1.Bodies without Bodies by Susan Melrose

p.1
Duration is difference, the inevitable force of differentiation and elaboration, which is also another name for becoming.
- Grosz(2000)

p.2
note for Deleuzian logics
1. virtual philosophy, logic of sense is a matter of an ‘immaterial becoming.’
2. logic of becoming is a matter of the production ‘of beings.’
ans these two logics are in the chain of continuity and discontinuity.
for more information about the virtuality in Deleuzian immanence, see Zizek’s Organs without Bodies.
in Zizek’s book, ‘… a virtual spacetime progressively differentiates itself into actual discontinuous spatio-temporal structures’ (p.122)

p.3
… A Deleuzian logic of (performance productive) becoming would seem to involve, for an expert practitioner, processes allowing the ‘progressive differentiat[ion]‘ from ‘a continuous virtual spacetime’ (e.g. ‘devising’), on the basis of which ‘actual discontinuous spatio-temporal structures’ are arrived at, however temporarily.

… a momentary instantiation (Knorr, 2001), …

p.4
Far from swiftly achieving ‘fit’ (itself a matter measure), that emergent new performance material might well require, of the ‘plane of immanence‘ (Deleuze and Guattari, 1994) specific to the discipline (e.g. ‘new dance’, and what makes it ‘dance’), that it maintain its disciplinary identity, while expanding to accommodate the new.
[immanence(내재, 편재) <--> transcendence; the guality of being able to go beyond normal limits and boundaries.]

p.6
Now, ‘targeting’, ‘drawing’, and ‘holding’, metaphorical though these terms are here, tend to be a matter of time and timing. There is no visual ‘focus’, in the performance event, which is not time-gorverned. Its measure is bound up in its capacity to capture and to maintain attention over time where a ‘per-formance event’ is concerned.

[subtitle, 'Timely reconfiguration" is concerned on the three factor, the targeting, drawing and holding.]
Performance tends to evoke, rather more than to ‘represent’; on this basis, there is something curious about whatever is identified, in the show, in terms of ‘the body’.

p.7
Certain uses of nouns and verbs have been described as ‘ontologising’, in the sense that they enable wiriters to assert being, while believing that they are merely describing what already exists.

p.10
The term is a carrier. It is historically relational; it signals a semiotic domain, rather than that simpler ‘meaning’ others might be tempted to attribute.

… it is matter and measure of expertise – which spectators readily recognize, but may lack the means to analyse as such. It is matter of signature (the dancer’s name signals a complex measure of expertise, artistry, and the potential for qualitative transformation).

p.12
Memory and perception are thus the two fundamental [time-specific] tendencies underlying our experience (Bergson)

‘experience is [an indivisible]”mixture” of memory and perception’