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DOUBLE DIALOGUES

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Issue 2
Winter 2002
Lines of Flight

Issue 2

Lines of Flight

Resuming The Dialogue: Rhizomic Actualisations

A.M. McCulloch & R.A. Goodrich
Deakin University
Since 1996, we have organised conferences on the discourse of the arts. The conferences have, in turn, led to a journal entitled Double Dialogues, the first of which was in hard copy under the sole editorship of Ann McCulloch and has been distributed internationally.

Opening the Dialogue

The World is Turning to Pus: A Keynote Provocation

Mark Minchinton
Victoria University of Technology
I want to start with a joke. It is an old joke; many of you will have heard it: An owl is looking down from her tree at a small rabbit in a clearing in front of a large cave. The rabbit wears glasses, is surrounded by books and papers, and is typing on a notebook computer.

The Journey from Self to Self: First Questions when First Researching

Katrina Phillips & Colin Perry
Deakin University
Dance exists in a world of constant change. Surrounding the art, penetrating the practice, shaping and defining the parameters of what is said and done and how it is understood is culture.

Dance

Re-membering the Body: Investigating a Process

Rosalind Crisp
University of Western Sydney
With this paper the physical presentation will precede the verbal. The physical presentation is what I have called a laparoscopy of the process. It is an incision into my studio-based research in dance-making at this point in time.

Kim’s Style Guide for the Kinaesthetic Boffin: An Exercise in Anti-Communication

Kim Vincs
Deakin University
The attempt to interpret a dance rests on the idea that dance is primarily communicative in nature. If interpretation is possible, desirable, then there must be something to interpret. There must be information to be transmitted.

Theatre

The Space in Between: Four Languages in a Swamp

Paul Monaghan
University of Melbourne
Welcome to what I am calling 'Bulgaria' – I don’t mean the country, but the experience I had in that country. This paper tells a story. It's a story called "The Space In Between", and it's about four languages and a swamp.

Going/Not Going (Japan)

Alison Richards
Monash University
Actor enters holding seven brightly coloured shopping bags by their string handles, a number in each hand. She looks around uncertainly, then chooses a spot and stands facing across the performance space, looking ahead. Pause.

Lines of Flight: Imag(in)ing the Inbetween

Peter Snow
Monash University
Rather than present a performance and then expound on it, or introduce the performance with a theoretical proposition, or even place the performance within a discursive context as a lecture might do, it was decided for this project to embed the theoretical paper within the performance.

Reflections on Writing a Cross-Cultural Theatre Text

David Wright
University of Western Sydney
Some time ago I was invited to participate in a workshop designed to introduce western-trained actors to the training methods and performance styles of Peking Opera. The workshop, entitled Formwork by its director, Sally Sussman, was funded by the Performing Arts Board of the Australia.

Visual Arts

De Chirico and Walker in light of Nietzsche and Guattari: The Enigma of Partial Bodies in Illogical Spaces

A.M. McCulloch & R.A. Goodrich (in consultation with Deborah Walker)
Deakin University
If one concedes that the Freudian unconscious is inseparable from a society attached to its past, for example, its phallocentric traditions, Guattari’s alternative model dealing with "the production of subjectivity" offers a new perspective.

Dialogue with a Video-Maker: Visual Multiculturalism and Complexity

Brendon Stewart
University of Western Sydney
In the opening scene of the film, Colour Bars, by Mahmoud Yekta (1997), we assume the son’s point of view and follow along the telegraph lines with him: Dad where are we going? The boy questions the father who answers in Farsi.

Writing

(Dub)ble Exposure

Kevin Brophy
Deakin University
I begin with Jorge Luis Borges' quotation from "a certain Chinese Encyclopedia" in which it is written that "animals can be categorised into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs.

Gaps in ‘Read-Makers’: Young Children Finding and Filling Gaps in Stories

Virginia Lowe
Australian Catholic University
I am not an artist, a creator, and certainly not a performer. Instead, I am here to represent all those who are the recipients of art, its audience, readers, viewers, listeners.

This issue of Double Dialogues takes as its mantra Gilles Deleuze’s philosophical premise that advocates ‘Lines of Flight’ in thinking and in art-making. This kind of thinking must by definition go beyond limitations imposed by categories, definitions and any form of knowledge that does not recognise its own provisionality.

In relation to the double dialogue between the art and the reflection upon it, these essays enact a flight away from methodologies that constrain and, instead, experiment in Deleuzian smooth space. One of the contributors quotes the following which contextualises beautifully the questions that emerge, and confound, from a position of flight rather than fixity:

"Am I an artist just playing at being an academic or am I an academic just playing at being an artist? When Alice stepped through the looking glass, she entered the realm of imagination. Looking at oneself can be a genuine source of reflection, but Alice was not content simply to see herself. She wondered what the world on the other side of the glass was like. In pretending, in imagining, the solid glass gave way and Alice was in that world on the other side of things."

 

Double Dialogues | Refereed Arts Journal | ISSN 1447-9591  
© Double Dialogues 2020 unless otherwise credited