Table ronde autour d’une performance dans un panier en osier
In place of an abstract, here are a few lines written by a reader of this article, someone who is himself a contributor to this issue on “Plastic Anthropologies”, and is keen on Lacan’s topology.Four people—Laurence, Baptiste, Vincent and Jérémy, who have been working together for a few years on a r...
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| Main Authors: | , , , , |
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| Format: | Article |
| Language: | fra |
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Laboratoire d'Ethnologie et de Sociologie Comparative
2024-12-01
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| Series: | Ateliers d'Anthropologie |
| Subjects: | |
| Online Access: | https://journals.openedition.org/ateliers/19153 |
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| Summary: | In place of an abstract, here are a few lines written by a reader of this article, someone who is himself a contributor to this issue on “Plastic Anthropologies”, and is keen on Lacan’s topology.Four people—Laurence, Baptiste, Vincent and Jérémy, who have been working together for a few years on a re-imagining, a re-writing, a re-situating, a performance and an (“incremental”) re-programming inspired by the film Les Maîtres fous by Jean Rouch—were invited by a fifth person, Carl, to show and talk about what they have done, in such a way that the article itself re-enacts and therefore transforms the academic ritual of the “round-table discussion”. In my view, this consists in turning the round table into a torus table, the torus being the topological shape that problematises the interior and exterior. The text disrupts the usual idea of a document “containing” an already completed work. The reader gets an idea of the work done over the years, but the subject of the article is neither a history of, nor a retrospective “return” to, the project, but rather a re-torus. It is a simultaneous look at the past and future, at how the individuals who participated—those four at least—got down to work and continue to pursue a desire to get down to work, in quadruple connection with: i) Rouch’s Les Maîtres fous; ii) a performance by the company Dodescaden, also entitled Les Maîtres fous; iii) the fifty hours of film of the performance; iv) the programming of a machine, an art installation called Performance in absentia, which presents possible arrangements of those films such that it re-enacts the performance in a way that is both controlled, because it is configured, but also uncontrolled, because the programme has the built-in ability to produce unexpected results. |
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| ISSN: | 2117-3869 |