fwf-Project: TRP12-G21 (English)
FWF-Research-Project* Generating Bodies (TRP12-G21)
accepted by the Austrian-Science-Funds (FWF) in May 2010 for three years (Oktober 2010 till September 2013).
Proposal (PDF/English Version)
Applicant, Principal Investigator:
Univ.Doz.Mag.Dr.phil. Arno BOEHLER (University of Vienna, Department of Philosophy, 20 % self application)
Co-Applicants:
Univ.Prof.MMag.Dr. Susanne GRANZER, partner 1 (Lecture-Performances)
(University of Music and Performing Arts Vienna, Max Reinhardt Seminar)
Univ.Doz.Dr. Krassimira KRUSCHKOVA, partner 2 (Lecture-Performance Archive)
(Director of the Theory Department at Tanzquartier Vienna, 20 % self application)
Univ.Prof.Dr. Alice PECHRIGGL, partner 2 (Theory)
(University Klagenfurt, Department of Philosophy)
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*The applicant considers this proposal as a further differentiation and continuation of his FWF-stand-alone project “Materiality and Temporality of Performative Speech Acts” (2005-2007), sponsored by the Austrian Science Fund. A continuation of this former project has explicitly been recommended in the final FWF peer review evaluation in August 2008. Detailed information on this former project: see project website https://www.univie.ac.at/performanz
A. Description Of The Research-Program
1. Scientific Aspects
1.1. Theory part of the project
1.1.1. Historical context of our approach toward a performative concept of acting
Insofar as speech-act theories constitutively suppose, that “issuing an utterance is the performing of an action” (Austin 1962/1975, pp. 6-7) one would assume that the structure of what constitutes the performance of an act would be a vast field of analysis in such theories. But this is surprisingly not the fact, as Jacques Derrida showed in Limited Inc. (Derrida 2001dt.)[1] already. Even though speech-act theorist “has been using the term ‘act’ so often,” the structural conditions of what it means to act indeed has “rarely been analyzed, like the word event” (Derrida 2001dt., p. 97)[2]; especially in Searle’s reading of Austin.
According to Derrida his book Speech acts (Searle 1969) is not able to grasp the performative aspect structurally involved in the execution of an action, due to the fact that Searle precisely deprives acting from its performativity by subjecting the taking place of an action entirely under the governance and control of its intention: „there is no getting away from intentionality, because a meaningful sentence is just [sic!] a standing possibility of the corresponding (intentional) speech act.” (Searle 1977, p. 202; Derrida 2001dt, p. 97).
A statement like this, uttered in Searle’s reply on Derrida’s early text “Signature Event Context” shows strikingly, that the performing of an action just serves as the re-actualization of a self-identical possibility in Searle. Acting does not add anything new to the standing possibility “quoted” in the performance of an action in his reading of performatives. By this he precisely misses the excessive aspect at work in acting that makes acting indeed a kind of art: namely the art of acting, most prominently exposed in the performing arts.
In a sharp opposition to such an intentionalistic approach[3] toward acting this research aims to develop a performative concept of acting, honoring the fact that acting is not just reproducing standing possibilities to realize them within a given spatio-temporal situation. – Rather one actually creates new possibilities while one is acting in deed.
In this sense Agamben is entirely right to assess–in his beautiful reading of Bartleby, and the Deleuzean notion of Absolute Immanence (Deleuze 2001)–that a performative mode of acting is a productive kind of performance, because it actually „restores possibility to a past, making what happened incomplete and completing what never was.” Even the act of remembrance, he claims, is not just repeating “what happened nor what did not happen but, rather, their potentialization, their becoming possible once again.“ (Agamben 1999, p. 267.)
The philosophical significance of a poststructuralist account toward acting, an approach that we strongly enhance in this research, is grounded in this fact that it considers acting to be an art in itself, precisely because the performing of an action risks the stability of inherited rules and structures by actually replicating them again in the present tense.
The ambivalent gift of acting, the critical moment, in which the taking place of an action indeed becomes an art consists precisely in this repotentialization of given identities, which allows them to be actually altered, changed and regenerated anew in the course of their re-presentation. (Böhler 2008, pp. 141-151). Acting is thus the trope of all tropes, the very possibility of a chance for change (Pechriggl 2006dt.).
1.1.2. Embodied acts
In a collection of essays on Performativity and Mediality (Krämer 2004dt.), Sybille Krämer made explicit that former speech-act theories like Habermas, Chomsky[4] or Searle[5] did cope with the problem of performatives “without coming across the question at all of the media involved in the performance of speech-acts.” (ibid., p. 13). Ignoring this question was possible at those times because the problem of how language literarily takes place in an elementary, corporeal manner, has not yet significantly concerned them. They simply presupposed, that one has to assume universal valid language patterns behind the actual performance of a speech act, structurally valid in their propositional content independently of their actual usage. Obviously „a two world model of language that makes the implicit theoretical assumption that one can distinguish rigorously between a ‘pure’ language or communication, interpreted as a grammatical or pragmatic set of rules and its actual realization in each speech-act or act of communication.”[6]
An assumption that becomes highly problematic as soon as one “questions the ‘mode of being’ of language itself” (Krämer/König 2002dt., p. 7). Because once one admits that universal patterns of language do exist in their usage only, they would obviously not take place at all without being corporeally quoted within a special spatio-temporal situation.[7]
If we accept this theses that the “performative turn” became an umbrella term in many cultural theories and philosophies of languages since the rigorous separation between a semantic meaning and its spatio-temporal enactment[8] has become highly problematic, it becomes clear, why the significance of the fleshly conditions involved in acting has become a main target of many contemporary theories of performativity.
Using a terminology, Sybille Krämer suggested in her collection of articles on Performativity And Mediality (2004dt.), such aeisthetic-corporeal approaches toward acting are deeply “inspired from the experience of ‘artistic performances’ […] The fleshly aspects involved in the execution of an act–the body of the actor for instance and all the empirical attributes of a performance that are visible–are then no longer merely semiotic signs of an immaterial, semantic meaning that lies behind the scene of its spatio-temporal usage, pretending that the real act of issuing a meaning would only function as the visual appearance of an already given proper sense.” (Krämer 2004dt., pp. 17-18.)
Our research will hook up with this state of the art to develop an aeisthetic-corporeal concept of acting (Krämer 2004dt, pp. 15-18), in which the performing of an action is always already considered to be a fleshly mode of acting in media. – A corporeal performance, and not only an incorporation of immaterial ideas, because ideas too have to be created once one assumes that they don’t preexist in a platonic heaven. “The concept is not given, it is created; it is to be created” (Deleuze 1994, p. 11) is Deleuze’s famous anti-platonic statement in What is Philosophy? on the question, what is called thinking?
The analysis of these parts of the project will be a central research issue of both philosophers involved in this application, Alice Pechriggl (University Klagenfurt) and Arno Böhler (University of Vienna).
This short summary shows that the significance of the terms “performance/performatives” changed radically in the course of 20th and 21st century history of science. Starting its career as a terminus technicus in speech-act-theory to emphasize the character that issuing an utterance is the performing of an action, the question of the functional conditions necessary to realize the intention of a speech-act has successively been replaced by questions primarily concerned with the significance of the spatio-temporal corporeity involved in acting in latest theories on performativity. (See Wirth, 2002dt, pp. 10-11).[9]
1.2. Experimental part of the project (Translational-Research-Aspect)
1.2.1. Methodological demands of an aeisthetic-corporeal approach toward acting
It is a fundamental claim of this project that once the corporeal-aeisthetic dimension at work in the performing of an action has become the organizing view-point of one’s scientific investigations, the idea of the art-laboratory becomes a methodological necessity. First, because one is not merely interested anymore in the general possibility to act, but in particular types one is used to act in special circumstances and contexts. Second, because these general types are just considered to be stereotype forms of acting. – Habitual ways, one is actually used to act in the present tense by just repeating the past participle of a certain type of action–like walking in a mode one actually became used to walk, speaking in a mode one actually became used to speak, in a stereotype rather than a performative manner. (Böhler 2009dt.).
To disrupt such an over-simple identification of the grammatical form of the past participle with the present participle of a verb, special research-laboratories are planned to be organized in this program in order to break up stereotype forms of accustomed ways we are usually used to do science and philosophy. The installation of such art-laboratories, which we are proposing and enhancing in this research, is therefore not merely a trendy, fashionable idea external to the content we are scientifically engaged with in this program. On the contrary. It is a necessary methodological consequence of the propositional content, we are actually scientifically occupied with in this research. As reviewer B expressed it in his evaluation report: The matter, that matter most in this project is “the creation of an art-laboratory inspired by the scientific laboratory, that could reassess the force and function of the performative context surrounding the scientific speech-act” (reviewer B, p. 6) in a tropical manner.
By tropes we do not mean a sheer rhetorical use of linguistic structures and words, but an ontological process, in which a significant, genuinely new form of existence comes into being by altering accustomed ways of acting. In this sense a trope functions as a regulative idea[10] that has started to drive, command, shape and regulate the corporeal configuration of a body in an elementary, normative way. In historical perspectives the term “ontological metaphor”[11] has been introduced into the area of philosophy by an analysis of political metaphors signifying bodies in relation to their gender specific position in political institutions in order to reflect the relation between their “socio-political-imaginary” and their “real-biological-morphology”.[12]
Affirming this concept of ontological tropes, the performance of science finds itself in the same position as the performance of the arts. The texts and works generated in scientific research performances “are not in principle governed by pre-established rules, and they cannot be judged according to a determining judgment, by applying familiar categories to the text or to the work. Those rules and categories are what the work of art [and sciences] itself is looking for.” (Lyotard 1991, pp. 47-48).
Doing science, as well as doing art, is never merely a replication of familiar contents.[13] It is rather the repotentializing of the set of rules, schemata and concepts, one actually uses in the course of a research performance. Therefore scientific research, interested in the innovative aspect of theory building processes has to “make repetition a category of the future” (Deleuze 19972dt., p. 127)[14] in order to become a scientific mode of research-performance in itself, an art of acting scientifically.
1.2.2. Building up an art-laboratory
The experimental part of our project will meet this methodological challenge. In special arranged art-labs an interdisciplinary group of about twelve distinguished artists, philosophers and scientists will be invited on a regular basis to develop lecture-performances[15] in which the creation of an aesthetic-corporeal concept of acting will be tested not only on a discursive, but on an elementary corporeal level as well. Stereotype body-rituals, gestures and social behaviors toward others, scientists are usually used to reproduce while they are doing science–mostly in an unconscious manner–have to be reflected, bodily tested, reconsidered and deconstructed anew in this part of the project.
The lecture-performances developed in the art-labs will finally be staged during a public event called Philosophy on Stage#4 in the second year of this project. The entire experimental part of the research will be documented on video and finally published in a DVD-book. (Artistic reference à GRENZ_film granzer & böhler (Eds.), Philosophy On Stage, Passagen Press: Vienna 2007.)
In the art-labs the involved scientists are explicitly asked to give up the classic stoic idea of doing science in a bodily and emotionally detached sense, since the way, the flesh of the researchers sensitively responses the theories they develop in the art-lab is considered to be an important source of information in this format. – A methodological shift of the way, one is called to do science that will, we assume, on the long run produce most significant effects on the theories produced in scientific research to come (Ronell 2005, Rickels 2007, Böhler 2008dt.).
Main research questions the interdisciplinary research group will address in the art-labs:
- Analysis: What are the methodological and structural consequences of the fact that building up a scientific theory on Acting Bodily is possible only on the basis that one is in praxis already acting bodily while one is developing such a theory? (Key word: Transcendental Empirism)
- Praxis: How will the scientists, philosophers and artists participating in our research laboratories practically engage their “own” flesh as a corporeal medium to express, mediate, sensually sense and stage their ideas on an aeisthetic-corporeal concept of acting during the lecture-performances they are called to develop in the art-labs and finally stage on Philosophy On Stage#4.
This part of the project will be realized in a close co-operation with the University of Performing Arts Vienna, Max Reinhardt Seminar, one of the most distinguished acting schools worldwide.
Susanne Granzer, co-operation partner one, is professor for acting at the MRS since 1989. The FWF peer review evaluation of her and Böhler’s former FWF-project on “Materiality and Temporality of Performative Speech-Acts” (2005-2007) explicitly recommended a continuation of their research:
“The project should in any case be continued, especially in regard to the problem of body, space and presence. From the result of this excellent project new questions arise, which seem to be of highest interest for the further development of scientific and artistic discourses on a notion of reality, which limits the concepts of constructivism.” (08/2008, FWF peer review final comment).
1.2.3. Co-operating partner two. Founding a lecture-performance archive at Tanzquartier
From the very beginning the Tanzquartier Vienna was founded in 2001, the theory-center of the institution has organized a great number of events in which the relation of theory and practice in contemporary dance and performances has been reflected to interrogate the limits of translating art into science and vice versa. On these occasions questions were discussed like:
- „What have been the historical origins from which the idea of the art-labs derived from?“
- „To which methods has this idea been ascribed to and which concept of theory and practice is transported in this idea?“
- „Which are the socio-political implications of the idea, especially if we take it for granted that it abandons the notion of thinking as a sheer form of re-presentation?“
- „What does it mean, structurally, that the performative interpretations of the arts and sciences emphasize the event-like character involved in their research performances?“
These, and similar questions have been asked in a couple of top-class laboratory projects, symposias and lecture-series during the last 8 years. They all were occupied with the task to analyze, test and evaluate the relation between art and sciences in new groundbreaking formats, which have been intensively discussed from the international community of performance artists, theorists and the public. The practical work field of the Tanzquartier within this project will consist in the task to sort the archive of these events and evaluate them according to the leading question of this research program.[16]
Title of the laboratory-projects contemporarily documented in the archive of the Tanzquartier
(Titles translated from German to English)
The Reality of Fata Morgana. Construct of the Audience–Game Boys. Body Pictures in Reality-Shows–Dance and Work, a Comparative Study–Drift. The Performative State of Drifting–Postdramatic Agitations–Performance and Material. Fragment and Totality–Now you can have the body you’ve (n)ever wanted–Free Fall: Border-control–Duty free fiction in performance–John Cage–Much Ado about Nothing; Multiple Being–Space Stations: Shift Changeover–Dance as secret service–Only Words. Performance and Performativity–Pornonom. Pornonom. Attempt on Heteronomism and Sex–Trans-late. On contemporary dance critics–Embody the act of being.
Title of the lecture-series contemporarily documented in the archive
Potentiality. On a Scenic Mode of Potentiality–Gestures. Readability of Corporeal Movements–Performance appropriated. Appropriations in Dance and Fine Arts–Attentiveness. On Scenic Aesthetics of Turning Towards– and Away from–Being-With. Aporia Of The Community. Scenic Participation–Falling In/Falling Out. Embarrassing in Dance + Fine Arts
Title of the symposia and lecture-series’ contemporarily documented in the archive
Aesthetic Experience as Knowledge-Building Process Within The Performing Arts–Impossible Tears. Emotions in Contemporary Theater and Performances–I say I. Subject-Projections On Stage Education acts. Art Empowering Education–This Is Not a Game. Game Theories And Metaphors
List of participating scientists in these events (selection)
Prof. Baxmann, Inge; Prof. Bilstein, Johannes; Prof. Brandstetter, Gabriele; Dr. Deufert, Kathrin; Prof. Finter, Helga; Doz. Frey, Eleonore; Prof. Greisenegger, Wolfgang; Prof. Hamacher, Werner; Prof. Heeg, Günther; Prof. Huber, Jörg; Prof. Jeschke, Claudia, Prof. Kappelhoff, Hermann; Prof. Krämer, Sybille; Prof. Lehmann, Hans-Thies; Prof. Liessmann, Konrad Paul; Prof. Malzacher, Florian; Prof. Matzke Mieke; Prof. Meister, Monika; Prof. Menke, Christoph; Prof. Mersch, Dieter; Prof. Müller-Schöll, Nikolaus; Prof. Nägele, Rainer; Prof. Pias, Claus; Dr. Ploebst, Helmut; Prof. Rheinberger, Hans-Jörg; Prof. Rickels, Laurence A.; Prof. Seel, Martin; Prof. Siegmund Gerald; Prof. Stoellger, Philipp; Prof. Tholen, Georg Chr.; Prof. Thurner, Christine; Prof. Waldenfels, Bernhard; Prof. Wetzel, Michael; Prof. Wirth, Andrzej; Prof. Wulf, Christoph;.
Due to the fact that the Tanzquartier Vienna is one of Europe’s leading institutions concerned with the cutting edge of contemporary performance theory and performance praxis, this aspect of the project will be realized in a close co-operation with Krassimira Kruschkova, director of the Theory Department at Tanzquartier Wien and partner two of this application. The realization of this task during the next three years will produce an archive of contemporary dance and performance theory, unique in Europe, an archive of thinking in movement.
Tabulation of the major theoretical and experimental goals to be accomplished in this project
I.) Central theoretical approach of this research:
This research is on the way to develop an aeisthetic-corporeal concept of acting, in which acting is considered to be:
- an art in itself, insofar as the performing of an action actually offers the chance to alter inherited structures,
- a mode of acting in media, because acting indeed takes place in the course of a kinaethetic activity that is conditioned to make use of a corporeal medium, actually ready at hand to accomplish the action in deed,
- an activity, which is always active and passive, since the taking place of an action structurally implies a recursive aspect, in which one actually makes use of dispositions, ready at hand to be performed by the performer performing the action despite he or she has not originated them, but just inhabits them. (Böhler 2009dt.).
II.) Central methodological approach of this research:
This research aims to proof, on a practical and theoretical level, that the analysis of an aeisthetic-corporeal concept of acting demands a reconsideration of the ways and methods, we are actually used to do science, mostly in a scriptural form, forgetting the bodily level involved in doing philosophy and science.
III.) Central translational (experimental) goal of this research:
The interdisciplinary research group of scientists, philosophers and artists co-operating in the art-labs is called to create discursive and performative bridges between the corporeal and discursive demonstration of their scientific ideas in the experimental part of the project. It will be their task to answer, on a theoretical and practical fleshly layer, what the gift of acting could be for the sciences, and the gift of science for the arts by producing lecture-performances to overcome the classic stoic idea of doing science. Such an attempt will have, we assume, most significant effects not only on our common understanding of what one is actually doing while one is doing science and philosophy, it will also have a strong impact on the arts and their way of making art an art of acting scientifically.
1.3. Work Plan and Time Plan
1.3.1. Work and time plan concerning the theory building aspect of our research project
Theory part // Work package one // first year
Time plan: 01.07.2010 – 31.12.2010
Involved Scientist: The applicants (Böhler, Granzer, Kruschkova, Pechriggl, PH.D Candidates)
Analysis: Since the performing of an action has to take place in order to be generated, acting depends on a given external medium, the agent performing the action longs for, but can never control entirely during the corporeal unfolding of the act. à It is this instable spatial aspect at work in the embodiment of an action we are specially interested in this first work package.
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Theory part // Work package two // first year
Time plan: 01.01.2011 – 30.06.2011 Involved Scientist: The applicants
Analysis: Structurally depending on an external medium to be quoted in order to execute the bodily fulfilment of an action is exactly the vulnerable point, based on which acting is a fragile, sensitive matter: An uncontrollable event, in which the agent of the action is called to make use of the flesh of the world (Merleau-Ponty) to sensomotorically perform the kinaesthetic realization of an action. As far as the flesh, one relies on to bodily accomplish, express and mediate an action is a corporeal element one always already shares with others (Nancy dt.2004), the bodily performance of an action is structurally a mode of ex-posing oneself toward them (Nancy dt.2003) à It is this externalization at work in acting we are specially interested in the second work package.
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Theory part // Work package three // first year
Time plan: Summer Semester 2011 Involved Scientist: Arno Böhler and Alice Pechriggl
To do: Organizing Circle-Lecture-One (Ringvorlesung) to analyze and discuss the content of work package one and two within the international scientific and art community. (Inviting about 10 international well known researchers to present their theories on an aeisthetic-corporeal approach toward acting). Lecture-Series-One will be organized by the applicants Böhler and Pechriggl at the University Vienna. The results of the first year will be published in a first anthology.
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Theory part // Work package four // second year
Time plan: 01.07.2011 – 31.12.2011 Involved Scientist: The applicants
Analysis: The analysis of the spatial exposition at work in the embodiment of an act will urge us to develop an ecstatic concept of bodies (Böhler dt.2009b, Böhme dt.1995, White 2006). Perceived as beings-in-a-world rather than beings-in-themselves, bodies are “partes extra partes” (Nancy dt.2003, p. 29). They are, by their very bodily nature fragments of themselves–a form of res extensa, always already touched and in touch with others: “Psyche is expended, but does not know it” (Nancy dt.2003, p. 23). –> It is this last note of S. Freud, reflected by Nancy in Corpus, we are specially interested in work package four.
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Theory part // Work package five // second year
Time plan: 01.01.2012 – 31.06.2012 Involved Scientist: The applicants
Analysis: According to co-operation partner one, Susanne Granzer (actress, lecture-performance artist and professor for performing arts at the MRS Vienna), actors are literally called ‘actors’ precisely because they are, by their very profession, compelled to give up the western idea of being a subject capable to exist in itself without relating to others (Granzer dt.2009). An actor/actress has to be eccentric, not in a bizarre narcissistic meaning, in which one desires to become the starring centre of an ensemble, but in staging a de-centred mode of existence in which somebody is touched by others and sensibly aware of the way, they are tuning the atmosphere one shares with them as a common mode of being-with (Heidegger, Nancy). à It is this eccentric mode of ek-sistence we are especially interested in work package five.
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Theory part // Work package six // second year
Time plan: Summer Semester 2012 Involved Scientist: Partner 1
To do: Organizing Circle-Lecture-Two to analyze and discuss the content of work package four and five within the international scientific and art community. Lecture-Series-Two will be organized by Susanne Granzer at the Max Reinhardt Seminar, University of Music and Performing Arts Vienna. The results of the second year will be published in a second anthology.
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Theory part //Work package seven // third year
Time plan: 01.07.2012 – 31.12.2012 Involved Scientist: The applicants
Analysis: Touching others one is challenged “to touch the untouchable otherness of others” (Derrida, On Touching–Jean-Luc Nancy dt.2007, p. 87-121). Insofar as touching is a sensitive mode of staying in contact with others, touching can never be a pure matter of fact but is rather a matter of tact and tactility. – An aeisthetic ethical issue of how one contacts others and not a pure physical one (Mersch dt.2009). à It is this tactile matter we are specially interested in work package seven.
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Theory part // Work package eight // third year
Time plan: Summer Semester 2013 Involved Scientist: Partner 2
To do: Organizing Circle-Lecture-Three to analyze and discuss the content of work package seven within the international scientific community. Lecture-Series-Three will be organized by Krassimira Kruschkova at the Tanzquartier Vienna.
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Theory part // Work package nine // third year
Time plan: June 2013 Involved Scientist: The applicants
To do: Presentation of the scientific results of this research by our research group in a final conference in Vienna responding to the question: “What is the gift of acting for sciences, and the gift of science for the arts if one produces lecture-performances as an aeisthetic corporeal approach toward acting in order to overcome the classic stoic idea of doing science?”
1.3.2. Work and time plan concerning the experimental aspect of our research project (TRP)
Experimental part // Work package one // First year
Formation of an interdisciplinary research group (IRG)
Time plan: 01.07. 2010 – 30.09.2010 Scientists involved: The applicants
To do: The applicants will first form an interdisciplinary research group (IRG) of about twelve scientists, philosophers and performing artists (including the applicants) ready to participate in this project for a period of three years to develop at least four lecture-performances. Since the applicants support the “old fashioned” idea of art ensembles and science teams working together on a regular basis, a significant portion of the researchers participating in the IRG will be distinguished professionals they were working with in the recent past.
Pool of distinguished researchers Granzer and Böhler worked with in the recent past:
In their latest research project on Materiality and Temporality of Performative Speech-Acts (FWF 2005-2007), Granzer and Böhler co-operated with researchers like Prof. H.D. Bahr: philosopher (D);
M. Bitterli: dancer (A), S. Hölbling: dancer (A), Prof. R. Kelley: anthropologist (USA); Prof. S. Krämer: philosopher (D), Prof. D. Mersch: media philosopher (D), Members of the Klangforum Vienna (W. Dafeldecker, U. Fussenegger, F. Philipp), Performing art students and teachers of the MRS Vienna, Prof. L. A. Rickels: psychotherapist (USA), Prof. A. Ronell: comperative literature studies (USA), Aras Özgün: media artist (USA), P. Pulsinger: musician (A), Prof. G. Chr. Tholen: media philosopher (CH), Prof. M. Wetzel: german literature studies (D). – A continuation of this former research has explicitly been recommended warmheartedly by the FWF peer reviewer in August 2008. (à See last comment of the FWF reviewer quoted on page 6 in this proposal.)
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Experimental part // Work package two // First year // ART-LAB-ONE
Time plan: 01.10.2010 – 28.02.2011 (Each art-lab is planned to last about 4-6 days).
Scientists involved: The interdisciplinary research group (IRG).
Place: Atelier GRENZ_film, Kehrbach 21, 3662 Münichreith am Ostrong, Lower Austria.
To do: Preparing art-lab-one: After the formation of the IRG each member will be asked to prepare a text, in which one has to reply a list of key questions concerned with primer research issues at stake in this project.
To do: Realization of art-lab-one: The texts composed by the IRG will be presented in art-lab-one to bring them up for discussion within the group. On the last day of art-lab-one each researcher is called to resume the discussions by indicating the major ten claims one holds pertaining an aeisthetic corporeal approach toward acting. On the basis of these texts the next step will be organized: Circle-Lecture-One (à see theory part p. 9 in this proposal)
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Experimental part // Work package three // Second year // ART-LAB-TWO
Time plan: 01.03.2011 – 31.12.2011 (Each art-lab is planned to last about 4-6 days).
Scientists involved: The interdisciplinary research group (IRG).
Place: Atelier GRENZ_film,, Max Reinhard Seminar, Tanzquartier Vienna.
To do: Preparation of art-lab-two: The IRG will be asked to prepare a concept of the lecture-performance they are willing to present during the event Philosophy On Stage #4 and collect the material they need for their performances: texts, videos, pictures, requisites etcetera.
To do: Realization of art-lab-two: On the first two days the IRG will present their concepts of the lecture-performance to put them up to discussion within the group on a discursive level. On the following days a first workshop is planned in which the IRG starts to rehearsal the lecture-performance-concepts. On the basis of the experiences made in art-lab-two lecture-series-two will be realized. (à see theory part page 10 in this proposal)
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Experimental part // Work package four // ART-LAB-THREE
Time plan: 01.01.2012 – 30.09.2012 (Each art-lab is planned to last about 4-6 days).
Scientists involved: The interdisciplinary research group (IRG).
Place (rehearsals): University for Music and Performing Arts Vienna (MRS) and/or TQ Vienna.
To do: Preparation of art-lab-three: Final preparation of all materials needed to stage the four lecture-performances: texts, videos, stage design, requisite, costumes etcetera.
To do: Realization of art-lab-three: In this art-lab the IRG has to rehearsal the lecture performance they developed for Philosophy On Stage #4. Susanne Granzer will supervise the four teams to coordinate their performances.
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Going puplic
Experimental part // Work package five // Third year //
Philosophy On Stage#4
Time plan: About November 2012. Duration: about 4-6 days
Scientists involved: The interdisciplinary research group and the audience of Philosophy On Stage
To do: Demonstration of the lecture-performances on an aeisthetic-corporeal approach toward acting in the public event Philosophy on Stage #4.
Artistic and scientific references see:
à project website of our former FWF-Project Philosophy On Stage #1 and #2 (2005-2007): https://www.univie.ac.at/performanz/ and à the DVD-Book GRENZ-film
GRENZ-film, philosophy on stage#2, 2007
The external peer review evaluation of the Austrian Science Fund in 08/2008 rated this project with the highest degree.
Performing space: probably ODEON Theater Vienna.
The room has to be a large open space so that the following performing stations can be installed in one single room:
- Four performing stations for our IRG to stage their lecture-performances.
- Several speaker corners for the lectures hold during Philosophy On Stage #4.
- Text and video installations exposing materials used by life sciences (physiscians, physiologists and physicists) sensing the sense of bodies from a naturalistic point of view. The room has to work as an installation on Fleshly Acting in itself.
During the performance days it becomes the milieu of actors, using it as a sensitive medium to corporeally present their lectures On An Aisthetic Corporeal Approach Toward Acting from a tactile point of view in a sharp contrast to the naturalistic perspective of the room installations.
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Experimental part // Work package six // Third year //
DVD-Production Philosophy On Stage #4
Time plan: 1.10.2012 – 30.06.2013
Involved Scientists: GRENZ-film granzer boehler + Aras Özgyn [Media Artists, New York])
To do: Production of a DVD-book, containing detailed information on the theoretical (PDF–Files) and translational aspects of this research project: including the video documentation of “Philosophy On Stage#4” and interviews with internationally leading scientists of our research field.
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Experimental part // Work package seven // Third year //
Time plan: 01.07.2010–30.06.2013
Involved Scientists: Krassimira Kruschkova, partner 2
To do: Evaluation of the lecture- and performance-archive of the Tanzquartier Vienna
Founding an archive, unique in Europe, in which the performances of international leading artists and performance theorists are evaluated in respect of the precarious status of the corporeal dimension involved in their art work and performance theories.
1.4. National and international co-operations
National co-operations
Department of Philosophy, University Vienna. (Applicant: Univ.Doz.Dr. Böhler)
Department for Acting, Max Reinhardt Seminar; University of Music and Performing Arts Vienna. (Partner one: Univ.Prof.Dr. Susanne Granzer, Professor for Acting; PhD. in Philosophy)
Tanzquartier Vienna (Partner two: Univ.Doz.Dr. Krassimira Kruschkova. Director Theory Depart.)
Department of Philosophy, University Klagenfurt (Partner three: Univ.Prof.Dr. Alice Pechriggl)
International co-operations
Due to the FWF-Project “Materiality and Temporality of Performative Speech-Acts” the following international co-operations are already strongly established:
SFB-Project „Kulturen des Performativen“ (Cultures of Performativity); Free University Berlin (Prof. Sybille Krämer, Prof. Christoph Wulf, Prof. Erika Fischer-Lichte)
Pro*Doc-Graduiertenprogramm „Intermediale Ästhetik. Spiel–Ritual–Performanz“ (Trans-medial Aesthetic. Game–Ritual–Performativity); University Basel (Prof. Anton Bierl, Prof. Georg Christoph Tholen) and University Bern (Prof. Gerald Siegmund).
Nietzsche-Circle New York (The applicant is member of the Advisory Board and stayed in New York from 2000-2002 as a Schrödinger research fellow at New York University [Avital Ronell] and at the University Of Princeton [Alexander Nehamas]).
The University Klagenfurt (Prof. Pechriggl) has established a research cooperation with the Facultés universitaires de St. Louis, Brüssel: Ecole doctorale „affectivité, imaginaire, création sociale“ as well as with Jules Sturm[17], PhD-Scholarship holder at the School of Cultural Analysis in Amsterdam.
Future Perspectives (Follow-up-project)
Intention to realize a National-Research-Network (NFN) on „corporeal performativity“ within the next years as a further extension of this translational research-program (TRP)
C.) Literature (max. 5 pages)
List of literature quoted in this proposal
Artaud, Antonin (1983 dt.), „Die Nervenwaage“ (The Nerve Libra), in: Frühe Schriften (Early Writings), Matthes & Seitz, Munich.
Austin, John L. (1962/19752), How To Do Things With Words, Harvard University Press, Harvard.
Böhler, Arno (dt.2008): Spielerische Versuchsanordnungen, in: Böhler, A., Kruschkova, K. (Eds.): Dies ist kein Spiel. Spieltheorien im Kontext zeitgenössischer Kunst u. Ästhetik, Böhlau, Wien, pp. 81-90.
Böhler, Arno (dt.2009a): TheatReales Denken, in: Böhler, A., Granzer, S. (Eds.), Ereignis Denken, Passagen Verlag, Wien, pp. 11-33.
Böhler, Arno (dt.2009b): Open Bodies, in: Paragrana, Intern. Zeitschrift f. Hist. Anthropologie, Band 20/2009 Heft 1 (in print).
Böhler, Arno (2008 dt.): „Warum Denken tanzt, wenn es denkt“ (Why Thinking Dances When it Performs Thinking), in: Johannes Bilstein (Ed.), Kunst erschließt die Welt (Art Discloses The World), Munich 2009 (submitted).
Böhler, Arno (2005 dt.), Singularitäten. Vom zu-reichenden Grund der Zeit, Vorspiel einer Philosophie der Freundschaft (Singularities. Rendering Time. On the Way to a Language of Friendship), Passagen Press, Vienna.
Böhme, Gernot (dt.1995), Atmosphäre, Suhrkamp, Frankfurt a. M.
Butler, Judith (1997, 1998 dt.), Excitable Speech. A politics of the Performative, Routledge, New York. (Hass spricht! Zur Politik des Performativen, Berlin Press: Berlin)
Butler, Judith (1993, 1997 dt.), Bodies that Matter, Routledge, New York. (Körper von Gewicht, Suhrkamp Press: Frankfurt a. M.).
Deleuze, Gilles (19972 dt.), Differenz und Wiederholung (Difference and Repetition), Wilhelm Fink Press, Munich.
Derrida, Jacques (dt.2007): Berühren, Jean-Luc Nancy, Brinkmann & Bose, Berlin.
Derrida, Jacques (2001 dt.), Limited Inc., Passagen Press, Vienna.
Derrida, Jacques (2000), As if I were Dead – Als ob ich tot wäre, Turia + Kant, Vienna (dt./engl.)
Derrida, Jacques (1988 dt.), Randgänge der Philosophie (Margins of Philosophy), Passagen Press, Vienna.
Derrida, Jacques (1983 dt.), Grammatologie (Of Grammatology), Suhrkamp Press, Frankfurt a. M.
Derrida, Jacques (1976 dt.), Die Schrift und die Differenz (Writing and Difference), Suhrkamp Press, Frankfurt a. M.
Dreyfus, Hubert L. (20019), Being–in–the–World. A Commentary on Heidegger’s Being and Time, Division I, MIT Press, Cambridge.
Fischer-Lichte, Erika (2004), Ästhetik des Performativen (Aesthetic of the Performative), Suhrkamp Press, Frankfurt a. M.
Foucault, Michelle (dt.2006): Sicherheit, Territorium, Bevölkerung, Suhrkamp, Frankfurt a. M.
Gareis, Sigrid, Kruschkova, Krassimira Eds. (2009): Uncalled. Dance and performance of the future, Theater der Zeit, Berlin.
Granzer, Susanne (2009): Being on Stage, in: Böhler, A., Granzer, S. (Eds.), Theat_Reales Denken, Passagen Verlag, Wien, pp. 75-96 (in print).
GRENZ-film Ed. (2007), Philosophy On Stage, DVD-Book, Passagen Press, Vienna 2007.
Heidegger, Martin (1927 dt. / 1977), Sein und Zeit (Being and Time), Complete Edition Vol 2.
Heidegger, Martin (1926 dt. /19943), Prolegomena zur Geschichte des Zeitbegriffs (Prolegomena History of the Concept of Time) Complete Edition Vol. 20, V. Klostermann Press, Frankfurt a. M.
Heidegger, Martin (19762 dt.), Zur Sache des Denkens (On Thinking), Max Niemeyer Press, Tübingen.
Hochmuth, Martina, Kruschkova, Krassimira, Schöllhammer, Georg Eds.(2006): It takes place when it doesn’t. On dance and performance since 1989, Revolver Verlag, Frankfurt a. M.
Husserl, Edmund (1971 dt.), Ideen zu einer reinen Phänomenologie und phänomenologischen Philosophie (Idee of a Pure Phenomenology and Phenomenological Philosophy). Third Book, Ed. Marly Biemel, Complete Edition, Den Haag 1952.
Irigaray, Luce (1991), Ethik der sexuellen Differenz (Éthique de la différence sexuelle), Suhrkamp Press, Frankfurt a. M.
Jäger, Ludwig (2004 dt.), Störung und Transparenz. Skizze zur performativen Logik des Medialen (Disruption and Transparency. Sketch on a Performative Logic of the Medial), in: Krämer, Sybille Ed. (2004), Performativität und Medialität, Wilhelm Fink Press, Munich, pp. 35-74.
Kaiser, Peter (2005 dt.), Nicht nur in Begleitung meines Körpers. Untersuchungen zu körperlichem Selbst-bewusstsein (Not Only in Companion with my Body. On Bodily Self-Confidence), Peter Lang, Frankfurt a.M.
Kern, Andrea Menke, Christoph Eds. (2000 dt.), Philosophie der Dekonstruktion (Philosophy of Deconstruction), Suhrkamp Press, Frankfurt am Main.
Krämer, Sybille (2007 dt.), „Was ist ein Medium? Über Boten, Engel, Viren, Geld und andere Medien“ (What is a Medium? On Messengers, Angels, Viruses, Money and Other Media), DVD 2: Kraemer_Medium.pdf in: GRENZ-film Ed., Philosophy On Stage, DVD-Book, Passagen Press, Vienna 2007.
Krämer, Sybille Ed. (dt.2004): Performativität und Medialität, Wilhelm Fink, München
Krämer, Sybille (dt.2001): Sprache, Sprechakt, Kommunikation, Suhrkamp, Frankfurt a. M.
Krämer, Sybille Eds. (2006 dt.), Die „Rehabilitierung der Stimme“ (Rehabilitation of the Voice), in: Kolesch, Doris / Krämer, Sybille Eds., Stimme (Voice), Suhrkamp, Frankfurt a. M.
Krämer, Sybille Ed. (2004 dt.), Performativität und Medialität (Performativity and Mediality), Wilhelm Fink Press, Munich
Krämer, Sybille (2001 dt.), Sprache, Sprechakt, Kommunikation (Language, Speech Act, Communication), Suhrkamp Press, Frankfurt a. M.
Krämer, Sybille / König, Ekkehard Ed. (2002 dt.), Gibt es eine Sprache hinter dem Sprechen? (Does Language Exist Behind Speaking?) Suhrkamp Press, Frankfurt a. M.
Krassimira, Kruschkova Ed. (2005): Ob?scene. Zur Präsenz der Absenz im zeitgenössischen Theater, Tanz und Film, Böhlau Verlag, Wien/Köln/Weimar.
Kühn, Rolf (1998 dt.), Husserls Begriff der Passivität: Zur Kritik der passiven Synthesis in der genetischen Phänomenologie (Husserls Notion of Passivity: On the Critique of Passive Synthesis within the Genetic Phenomenology), Alber Press, Freiburg/Munich
McLuhan, Marshall (1964), Understanding Media: The Extensions of Man. Mentor: New York. (Reissued 1994, MIT Press, Cambridge, Massachusetts)
Lyotard, Jean-François (1991 dt.), Beantwortung der Frage: Was ist postmodern? (Answer to the Question: What is The Postmodern?), in: Postmoderne und Dekonstruktion (Postmodernity and Deconstruction), Reclam Press, Stuttgart.
Menke, Christoph (dt.2004): Spiegelungen der Gleichheit. Suhrkamp, Frankfurt a. M.
Mersch, Dieter (dt.2009): Negative Präsenz, in: Böhler, A., Granzer, S. (Eds.), Theat_Reales Denken, Passagen, Wien, p. 109-128.
Mersch, Dieter (2004 dt.), „Medialität und Undarstellbarkeit. Einleitung in eine ‚negative Medientheorie’“ (Mediality and the Unrepresentable. Introduction into a ‚Negative Media Theory‘, in: Krämer, Sybille Ed. (2004 dt.), Performativität und Medialität (Performativity and Mediality), Wilhelm Fink Press, Munich, pp. 75-95.
Mersch, Dieter (2002), Was sich zeigt. Materialität, Präsenz, Ereignis (What occurs. Materiality, Presence, Event), Wilhelm Fink Press, Munich.
Nancy, Jean-Luc (2003), Corpus (Corpus), diaphanes Press, Zurich/Berlin.
Nietzsche, Friedrich (1980), Complete Edition, Critical Edition, 15 Volumes, DTV De Gruyter: Munich/Berlin/New York.
– Zur Genealogie der Moral (Genealogy of Morals), Vol. 5., pp. 245-413.
Obrist, Hans Ulrich / Vanderlinden, Barbara Ed. (2001), Laboratorium (Laboratory), DuMont, Promotie Antwerpen Open.
Pechriggl, Alice (2006), Chiasmen, Antike Philosophie von Platon zu Sappho–von Sappho zu uns (Chiasms. Ancient Philosophy: From Plato to Sappho–From Sappho to us), Transcript Press, Bielefeld.
Putnam, Hilary (1991dt, engl. 1988), Representation and Reality (Repräsentation und Realität), MIT, Massachusetts.
Rickels, A. Laurence (2007): Performanz der Toten, in: GRENZ-film Ed., Philosophy On Stage, DVD-Book Disk one, Passagen Verlag, Wien.
Ronell, Avital (2005): The Test Drive, University Press of Illinois, Chicago.
Rheinberger, Hans-Jörg, (dt.2006): Experimentalsysteme und epistemische Dinge, Frankfurt a. M..
Searle, John R. (1971 dt./engl. 1969), Speech Acts, Cambridge University Press: Cambridge.
Searle; John R. (1977), „Reiterating the Difference. A Reply to Derrida“, in: Glyph. Johns Hopkins Textual Studies, Ed. Samuel Weber et.al. (2/1977).
Waldenfels, Bernhard (2000), Das leibliche Selbst. Vorlesungen zur Phänomenologie des Leibes (The Bodily Self. Lectures on Phenomenology of the Body), Suhrkamp Press, Frankfurt a. M.
Wirth, Uwe (2002), Performanz. Zwischen Sprachphilosophie und Kulturwissenschaften (Performativity. Between Language-Philosophy and Cultural Studies), Ed. Uwe Wirth, Suhrkamp Press, Frankfurt a. M.
White, D. Gordon (2006): ’Open’ and ‚Closed’ Models of the Human Body, in: Tradition and Modernity. London, pp. 1-13.
Zeilinger, Anton (20053), Einsteins Schleier, Die Neue Welt der Quantenphysik (Einstein`s Veil. The New World of Quantum Physics), Goldmann Press, Leipzig.
Additional literature relevant to the project not quoted in the description (in German)
Auslander, Philip (1997), From Acting to Performance, Routledge: London.
Broadhurst, Susan (2007), Digital Practices. Aesthetic and Neuroesthetic Approaches to Performance and Technology, Palgrave Macmillan: Basingstoke.
Belder, Steven de / Tachelet, Koen Hg. (2001), The Salt of the Earth, Vlaams Theatre Institute: Brussel.
Kofman, Sarah (1993), Nietzsche and Metaphor, Stanford University Press: Stanford.
Brandstetter, Gabriele / Völckers, Hortensia Ed. (2000), ReMembering the Body, Hatje Cantz: Ostfildern.
Castoriadis, Cornelius (frz. 1975 / dt. 1984), Die Gesellschaft als imaginäre Institution, Suhrkamp Verlag: Frankfurt a. M.
Denis, Claire (2002), Vers Nancy. DVD, in: Ten Minutes Older. The Cello. Why Not Productions: Canada.
Didi-Huberman, Georges (1999), Was wir sehen blickt uns an. Zur Metapsychologie des Bildes, Wilhelm Fink Verlag: München.
Etchells, Tim (2001), The Dream Dictionary For the Modern Dreamer, Duck: London.
Feest, Claudia / Bischof, Margit (2006), E_MOTION, GTF-Jahrbuch: Münster/Hamburg/London.
Ferrari, Federico / Nancy, Jean-Luc (2006), Die Haut der Bilder, diaphanes: Zürich/Berlin.
Feyerabend, Paul (1986), Wider den Methodenzwang, Suhrkamp Verlag: Frankfurt a. M.
Fischer-Lichte, Erika / Horn, Christian / Umathum, Sandra / Warstat, Matthias Hg. (2003), Performativität und Ereignis, Francke: Tübingen/Basel.
Forced Entertainment (2003): Imaginary Evidence, CD-ROM 2003.
Glendinning, Hugo / Etchells, Tim Ed. (2000), Void Spaces. Photography Interactive Digital Media, Video Installation, Sheffield.
Foster, Susan Leigh Ed. (1995), Choreographing HISTORY, Indiana University Press: Bloomington.
Franko, Mark (1995), Dancing Modernism Performing Politics, Indiana University Press: Bloomington.
Gumbrecht, Hans Ulrich (2004), Diesseits der Hermeneutik. Die Produktion von Präsenz, Suhrkamp: Frankfurt am Main.
Haß, Ulrike (2005), Das Drama des Sehens. Auge, Bild und Bühnenform, Wilhelm Fink Verlag: München.
Heathfield, Adrian (2004), Live Art and Performance, Routledge: New York.
Huber, Jörg / G. Zimmer (2007), Ästhetik der Kritik – Verdeckte Ermittlung, Edition Voldemeer: Zürich/Wien/New York.
Kamper, Dietmar (1999), Ästhetik der Abwesenheit. Die Entfernung der Körper, Wilhelm Fink Verlag: München.
Kaup-Hasler, Veronica / Philipp, Claus Hg. (2007), Schwarzmarkt für nützliches Wissen und Nicht-Wissen, Maske und Kothurn, Böhlau Verlag: Wien.
Kuhn, Thomas S. (19762), Die Struktur wissenschaftlicher Revolution, Suhrkamp: Frankfurt a. M.
Lehmann, Hans-Thies (1999), Postdramatisches Theater, Verlag der Autoren: Frankfurt am Main.
Lepecki, André (2004), Of the Presence of the Body: Essays on Dance and Performance Theory, Wesleyan University Press: Middleton CT.
Lepecki, André / Banes, Sally (2007), The Sense in Performance. Worlds of Performance, Routledge: New York, London.
Massumi, Brian (2002), Parables for the virtual. Movement, Affect, Sensation, Duke University Press: London.
Monnier, Mathilde / Nancy, Jean-Luc (2005), Alliterations: Conversations sur la Danse, Galilée : Paris.
Pavis, Patrice (2003), Analyzing Performance. Theater, Dance, and Film, University of Michigan Press: Michigan.
Phelan, Peggy (1993), Unmarked. The Politics of Performance, Routledge: London/New York.
Ploebst, Helmut (2001), No Wind No Word. Neue Choreographie in der Gesellschaft des Spektakels, K. Kieser Verlag: München.
Sample, Colin (1993), „Living Words, Physiognomy and Aesthetic Landuage’, in: Incorporated Self.
Seel, Martin (2000), Ästhetik des Erscheinens, Hanser: München/Wien.
Siegmund, Gerald (2006), Abwesenheit. Eine performative Ästhetik des Tanzes, Transcript: Bielefeld
[1] Limited Inc. is Derrida’s reply on John R. Searle’s reply „Reiterating the Differences“ (Searle 1977), in which Searle reviews Derrida’s early text „Signatur, Ereignis, Kontext“ (Signature, Event, Context), Derrida 1988 dt., pp. 325-351.
[2] All English translations of originally German and French texts are made by the applicant.
[3] In 1926 Heidegger argued against Husserl’s idea of a pure phenomenology of intentional acts that Husserl’s approach toward acting distinguishes between “the propositional content of a sentence (as its ideal, valid being) and the real act of issuing it (as its real being)”, but in doing this, “the reality of this real aspect of acts is left undetermined. The mode of the judgment, its being an act, that is, the being of the intentional, is left unquestioned” (Heidegger 1926dt./1994, pp. 160-161).
[4] On a critique of universal linguistic structures in Chomsky see: Putnam 1991 dt., pp. 28-29.
[5] See: Krämer 2001, pp. 19-74.
[6] Krämer 2001 dt., pp. 9-10.
[7] On the significance of linguistic replications see: Butler 1998 dt. pp. 9-67; Derrida 1988 dt., pp. 325-352; Derrida 2000 dt., pp. 9-59; Krämer 2004 dt., pp. 15-17.
[8] On the difference of use and meaning/use and mention see: Krämer/König 2002 dt., pp. 7-15; Krämer 2001 dt., pp. 95-105; Searle 1969, pp72-73; Derrida 2001, pp 53-170.
[9] On the performative turn see: Wirth 2002dt., pp. 9-62; Mersch 2002dt., pp. 18-21; Fischer-Lichte 2004dt., pp. 31-57.
[10] Regulative idea not in the sense Kant, but Foucault and Butler are using this term. See: Butler 1997 dt., pp. 48-49.
[11] See Pechriggl 2000 dt., Pechriggl 2/2005 dt., pp. 102-118, Castoriadis 1984.
[12] See: Castoriadis 1984 dt., Butler 1997 dt., p. 37.
[13] See: Kuhn 1977 dt., Feyerabend 1976 dt., Rheinberger 2006 dt., Ronell 2004, Böhler 2007 dt., pp. 168-183.
[14] On the futuristic character, constitutive for the performance of an action as a kind of promise, see: Agamben 1998 dt., pp. 63-64; Böhler 1996 dt.; Böhler 2005 dt.; Deleuze 19972dt., pp. 99-169, Heidegger 1976 dt., p. 17, Pechriggl 1993 dt., Capter III. 4-6, Pechriggl/Reitter 1991 dt., pp. 81-102, Schelling 1985 dt., vol. 5, p. 603-777.
[15] Since 1997 the applicant has realized already more than 40 lecture-peformances together with Susanne Granzer presented in the USA, France, Germany, Switzerland and Austria. (See: description of qualification).
[16] Insofar as the Tanzquartier Vienna, according to its constitution, should be engaged in programming artistic and scientific events, the evaluation of its archive is possible only through the financial support of third-party-funds like the Austrian Science Fund (FWF).
[17] Sturm, Jules. „Seeing Through an Aesthetic of Vulnerability“, 2008 (forthcoming).
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