Content
Acknowledgements
Introduction: From a cultural to a critical concept of performance
- Performance, performativity and its disciples
- Marx's epistemology: A critical methodology
- Post-mediality and a generic concept of performance
- Task-Dance and the Event-Score: Epistemological Problems
Chapter 1. Practice: Performance a practice of relations
- Practice and a metaphysics of practice in Aristotle
- From action painting to performance art
- From musical modernism to performance in general
- Marx's relational practice: Smith, Hegel and Feuerbach
- Performance, a practice of relations
Chapter 2. Experience: Art as experience or an art to experience?
2.1. Dewey's concept of experience: Unmediated interaction
2.2. Art as experience: Ono and Forti
2.3. Critical limits of Dewey's experience: Kant versus Dewey
Chapter 3. Object: Acts of negations of the medium-specific art object
3.1. The minimalist and the de-materialised object
3.2. From independent things to acts of the subject
3.2. Dance and event as object: Kant
3.3. Phenomenal objectivities in task-dance and event-score practices: Husserl
Chapter 4. Abstraction: Task-dance's abstract ontology
4.1. Rainer's No-Manifesto and other negations
4.2. The social form of abstract labour: Marx
4.3. The autonomous artwork in Adorno
4.4. Division of labour, abstract time and the disciplined body.
Chapter 5. Structure: The performative structure-object
5.1. Structural objects in task-dance and in structuralism: Trisha Brown' Accumulation
5.2. The Performativity of the Cartesian I
5.3. Labour in general, art in general, performance in general
Notes
Bibliography
Index of names
Subject index
Index of works
