![]() The idea of performativity is also crucial to diagrams-drawings that work, that are generative in their activity because of structural features that spatialize semantic relations and make spatial relations semantic. Theories of materiality include attention to the literal, forensic, formal, and distributed-to which categories the "performative" adds another dimension, one that is premised on the instantiated and situated experience of an aesthetic work rather assuming its existence as a self-evident, autonomous object defined by inherent properties. Can a form of writing make space for a multitude, or even, a multitude into a space? Can the autotheoretical self be only one more of many characters, present, with agency, but off-centred? This paper thus attempts to ask whether autotheory can, by being aware of performative and diagrammatic writing, together with the use of images as citations, decentralise the auto- and become a more choral scene, a cluster, a textual quodlibet or medley. ![]() All that surrounds Velázquez in the painting (the work-in-progress we do not see, the ensemble of courtly characters, the framed reproductions of masters’ works, the much-discussed mirror reflection) informs and contextualises the portrait, but also explodes it into much more. Bearing this in mind, I propose an experiment that performs relations by thinking with, and through, Las Meninas, a self-portrait that is not strictly about the self. So-called autotheoretical texts often engage in similar types of performative and relational lay-outs, and yet, not much has been written about this formal phenomenon. ![]() In Diagrammatic Writing (2013), Johanna Drucker discusses the power dynamics between texts interacting on a page. ![]()
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