Promises Promises

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Notes

1 By choreography of the expanded field I refer to choreography that calls up discourse in an open- ended manner beyond the binds of modernism and classicalism, and more conceptually fluid than Rosalind Krauss's (1983: 31-42) semiotic notion of sculpture in the expanded field.

2 Perhaps Read's call to fail has influenced William Forsythe's (2008) focus on choreography as being failure with grammatical rules that emphasize exceptionality? And perhaps, too, Daniel Brinbaum is influenced by Read when he states in a conversation with Forsythe that the future promises newness but this promise is futile because ‘the future is but a figment of speech, a specter of thought’ (Forsythe 2008: 111-12).

3 Jon McKenzie also directs readers of performance to Ronell's reading of Nietche's experimentality in Gay Science, so we are not alone (2001: 231-4).

4 The phrase slow fall here is derived by Heathfield in relation to La Ribot's falling in this video and live performance (2006: 197-8).

5 By the other I draw from Derrida's perspective of that which a subject or object is not, which is located within and without it, serves as an ear and that which underwrites it (1985: 4-38).

6 I draw this from Judith Butler's usage of the term interpellation where a subject forms their identity through their being named and policed (1993: 117, 12-4; 1997: 106-7; Kirby 2006: 86-107). There is a combination of Michel Foucault and Louis Althusser's Marxist psychoanalysis embedded in her theory of this.

7 Foucault engages with this in relation to the confession of the murderer, Pierre Riviere (1975: 202-5).