carries forth in terms of imposing an internal geotemporal limit to human life on the basis of which the prospect of its extinction emerges. The importance to the study of this notion is that it also individuate, as elemental of a causation more profound, and in surpassing the given. Prompting the negation of the individual in the practice is that such an understanding as is offered by extinction lead to new possibilities of life that affirm its provisionality and transitory nature, understood elementally in theatre as the ephemeral art par excellence.
With a voluntary membership of performers from divers disciplines, including drama, dance and music, each with different levels of skill and experience, rather than teach, moderate and resolve differences, I have in Minus, as director, devised to encourage their expression, in a form of theatre we have, as a group, called a theatre of individual life—theatre as what expresses and life as what exceeds the individual in individuation. From this form of theatre has developed thief as a directorial method. The method (thief—acronym for theatre of imitation, expression and f___ery) opens the way for the imitation of what each member of Minus perceives and can understand to be part of the multiplicity of asignifying and impersonal forces and energies involved in the process of another
performer's individuation. The f___ery comes about with the exacerbation of, the introduction of disorder into, the metastable field of material forces and energetic compounds, distributed over the space and temp-orally, over the duration of the scene, so as to intensify differences and promote the dephasing of individuation.
The use in performance of English and of spoken languages other than English as expressive elements rather than as means of communicative exchange, informing the social construction of the linguistic subject, aids in this intensification. Languages and cultures contributing to the individ-uation of the group have included Korean, Russian, Chinese (Mandarin, Cantonese), Congolese (Swahili, Ugandan, Xhosa), Brazilian, Guadalupian (Creole), Mexican, Macedonian, Indian (Hindi), Solomon Islands (Pidgin), UK, US and NZ (Maori, Pakeha).
The study closely follows the development of Minus's theatrical and my own directorial practices, through to our continuing work with and research into a theatre of elements, which understands elements to be what supports life in its impermanence, transience and ongoing transformation. This impermanence, transience and ongoing transform-ation is of individuals, scenes and elements. Theatre of elements extends, and contrasts with, the approach of thief in a method of assembling cultures and languages, the human, with the inhuman, the inside with what is without it—in the giving of exteriority as such.
I am currently considering the best route to take towards the publication of the book-length exegesis in its entirety.
If you have any interest, questions, suggestions or recommendations please don't hesitate to contact me.
Best,
Simon Taylor
reference to Oscar Wilde and Dorian Gray in
the form of a comparative analysis. It
provides a critique of the social and cultural
theories of dandyism of Ellen Moers, Sima
Godfrey, Carter Ratcliff, in relation to the
dandyfied views of Charles Baudelaire and
Barbey D'Aurevilly. It establishes a
philosophical tradition of dandyism, bearing
on the positions of Jacques Derrida, and on
Jean Baudrillard's characterization of
postmodernity. Employing the ideas of Walter
Benjamin and Andrew Ross, it puts the thesis
of the dandy as a point of confluence between
fashion and philosophy, ethics and aesthetics.
I attempt to answer these questions, I assay to and these attempts are recorded as the 3 essays; and whether successful or not, they have 3 endings.
I completed pretty much the whole of the part about theatre (as art research) before I realised it was begging the question (I hope I’m using that phrase correctly. My understanding is that it doesn’t mean asking or raising the question but proceeding without thought for there still being a question at all). 3 essays 3 endings looks forward to this part and the part about writing (as art research). They are preparatory essays, an extended pretext, setting out the reasons for art research before doing it with theatre and writing.
I went backwards, kind of unwriting the book I thought I was writing. I also went sideways, like one of those battery-operated toys, that, when it hits an obstacle, changes direction at random.
I decided to run through the entirety of my findings from the part about theatre in a series of 68 letters. These were addressed to ‘you’ the reader at https://squarewhiteworld.com (against the darkroundearth). The series is available at squarewhiteworld as theatre | …: first half in epistolary form, under the heading Ἀκαδήμεια.
What I wanted to say about writing as art research has so far only come out in the two lectures presented at Auckland University of Technology in 2021. These have audio. The Lecture on Reflective Writing is and the Lecture on Academic Writing are at squarewhiteworld.
Since writing 3 essays 3 endings, I also presented ten lectures on moving image theory and context. This series of lectures takes up on many of the ideas from the book; that an art practice, making work in moving image, is a way of thinking, or can be; that to engage creatively with a medium is to think with it; that this constitutes a form of art research. The series is also at squarewhiteworld.
If you would like to support the completion of the book… or you might prefer to support its noncompletion… please contact me. Comment and critique is welcome, either through contact or comments. Thanks!
Best,
Simon
Minus Theatre: scenes, elements experiments with theatre as the art, method and technique, to explore processes of individuation. It entitles a PhD thesis, undertaken at the Auckland University of Technology (AUT), consisting of artistic research in theatre, conducted from March 2014 with the group called Minus, under the direction of the candidate, over the duration of the candidacy, to achieve completion early 2017 in a written exegesis and theatre production.
In Minus Theatre the primary agency of the actor is no longer the given of theatrical display or dramatic performance because the unity of form of the individual, of the acting physical agency and of the speaking linguistic subject, is subtracted. The human actor is neither the object of the scenographic composition, nor the subject of dramaturgical exposition. In individuation, the individual ceases to be either the locus of judgement or source of coherence marshalling, governing and bringing into harmony and order forces and powers which exceed it. It is these forces and powers, in the tensions of their disharmony and disorder, that become intensive materials and energetic compounds in the process of individ-uation. These are the focus of the practice, its scenes.
From the negation of the unity presumed of the individual, from the minusing of the individual, comes not less but rather more. Where the addition of a mask marks the theatre presupposing human agency of individual actors with the multiplication of characters, performing their dramatic, nondramatic or postdramatic actions in a setting social for be-ing based on the individual, Minus Theatre turns this insight of theatre onto individuation by way of the multiplicity of characters and masks, psychic, social, cultural and linguistic, of which the individual mask is just one more—and can be gone without. This multiplicity includes the figure, mask or character, which are its representative means and would conventionally integrate it. Comprising asignifying and impersonal be-longings, not beings, these are characteristic singularities constitutive of unique points of view—so many as Simondon gives to them the terms metastability and transindividual, since from their propensity to de-phase, to fall out of phase with one other, flow states, which go beyond them, of becoming and transformation.
The study encounters elements as that which supports life. Since they are not granted to all to enjoy or endure but are limited in duration and restricted in the sustenance they deliver, the elements are not primordial or universal conditions but provisional understandings. Such understand-ings the Anthropocene carries forth in terms of imposing an internal geotemporal limit to human life on the basis of which the prospect of its extinction emerges. The importance to the study of this notion is that it also individuate, as elemental of a causation more profound, and in surpassing the given. Prompting the negation of the individual in the practice is that such an understanding as is offered by extinction lead to new possibilities of life that affirm its provisionality and transitory nature, understood elementally in theatre as the ephemeral art par excellence.
With a voluntary membership of performers from divers disciplines, including drama, dance and music, each with different levels of skill and experience, rather than teach, moderate and resolve differences, I have in Minus, as director, devised to encourage their expression, in a form of theatre we have, as a group, called a theatre of individual life—theatre as what expresses and life as what exceeds the individual in individuation. From this form of theatre has developed thief as a directorial method. The method (thief—acronym for theatre of imitation, expression and f___ery) opens the way for the imitation of what each member of Minus perceives and can understand to be part of the multiplicity of asignifying and impersonal forces and energies involved in the process of another
performer's individuation. The f___ery comes about with the exacerbation of, the introduction of disorder into, the metastable field of material forces and energetic compounds, distributed over the space and temp-orally, over the duration of the scene, so as to intensify differences and promote the dephasing of individuation.
The use in performance of English and of spoken languages other than English as expressive elements rather than as means of communicative exchange, informing the social construction of the linguistic subject, aids in this intensification. Languages and cultures contributing to the individ-uation of the group have included Korean, Russian, Chinese (Mandarin, Cantonese), Congolese (Swahili, Ugandan, Xhosa), Brazilian, Guadalupian (Creole), Mexican, Macedonian, Indian (Hindi), Solomon Islands (Pidgin), UK, US and NZ (Maori, Pakeha).
The study closely follows the development of Minus's theatrical and my own directorial practices, through to our continuing work with and research into a theatre of elements, which understands elements to be what supports life in its impermanence, transience and ongoing transformation. This impermanence, transience and ongoing transform-ation is of individuals, scenes and elements. Theatre of elements extends, and contrasts with, the approach of thief in a method of assembling cultures and languages, the human, with the inhuman, the inside with what is without it—in the giving of exteriority as such.
I am currently considering the best route to take towards the publication of the book-length exegesis in its entirety.
If you have any interest, questions, suggestions or recommendations please don't hesitate to contact me.
Best,
Simon Taylor