Here’s some writing that doesn’t fit so easily into blog posts or the practice resources list. A few poems and a bunch of academic papers that are a bit all over the map, including a link to my dissertation work.
These papers are schoolwork for the most part, and unpublished.
Please do not cite without permission, but do read and comment as you like.
Buddhist Pragmatic Phenomenology: an object-oriented inquiry
No One Listens: Meaning, Time, and Momentary Subjectivity in Music (2012) (presented at Performance Studies International 19, Stanford 2013.)
The White Empty Space… a conversation with Jason Engelund on Buddhist ideas as they meet contemplative photography, spring 2012
Inverted Bowls: Buddhist practices as protest vocabulary (2011)
Her Heart Can Move Mountains by Beating: Form and formlessness in contemplative theater (2011)
Hugo Wolf’s song “Der Verlassene Mägdlein”, an analysis (2011)
Memory, Hope, Recapitulation, Anticipation: Meditations on time initiated by Haydn piano sonata #49 (2011)
You Are the Music While the Music Lasts: Improvisation, silence, practice, research (talk given at 2011 IGPS Symposium, UC Davis)
Mother Chord: Authority, meaning, and collaboration in music (2011)
Standing Somewhere and Nowhere: Performance and social change (2011)
From Something to Nothing: Music in experimental dance from Judson to Contraband (2010)
Reason Exhausted, Concerns Forgotten: notes on a life in art and Dharma (2010-11) (autobiographical reflections)
PhD dissertation materials
My Qualifying Exams included a lot of writing on Contemplative Performance, Buddhism, subjectivity, emptiness, and the self, and I drew on examples as diverse as Messiaen’s Quatuor pour le Fin du Temps, Marina Abramovic’s House with an Ocean View, performance by Keith Hennessy, Seth Eisen, Felix Ruckert, and wrote a fake Buddhist sutra about art. Long reading lists on theater, music, dance, Buddhism, theory, phenomenology, philosophy, Performance Studies, artist documents, Deep Listening, Reception Theory, and lots else.
Also, I submitted a “Practice as Research” (PAR) piece called The Midnight Club that is represented here by a video, process journal, and critical paper. PAR is a way of saying that part of the lineage of Performance Studies I am in values the arts and engaged craft as research, challenging habitual boundaries of what is taken seriously in the Humanities. And a dissertation prospectus outlining what I think research into contemplative practices in performance art might look like. All of the dissertation material is here. Enjoy (if this is your kind of thing, you poor dear…)!
a few poems