Ecologies of Street

Performance
Bodies, Affects, Politics

Paul Simpson

A dissertation submitted to the University of Bristol in accordance with the requirements

for award of the degree of PhD in the Faculty of Social Sciences and Law and the School
of Geographical Sciences, April 2010.
86,710 words
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Abstract
This thesis examines the complex geographies of street performance and the multitude
of ways in which this practice is situated within, and therefore shaped by, the specific
spaces in which it takes place. Emerging from, and contributing to, the turn to practice in
human geography, and particularly developments in non-representational theory relating
to a reinvigorated engagement with work in phenomenology in the articulation of a post-
phenomenology, the thesis takes an ecological approach to practice. This approach pays
attention to the complex relatedness of practices to the socio-cultural, political, material-
built, and atmospheric environments in which they take place and the embodied
subjectification that occurs in this relatedness. In light of this ecological approach and
conceptual development, the thesis pursues two lines of enquiry relating to street
performance. Firstly, the thesis recognizes that artistic performances can open up
possibilities for something different to emerge in the everyday life of the city. As such, it
examines how street performers produce a specific form of convivial space in the city,
but also how their interventions may be guarded against through restrictions placed on
the access to, and use of, public space. The thesis asks: What happens when the street
space is transformed into a performance place? Secondly, drawing on ethnographic
experiences of performing and observing performances, and recognizing that an
engagement with such performances is inescapably an engagement with the body, the
thesis research examines the embodied experience of street performance by looking at
what it is like to actually undertake and experience such a practice in such (legislated)
spaces. The thesis asks: How do the spatialities and materialities of the street, and the
socialities that emerge therein, affect the embodied experience of performing? This is
pursued in terms of both the performer and the urban communities watching those
performances. Finally, the pursuit of these empirical questions is framed by the
development of the post-phenomenology mentioned above, and particularly through
asking: How can the subject-centred nature of much of phenomenological thought be
supplanted while still emphasizing the centrality of embodied experience, and the
situatedness of the body, to understandings of practice?

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Acknowledgments
This research was funded by the ESRC as part of a 1+3 studentship (award number:
PTA-031-2005-00199). Sections of the thesis have been presented at a number of
conferences and so benefited from questions and discussions that emerged from those.
Further, sections of Chapter 4 appeared as Chronic Everyday Life: Rhythmanalysing
Street Performance in the Social and Cultural Geography in a revised form, and so
thanks go to Rob Kitchen, the two anonymous referees, and Derek McCormack for their
comments. A revised version on Chapter 7 also appeared as Falling on deaf ears: a post-
phenomenology of sonorous presence in Environment and Planning A, and so thanks
go to Nigel Thrift, Ben Anderson, Les Back, and John Wylie for their comments on that.

Thanks go to Chris Philo for encouraging me to pursue postgraduate study and pointing
me in the direction of Bristol, and also for helping produce a post-doctoral application
based on this research which helped me better articulate what I was trying to do.

A great deal of thanks also goes to my supervisor JD Dewsbury. His mentorship and
friendship has made the experience of doing a PhD a very enjoyable one, even if his
exacting standards have also made it, at times, a very frustrating one!

Thank also to Veronica Della Dora and John Wylie for being the internal and external
examiners of this thesis respectively, and for both their engagement with what I have
presented here and for making the viva a surprisingly agreeable experience!

I would also like to thank a number of colleagues and friends who have contributed so
much to the experience of doing a PhD, both academically and otherwiseAisling
Gallagher, Julian Brigstocke, Sam Kinsley, James Clarke, James Ash, Pepe Romanillos,
Charlie Rolfe, Russell Prince, Simon Moreton, Dave Hayes, Graham Felce, Sebastian
Abrahamson, and all those who Ive forgotten to list.

Further, I would like to thank my parents for their supporting me in doing what I wanted
to do, and, most of all, for not asking too many questions!

Finally, I would like to thank my Lou. I would never have managed this without her love,
patience, support, patience, friendship, and (even more) patience.

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Author declaration
I declare that the work in this dissertation was carried out in accordance with the
requirements of the University's Regulations and Code of Practice for Research Degree
Programmes and that it has not been submitted for any other academic award. Except
where indicated by specific reference in the text, the work is the candidate's own work.
Work done in collaboration with, or with the assistance of, others, is indicated as such.
Any views expressed in the dissertation are those of the author.

SIGNED: ............................................................. DATE:..........................

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Contents
Abstract iii
Acknowledgments v
Author declaration vii
Contents ix
Illustrations xv

Chapter 1 Introduction to an ecology of street performance p1

I. Preface p1
II. Introduction p2
III. Geographies of Practice and Non-representational Theory p5
a. Non-representational Theory p7
b. Critiques of Non-representational Theory p10
c. Non-representational Theory and Street Performance p12
IV. Research Questions p13
V. Ecologies of Practice p13
VI. The Thesis p19

Chapter 2 Prolegomena to a post-phenomenology of practice p23

I. Introduction p23
II. Post-phenomenology p25
III. Origins of Phenomenology Husserl p28
a. The Development of Phenomenology in Husserl p28
b. Lived Experience p30
c. The Reduction p30
d. Intentionality p32
e. Intersubjectivity p33
f. Husserls Contributions p34
IV. Phenomenologies of the Body Merleau-Ponty p35
a. Merleau-Pontys Modification of Husserl p36
b. Phenomenology of Perception p38
c. The Visible and the Invisible p42
V. Post-phenomenological Trajectories p44

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Chapter 3 Researching street performance p49
I. Introduction p49
II. Observant Participation p51
III. Visual Methods p57
IV. Documents and Interviews p64

Chapter 4 Street performance and the city p69

I. Preface p69
II. Introduction p71
III. Geographies of Public Space p74
IV. Lefebvre and the Production of Space-Time p77
a. The Production of Space p77
b. Rhythmanalysis p81
c. A Different Project p84
V. Street Performance and the Space-Times of the Everyday p88
a. Bath and its Performance Spaces p88
b. The Control of Street Performers in Bath p90
c. Intervening in the Everyday p101
d. Not Intervening in the Everyday p109
VI. Conclusion p121

Chapter 5 Street performing p125

I. Preface p125
II. Introduction p127
III. Geographies of the Body p128
a. Geographies of Affect p129
b. Debating Affect p131
IV. Experience of Street Performing p134
a. Of Lines p134
b. Space-Times of Street Performing p139
c. Come Rain, Come Shine p149
d. Donations p152
e. Engaging Others p161
f. Being Territorial p168

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 V. Conclusion p170

Chapter 6 Audiencing street performance p171

I. Preface p171
II. Introduction p173
III. Audiencing, Observation, and Spectatorship p174
IV. Passive and Active Synthesis Husserl p179
V. Rethinking the Passive and Active Deleuze p191
VI. Deleuze Against Husserl p199
a. Representation p200
b. The Subject p201
c. Affect(ion) p203
VII. Conclusion p207

Chapter 7 Falling on deaf ears p213

I. Preface p213
II. Introduction p215
III. The Being-with of Being-there p219
IV. Listening: Sense, Subject, Body p221
a. Being all ears and Sense p223
b. The Subject of Listening p227
c. Sonorous Presence, the Body, and Resonant Subjects p229
V. Conclusion p235

Chapter 8 Conclusion p239

I. Introduction p239
II. From Street Space to Performance Place p240
III. Experiencing (in) the Street p242
IV. Post-phenomenology a Sketch p245

References p249

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Illustrations

Chapter 2:
2.1. Lineage of a Post-phenomenology of Practice p27

Chapter 3:
Table 3.1. Questions and Methods p51
3.1. Busking in Glasgow (photo taken by Alyn Griffith) p53
3.2. Busking in Bath and Bristol (photos taken by Louise Rutt) p53
3.3. Spotting the camera and resultant (lack of) affecting of behaviour p60
3.4. You are being filmed poster p63
3.5. Reading You are being filmed sign p64

Chapter 4:
4.1. Bronze statue on Stall Street p70
4.2. Moving on a pigeon p70
Map 4.1. Abbey Pitches p89
Map 4.2. Street Pitches p90
Box 4.1. Baths Code of Conduct p91
4.3. Communicating the busking code to new buskers p92
Box 4.2. 1904 Byelaw p93
Box 4.3. Model Byelaw 2000 p95
4.4. Skate Naked outside the Pump Rooms p96
4.5. Reduction of distance p102
4.6. Drawing attention p103
4.7. Mapping out the performance space p104
4.8. Once drawn and returning to everyday usage p106
4.9. Struggling to get a crowd (11.50am) p112
4.10. Frustration of not getting a crowd (11.58am) p112
4.11. First group stop (12.02pm) p113
4.12. Audience grows (12.06pm) p113
4.13. First group leaves and audience dwindles (12.07pm) p114
4.14. Audience re-built (12.08) p114
4.15. Full sized audience (12.12pm) p115

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 4.16. Tour group at left leave (12.13pm) p115
4.17. More leave as tour group started a trend (12.14) p116
4.18. Audience re-built again (12.16pm) p116
4.19. Audience grown again (12.23pm) p117
4.20. Peak audience (12.25pm) p117
4.21. But another tour group leaves at instruction of leader (12.29pm) p118
4.22. But audience re-grows for finale (12.32pm) p118
4.23. The show ends and magician is left chatting to a patron (12.34pm) p119
4.24. Spot the buskers (1.22pm) p120
4.25. Space without buskers (1.24pm) p121

Chapter 5:
5.1. Busking on Union Street (photo by Louise Rutt) p135
5.2. Busking in Broadmead (photo by Louise Rutt) p140
5.3 Queuing for the Roman Baths behind buskers p146
Untitled p150
5.4. Sincere donation p156
5.5. Recognition of song and clapping p157
5.6 Taunting donation p160

Chapter 6:
Untitled p171
Untitled (photo by Alyn Griffith) p179
6.1. The Abbey faade holds a stronger allure than the busker p183
6.2. A busker vying for attention during the lunch-time rush p184

Chapter 7:
7.1: First donation p214
7.2: Stopped to listen (leaning against a pillar to right of yellow sing) p214

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 Chapter 1

Introduction to an ecology of street

performance

Street performers only an ecological approach can provide the proper

conceptual frame for the complete description and deep understanding of
their art
(Bouissac 1992: 10).

[T]he intersection of audience, performer, and place uniquely construct the

doing of performance
(Logan 2005: 288).

To call something ecological is to draw attention to its necessary

implication in a network of relations, to mark its persistent tendency to enter
into a working system. That system however, can be more or less mobile,
more or less transient, more or less conflictual
(Bennett 2004: 365).

I. Preface

This thesis has its origins in a conversation that occurred in a bar in the West End of
Glasgow that no longer exists. The bar, then named Studio One, was the central hub of
Glasgows small blues music community and both hosted local and national bands on
Monday nights and a weekly jam session on Sunday evenings. This jam functioned as a
key meeting point for local musicians. I started frequenting Studio One from early 2002,
shortly after having moved to Glasgow to attend University, and continued to do so until
August 2005 when I moved to Bristol for postgraduate study. Initially I attended the jam
and eventually, having got to know many of the musicians who played there, was invited
to join a band which occasionally played in the Monday night slot. Within this period

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(around May-October 2004), as a result of another pub conversation (this time with a
geographer), I ended up studying this community for my undergraduate dissertation.
Writing heavily under the influence of Beckers (1997) work on jazz musicians, this
examined the spatiality of performing in this (and one other) venue, the resultant
interactions that occurred between musicians and non-musicians, and also the broader
(marginal) societal situation of these musicians (Simpson 2004).
One evening, towards the end of this research, a musician told me about his
attempts to make his sole income from music given the limited opportunities to get blues
gigs in Glasgow. He, along with one other musician with similar motivations, had started
busking. Although I can no longer remember the details, I am certain we talked about
the experience of performing in that setting and how it differed from performing in
Studio One, issues relating to the Glaswegian weather, playing for long periods of time
and the impact that had had on his hands, feeling comfortable performing in the street-
spaces, and if he needed permission to play in Glasgow. The later aspect of the
conversation also led him to bring up some run-ins hed had with the police following
people complaining he was too loud. I was also dimly aware at the time of buskers
having recently been licensed to perform on the London Underground. Performing in
the street then seemed to pose a unique set of issues and experiences.
Around the time of the conversation I had been starting to try to think about
potential doctoral research projects. Therefore, the pages that follow are a direct result of
this conversation.

II. Introduction

Street performers have been an ever present aspect of the cultural life of cities since at
least the Roman era. As such, those commonly known today in the UK as buskers have
ancestral relations in the historical figures of the Goliards, Troubadours, Jongleurs,
Minstrels, Mountebanks, and so on (Cohen and Greenwood 1981). While the value of
their presence is by no means agreed upon, street performers, like many forms of
performance art (Pinder 2005a), unquestionably do something to the experience of the
urban everyday. They may entertain people or annoy people, bring people together or
drive people away. There is the potential that street performance can contribute to the
production of convivial civic spaces (Sharp 2007). It is clear also that performing in the
street presents a particular set of challenges to the performer which can again be both
positive and negative. The lack of structure and ties can be liberating and invigorating,

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but also put the performer in a precarious and unnerving position there is no saying
what will happen or when.
But what is a street performance? In using street performance, as suggested
above, I am referring to what would commonly be called busking. The OED defines
busk as to play music in the street in order to be given money by passers-by. Key here
is that performers are not paid a fee they play for donations. However, this definition
highlights busk as having heavily musical overtones. I therefore use the more general
term street performance as I dont want to exclude non-musical performers those
who juggle, mime etc. and operate under the same sort of practical set up (performing
in the street for donations). Therefore, in this thesis I am interested in those who
undertake an artistic performance, be that musical or not, in the street in order to receive
monetary donations from passersby. In the body of the thesis I will use busk at times to
distinguish musical performers from non-musical performances, and use street
performance to refer to non-musical performers and to both musical and non-musical
performers collectively.
Street performance, both in its musical and non-musical sense, appears to be an
almost untouched topic among geographers.1 A significant body of literature does exist
within geography on the usage of streets and other public spaces for performances, but
this has generally focused around parades and political protest movements, rather than
street performance as I have defined it.2 This parade and political protest literature is also
accompanied by a large body of work existing outwith geography on what Cohen-Cruz
(1998) calls radical street performance.3 This literature focuses on the use of streets and
other urban spaces for politically guided street theatre, theatre with a particular cause or
message in mind, with any money collected being for the furtherance of that cause and
so falls outside the interests of this thesis (Campbell 1981).
This lack of attention to street performance is also echoed across wider
disciplines. As Harrison- Pepper (1990: xiv) notes:
[i]n theatre histories, anthropology texts, or urban analyses, street
performance is viewed as an event that is marginal, inconsequential,

1 There are two exceptions to this. Firstly, Brayshay (2005) studies the mobility of 16th and 17th century
itinerant musicians, and in particular, the scope, frequency, character, and profitability of their journeys.
Secondly, Gosss (1996) main focus is on Festival Marketplaces, but brief reference is made to street
entertainers in privately owned shopping markets who are highly policed and coordinated, resulting in the
exclusion of, what he deems, real street performers.
2 For examples see Busteed (2005); Goheen (1990; 1993a; 1993b); Jackson (1988); and Woods (1999).
3 See for example Cohen-Cruz (1998); Elam Jr (2001); Martin (2004); Theatre de L'Epee de Bois (1969);

Lebel (1969).

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 unworthy of documentation, even a threat to the image of the city,
established structures of commercial theatre, or other businesses.

Despite this, a small body of literature on street performance in the sense I have defined
it does exist. Within this, there is a recurrent interest in the specific situation of this
practice within the spaces of the street in a number of senses, and the implications this
has for the playing out of performances.
For example, firstly, studies have focused on how various aspects of the performance
space can affect performers and audiences both practically and experientially. As such, Masons
(1992) study of street theatre within a European context discusses the practicalities of
performing outdoors and how it deviates from the norms of performing in a theatrical
environment. Mason (1992) particularly focuses on the functionality of the space and the
impact of the architectures of performance spaces having a backdrop, its visibility,
acoustics, capacity, the separation of performer and audience etc. on performing and
the implications of the loosening of the usual constraints of the theatre, for example in
timing and scripting. Further, Campbells (1981) work on street performance in America
makes occasional reference to how performers feel when they perform in such a setting;
how they feel or have a certain atmosphere when their (potential) audiences ignore them,
or watch without donating, and conversely the joy when acts are received well. This is
also discussed in relation to the specific sites where they perform and how they approach
these environments how architectural spaces can feel, or be made to feel, habitable, or
how they can feel intimidating. Further, this literature has begun to think about how street
performance is audienced given this situation of performances outside such formalisms of a
stage or theatre environment. For example, Prato (1984) discusses the aesthetic
experience of street music in Washington Square Park, New York in terms of the
distracted reception of performances given their situation outside of a theatre.
Emerging out of this, and second, this literature has also discussed the ways in
which performers, both musical and non-musical, relate to their performance environment more generally.
For example Harrison-Pepper (1990: xvi), in studying of non-musical street performers,
and again focusing on Washington Square Park, justifies her exclusion of musical
performers as, for her, [s]treet music only happens to occur on an urban stage; the
larger message is that the environment is mostly to be ignoredStreet performers, by
contrast, are more committed to the streets and more involved with their audiences.
Further, and in contrast to this, Tanenbaums (1995) study of busking on the New York
Underground is, in a sense, a response to Harrison-Peppers (1990) claim that non-

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musical street performers have some kind of superior relation to their environments.
Tanenbaum (1995) reclaims the significance of musical street performance from
Harrison-Pepper (1990), arguing subway musicians are inherently bound up in and with
their performance environments, especially regarding how the public experience those
environments. It is not simply indoor performance undertaken outwith a venue.
With street performance being so thoroughly situated in the urban environment in a
variety of ways, and finally, Harrison-Pepper (1990) also highlights the need to
extensively catalogue and document the setting within which performances occur. She
views these spaces as layered, as palimpsests. A significant aspect of this layering has
included the examination of the persistent attempts to control street performance through
legislative interventions, and how these interventions play a role in the ways in which the
everyday life of the street plays out and affects the performers experience of performing.
For example, Cohen and Greenwood (1981) trace this from the Roman era to the 1980s.
While they present their work as being a study of individualists, their task being, to
trace a tradition of people who chose to defy class structure, and take their chances on
the roads and streets (1981: 11), they in fact consistently highlight the pervasive class
positioning of street performers by governments and religious institutions, often being
viewed as one-step above beggars. Street performers do not so much defy this class
structure then, but, in their life on the roads and street, are continually subjected to it
(also see Calaflin and Sheridan 1998; Picker 2003). In fact, as Harrison-Pepper (1990: 22)
states, [m]uch of the history of street performanceis found in the laws that prohibit
it.
Taking up these themes in this thesis, I am interested in the complex geographies
of street performance and the ways in which this practice is embedded within, and so
shaped by, the complex and layered spaces in which the performance takes place (see
Wood, et al. 2007).

III. Geographies of Practice and Non-representational Theory

In addition to the biographical conception of this project discussed above and the
themes of the previous work done on this practice, the specific nature and evolution of
this thesis has arisen out of an encounter with a number of current trends in geographical
writings which have held a related interest. Most notable here is the recent turn to
practice in social and cultural geography (Cresswell 2003; Thrift and Dewsbury 2000) and
the concurrent emergence of non-representational theory (Dewsbury, et al. 2002; Thrift
2007).

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 An interest in practice is not entirely new for geography given work in the 1970s
and 1980s in time geography and humanistic geography (Cadman 2009; see Buttimer
1976; Hagerstrand 1976; Tuan 1977). Here there was interest in the ways in which people
inhabited time-space and how this contributed to understandings of the processes
through which society is reproduced and maintained (Latham 2003), and also in the
complex nature of human experience, which ranges from inchoate feeling to explicit
conception and through which a person knows and constructs a reality (Tuan 1977: v
and 8). Further, during the 1990s (see Matless 1995; 1996; 1997) notions of practice were
to varying degrees implicit within various strands of social and cultural geography,
including geographies of landscape and the examination of the ways in which landscapes
are lived in and moved through in terms of a dialectical tension of eyes and bodies, the
visceral and the cerebral (Matless cited in Cresswell 2003: 280), animal geographies and
understandings of nature-society hybridity (see Anderson 1997; Whatmore 1999; Wolch
and Emel 1998), the geographies of music and understandings of the generative relations
between music and place (see Cohen 1995; Kong 1995; Leyshon, et al. 1995; Valentine
1995), and also in discussions of the geographic production of subjectivity (see Cresswell
1996; Pile and Thrift 1995; Sibley 1995).
However, recently there has been a very evident shift in social and cultural
geography to take everyday mundane practices seriously in such a way that injects
temporality and movement into that which was previously rendered static, at the same
time as paying attention to the ways that practices are contextualized and given a frame
(Cresswell 2003: 280). Work here has engaged with an eclectic range of practices,
including the geographies in/of: dance and the production of proper conduct (Cresswell
2006); the performance of folk music (Revill 2004); camping (Crouch 2003); gardening
(Hitchings 2003); being at home (Hetherington 2003); specific mundane everyday
activities such as dog walking (Laurier, et al. 2006), going for a coffee (Laurier and Philo
2006a), talking on the phone (Laurier 2001), or eating (Browne 2007); and different
mobile practices such as cycling (Spinney 2009), walking (Macpherson 2008), driving
(Laurier 2005), and flying (Adey 2007).
Alongside, and at times in conversation with, these recent discussions of the
geographies of practice, non-representational theory has come to be a prominent
approach to thinking about practices, particularly in terms of focusing on their open-
endedness, the centrality of the body to the experience of space and the production of
subjectivity, and how much of our experience proceeds without our conscious reflection

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upon it (Thrift 2000a). Given its prominence, and relevance to the themes already
outlined in the previous section, I will now outline in detail what non-representational
theory is and from this suggest its impact upon the conception of this research project,
which, as will be discussed in the next chapter in more detail, follows a post-
phenomenological approach.

Non-representational Theory
Non-representational theory has emerged since the mid-1990s in a series of papers and
book chapters written by Thrift (see Thrift 1996; 1997; 1999; 2000a; 2007) and has also
evolved in the work of a range of his postgraduate students during that time (Dewsbury,
et al. 2002; Dewsbury 2000; 2003; Harrison 2000; 2007a; 2008; McCormack 2002; 2003;
2005; Wylie 2002; 2005; 2006), and a few others (Anderson 2006; Laurier and Philo
2006b; Lorimer 2005). In its most recent articulation, for Thrift (2007: 2), non-
representational theory represents, most simply, an interest in the geography of what
happens and, [i]n large part, it is therefore a work of description of the bare bones of
actual occasions. In a little more detail, Lorimer (2005: 84) suggests that its
focus falls on how life takes shape and gains expression in shared
experiences, everyday routines, fleeting encounters, embodied movements,
precognitive triggers, practical skills, affective intensities, enduring urges,
unexceptional interactions and sensuous dispositionswhich escape from
the established academic habit of striving to uncover meanings and values
that apparently await our discovery, interpretation, judgment and ultimate
representation.

It is important to note though that non-representational theory is not in fact an actual

theory, but something more like a style of thinking which values practice (Thrift 2000a).
It is therefore also best thought in the plural as non-representational theories (Anderson
cited in Lorimer 2008). In this plurality, theories of post-structuralists, phenomenologists,
pragmatists, feminists, and a collection of social theorists, mix in varying concentrations.
To provide a more specific and detailed account of this plural disposition, I will now
draw on the various outlinings by Thrift and others mentioned above to articulate the
main thematics of non-representational theory which are key to this thesis and its
interests in the experience of everyday spaces and acts of embodied perception outlined
in the previous section.
Firstly, non-representational theory tries to attend to the onflow of everyday life
(Thrift 2007). Drawing influence from vitalist philosophy and philosophies of becoming,
this approach recognises the processual register of experience and that the world is
more excessive that we can theorise (Dewsbury, et al. 2002: 437). From this, and the

7
related recognition that consciousness is in fact a narrow window of perception, and so
positing the precognitive as something more than an addendum to the cognitive
(Thrift 2007: 6), it is argued that it is vain that we say what we see; what we see never
resides in what we say (Foucault 2002a: 10). Non-representational theory thus acts
against a curious vampirism, in which events are drained for the sake of the orders,
mechanisms, structures and processes posited by the analyst (Dewsbury et al 2002:
p437). Instead, more attention is given to the pre-cognitive aspects of embodied life,
these rolling mass[es] of nerve volleys [which] prepare the body for action in such a way
that intentions or decisions are made before the conscious self is even aware of them
(Thrift 2007: 7).
Secondly, non-representational theory is resolutelypre-individual. It trades in
modes of perception which are not subject-based (Thrift 2007: 7). Instead, non-
representational theory is concerned with practices of subjectification, not with subjects.
This subjectification arises out of the world being made up of all kinds of things
brought into relation with one another by many and various spaces through a continuous
and largely involuntary process of encounter (Thrift 2007: 7). Given non-
representational theory strictly goes against the classical human subject which is
transparent, rational and continuous (Thrift 2007: 14), this has significant ethical
implications (see Thrift 2003b); traditional ethical questions become more complicated.
Asking what have I done? or what should I do? become infinitely more complex when
the status of this I asking the questions has been significantly undermined. From this,
questions of ethics now mean becoming critical of norms under which we are asked to
act but which we cannot fully choose and taking responsibilityfor the dilemmas that
subsequently arise (Thrift 2007: 14). This leave us with something like an ethics of joy
such as that to be found in the works of Spinoza (1996) and Deleuze (1988) whereby an
ethical action is that which expands capacities to act, or in Thrifts words, serves to
build new forms of life by boosting aliveness (Thrift 2007: 14).
Third, and centrally to this thesis, non-representational theory is interested in the
human body and its co-evolution with things (Thrift 2007). The work of Merleau-Ponty
has proved a key influence here (see Thrift 1996; Wylie 2002; 2006). Here the body is not
counted as separate from the world, but rather it is argued that the human body is as it is
because of its unparalleled ability to co-evolve with things, taking them in and adding
them to different parts of the biological body to produce something whichresemble[s]
a constantly evolving distribution of different hybrids with different reaches (Thrift

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2007: 10). Given that bodies and things are not easily separated terms (Thrift 1996:
13), non-representational theory aims to attend to the material relatedness of the body
and world and its constantly emergent capacities to act and interact.
In this interest in the bodys co-evolution with non-human things, non-
representational theory gives equal weight to both rather than viewing the non-human
as mere cladding (Thrift 2007: 9). This means non-representational theory is concerned
with technologies of being: hybrid assemblages of knowledges, instruments, persons,
systems of judgement, buildings and spaces, underpinned at the programmatic level by
certain presuppositions about, and objectives for, human beings (Rose cited in Thrift
1997: 130). This views the world as a multiplicity of heterogeneous networks and
connections needing to be maintained, decentring the Cartesian notion of agency as
belonging solely to the human and putting agency into matter (Thrift 1996; 2000a). In
addition to the strong influence of the work of ANT on non-representational theory here
(see Latour 2005), key for me is the recent emergence of Speculative Realist philosophy
which seeks to pay attention to the existence and interaction of objects (or things)
outside of the necessary presence of a human subject or access to this, and on the
condition that any access would be incomplete (Harman 2005; also see Meillassoux
2008).4
This emphasis on the material relatedness of the body is also closely connected to
non-representational theorys desire to get in touch with the full range of registers of
thought by stressing affect and sensation (Thrift 2007: 12). Work on this topic has
proliferated both in geography and in the social sciences recently (see Anderson 2006;
Anderson and Harrison 2006; Bissell 2008; Clough 2007; Dewsbury 2000; Gumbrecht
2004; Massumi 2002; McCormack 2003; Stewart 2007; Thrift 2004). Affect does not refer
to a personal feeling, but rather to a pre-personal intensity corresponding to the passage
from one experiential state of the body to another and implies an augmentation or
diminution in that bodys capacity to act (Massumi 2004: xvii). The subject, or what we
used to understand by subject, is affective, and engages in and emerges from affective
dialogical practicesborn in and out of joint action (Thrift 1997: 128). Key here is that this
is between; [a]ffects are not about you or it, subject or object. They are relations that
inspire the world (Dewsbury, et al. 2002: 439 [my emphasis]).

4This aspect of Speculative Realism was also evident at the recent Speculative Realism/Speculative
Materialism conference, held at the University of the West of England, 24/04/09, which I attended.

9
 Fourthly, and following on closely from this point, non-representational theory
concentrates on practices, mundane practices, that shape the conduct of human beings
towards others and themselves in particular sites (Thrift 1997: 127). Practices are
understood as material bodies of work or styles that have gained enough stability over
time, through, for example, the establishment of corporeal routines and specialized
devices, to reproduce themselves (Thrift 2007: 8). Practices are then productive
concatenations that have been constructed out of all manner or resources and which
provide the basic intelligibility of the world (Thrift 2007: 8).
This interest in practices highlights an important point about non-
representational theory. Non-representational theory IS interested in representations,
even if Thrift did appear to suggest otherwise in certain early moments of over-
exuberance (see Thrift 1997). I will return to this in more detail shortly, but for the
moment it is important to make clear that although the prefix non may imply moving
away from a concern with representations and especially text (Nash 2000: 655), [n]on-
representational theory takes representations seriously; representations not as a code to
be broken or as an illusion to be dispelled rather representations are apprehended as
performative in themselves; as doings (Dewsbury, et al. 2002: 438). Therefore, it is
representationalism, or representative fixing and framing that non-representational
theory finds problematic (Lorimer 2005).
Finally, non-representational theory aligns itself with a sort of experimentalism
which does not shy away from providing an open-ended account of the world. Taking
inspiration from the performing arts (Thrift 2003a), non-representational theory seeks to
escape the reading techniques on which the social sciences are founded to inject a
note of wonder back into a social science which, too often, assumes that it must explain
everything (Thrift 2007: 12). In a somewhat Deleuzo-Nietzschean vein, non-
representational theory is motivated by the sentiment: Let us try it! (Nietzsche 1974:
115) rather than let us judge it (Deleuze 1997).

Critiques of Non-representational Theory

The reception of non-representational theory has been, to say the least, mixed. A number
of critiques have been made and I want to spend a little time now highlighting two of
these and suggest their impact on the way in which non-representational theory has been
taken up in this thesis.
The first critique comes from the very name non-representational theory. It has
been argued that non-representational theory conceives work which it calls

10
representational in an all too caricatured manner. It is understandable that such a
contention could have arisen given the tone of some of the early criticisms made of such
work. For example, it was argued that a hardly problematised sphere of representation is
allowed to take precedence over lived experience, usually as a series of images or texts
which a theorist contemplatively deconstructs, thus implicitly degrading practices (Thrift
1996: 4). This degrading of practice in representationalism, it was argued, has framed,
fixed, and rendered i n e r t all that ought to be most lively in its
deadeningtendencyto cleave towards a conservative, categorical politics of identity
and textual meaning (Lorimer 2005: 83-85).
In response to this, it has been sympathetically suggested that a more appropriate
name might be more-than-representational theory, whereby the arguments of non-
representational theory are taken as a modest supplement or a background hum, asking
questions of style, form, technique and methods, and ushering in experimental kinds of
response (Lorimer 2008: 556). This has been suggested to lose the negative
connotations of the non and, in so doing, maintaining a less antagonistic tone toward
such work previously (and still) done, but at the same time to still suggest a shift in focus
(Lorimer 2005).
While I found an initial attraction to such a more-than representational
understanding the more positive and inclusive connotations being appealing I do
have a niggling concern with the more-than. I think there is a danger that it draws non-
representational thinking into overly close proximity to representational modes of
thought. It is possible that with the more-than we risk remaining inescapably caught up
in the language and perspective proper to that tradition (James 2006: 27). The more-
than is too close, for me at least, to suggesting that non-representational theory is
representational theory plus, and so undermining the substantial shift in focus (at least
some of) this work has enacted. Perhaps the negation of the non is necessary in making
a break from representational modes of thought. To echo a point suggested previously,
this DOES NOT mean breaking with a concern with representations, rather a break with
representationalism (Lorimer 2005).
The second critique follows quite closely from this. It has been argued that non-
representational theory does not pay enough attention to the representational context of
the practices it studies. While I have already suggested otherwise, it is important to spend
a little more time on this here. This critique is made by Cresswell (2006) in his discussion
of dance and revolves around the relative value given to representations and their ability

11
to produce correct and appropriate movement, and more broadly codify and
regulate. Cresswell (2006: 72-73) argues that, referring to McCormacks (2003) account
of dance, [a]lthough codified rules are important to McCormack, they are not as
important as the styles and modes of moving themselves and that [t]his notion lies at
the heart of contemporary geographical discussion of non-representational theory and
the idea of practice (see Nash 2000; also see Revill 2004). While I do to some extent
agree with the assertion that some discussions in non-representational theory have not
paid sufficient attention to the context of the practices under study, I do also find
Cresswells articulation of this problematic. I too want to be attentive to the interface
between the representational and the non-representational, but in a very different sense
to Cresswell in his desire to uncover the ways in which representation is used to hijack
the process of becoming (Cresswell 2006: 73 [emphasis in original]). To me this suggests a
view of representation which ascribes them far too much power and efficacy. I am
unsure how becoming can be hijacked when becoming is what there is; [l]ife differs
from itself, so we are confronted by divergent lines of evolution and, on each line,
original process (Deleuze 2004a: 40). I am therefore more interested in the roles which
representations undoubtedly play both enabling and constraining in the becoming of
the world through attending to the situated nature of practices within a specific context
(Lorimer 2008) (in the case of this study, the street). Following Thrift (1996: 3), this
context definitely does not mean an impassive backdrop to situated human activity.
Rather, I take context to be a necessary constitutive element of interaction, something
active, differentially extensive and able to problematise and work on the bounds of
subjectivity.

Non-representational Theory and Street Performance

In this thesis, each of these tenets of non-representational theory play a significant part in
directing the themes of the discussion. For example, I am interested in the sensuous and
affective processes of subjectification a performer undergoes in their bodily relatedness
to the environments in which they perform (Chapter 5) and the subjectification that
occurs when members of the audience are affected by such performances (Chapters 6
and 7); I am interested in what discourses (or representations) do, alongside the more
general patterns of the everyday life of the street, to how performances play out (Chapter
4), and how such factors affect the experience of performing (Chapter 6); I am interested
in the ephemeral and fleeting space-times of communion that may or may not occur
through the presence of performances (Chapter 4); I am interested in the broad range of

12
perceptual registers and senses through which audience members attend to
performances, and how a sense of self and what is going on emerges from this (Chapters
6 and 7).
In pursuing these themes, the thesis develops a post-phenomenological line of
thinking (Rose and Wylie 2006; Lea 2009, forthcoming) which, in light of the work in
and around non-representational theory outlined earlier, refers to an approach whereby
the subject-centred nature of previous phenomenological work is reconsidered in light of
work in and around post-structuralism, and so conceives of experience in a more trans-
humanly fashion (Lea 2009, forthcoming). This then provides a fruitful means for
thinking about our complex and dynamic being in the world, or rather, being-with or of
the world. I return to this in more detail in the next chapter.

IV. Research Questions

In light of these various literatures, theoretical influences, and personal motivations, it is

now possible to articulate the main research questions of this thesis. These number three.
1) In light of the recognition that artistic performances can open up possibilities for
something different to emerge in the everyday life of the city (Pinder 2005a), but also
have this guarded against, the thesis asks:
What happens when the street space is transformed into a performance place
and how is this affected by both the performances everyday and legislative
context?

2) In recognizing that an engagement with such modes of performance is inescapably

an engagement with the body, and that this body is always situated within the everyday
context mentioned above, the thesis asks:
How do the spatialities of the street, and the socialities that emerge therein,
affect the embodied experience of performing and the performance?

This is pursed both in terms of the performer and the urban audience attending to
those performances.
3) At a more conceptual level, in answering the above two questions, the thesis asks:
How can the subject-centred nature of much of phenomenological thought
be supplanted while still emphasizing the centrality of embodied experience,
and the situatedness of the body, to understandings of practice?

V. Ecologies of Practice

In addressing these empirical questions, and marking an initial contribution to the

theoretical question just outlined, the thesis takes what can be characterized as an

13
ecological approach to the study of practices. The term ecology was originally coined by
the German zoologist Ernst Haeckel in 1873 as okologie, from the Greek oikos,
meaning house, dwelling place, or habitation, and logia, meaning the study of
(Kershaw 2007). As such, the study of ecology refers to the examination of the inter-
relation of an organism with its environment (Hawley 1950). Despite these biological
origins, the term has in fact been appropriated in a number of other disciplines, including
the social sciences and humanities.
One prominent example of this is in the work of the Chicago School of
Sociology and its development of human ecology (Bulmer 1984). In particular, Park et
als (1925) The City formally introduced human ecology as a research agenda for
sociology and the study of American cities and focused on many of the social changes
that had resulted from the rapid expansion of Americas urban areas at that time. They
were influenced in the development of their ecological approach by the emerging fields
of plant and animal ecology and, in fact, came to see the development of human ecology
as an explicit extension of these fields (Grove and Burch 1997). The Chicago School
then developed their human ecology in light of work in community ecology in three main
ways (Grove and Burch 1997). Firstly, Park (1936) drew on a community ecology
approach, and concepts such as succession and competition, to examine the
complexities of urban society in order to uncover a set of regular social patterns and
processes in the apparent confusion of the urban melting point (Grove and Burch 1997:
260-261). Second, the Chicago School conceived the city as a closed, functioning system
or community that could therefore be treated as an organism or superorganism. Finally,
the School focused on the spatial and temporal dimensions of the city, examining the
ongoing processes of invasion and accommodation which give communities well
defined areas with their own specific selective and cultural characteristics (Grove and
Burch 1997).
A further prominent example was the use of the term ecology in the title of
Batesons Steps of an Ecology of Mind (Bateson 2000), particularly in that it has led to a
number of works in human geography (and the social sciences more generally) which
have sought to outline Steps to an ecology of a number of phenomena/concepts (see
Ingold 2000; Massumi 2009; Thrift 1999). A key development here is Batesons (2000)
conception of the world as an ecological complex of interconnected circuit structures
which, in their variety in number and scale, are susceptible to change, change which will
have contingent outcomes given this complexity. In particular, Bateson sought to

14
dismantle the opposition between mind and nature and so conceive of the mind as
immanent in the whole system of organism-environment relations in which we humans
are necessarily enmeshed, rather than confined within our individual bodies as against a
world of nature out there and so conceiving the mind as not limited by the skin
(Ingold 2000: 16).
Further, and along a similar line, a key figure in the development of ecological
thinking was Gibson and his work on developing an ecological approach to visual
perception (Gibson 1979). In this Gibson sought to go against idealist understandings of
perception (whereby a subject is understood to perceive the environment through the
production of representations of the world in their head), by thinking perception as not
the achievement of a mind in a body, but of the organism as a whole in its environment
(Ingold 2000: 3). For Gibson the mind is not in the head but rather it is immanent in
the network of sensory pathways that are set up by virtue of the perceivers immersion in
his or her environment (Ingold 2000: 3). Central within this theory was Gibsons
understanding of affordances, the concept which shows the reciprocity between
organism and environment (Hirose 2002: 289). Such affordances are the opportunities
for action that objects, events or places in the environment provide for an animal and as
such are properties of the environment, specified relative to the animal, but not
properties of the animal (Hirose 2002: 290). The two are not thought apart, but as a
relational whole.
Following Batesons and Gibsons work, a number of theorists have developed
ecological approaches to the study of social phenomena, particularly taking on this
relational and distributed model of what it means to be human. For example, being
influenced by Bateson, Guattari (2008) outlines his ecosophy which plays across three
interrelated ecological registers of the environment, of social relations, and of human
subjectivity and the analysis of all of which he argues is central to addressing the
ecological crisis which has emerged from techno-scientific transformations, and so to
developing ways of living in the world. More recently, Batesons ideas, along with those
of Gibson, have been taken up in the work of Ingold (2000) in his development of an
ecology of life. Here Ingold critiques Batesons articulation of the ecosystem as being
two faced one face of matter and energy, the other a field of pattern and information;
the first substance without form and the latter all form detached from substance
(Ingold 2000: 16). These then corresponded to two ecologies: an ecology of material and
energy and exchanges and an ecology of ideas, what came to be Batesons ecology of

15
mind. Ingold departs from Bateson in that he seeks to not separate out these two
ecologies, but to rethink our understanding of life not in terms of the organism plus
environment (as Bateson conceives it), but as the whole-organism-in-its-environment,
so not a compound of two things, but one indivisible totalitya developmental system
(Ingold 2000: 19).
Furthermore, the term ecology has cropped up in recent work in geography,
often being used to invoke a broadly relational materialist approach to the thematics
under examination. For example, Thrift (1999: 306) outlines an ecology of place, by
which he refers to an understanding of place that is grounded in an irreducible ontology
whereby the world is seen as being made up of billions of happy or unhappy
encounters, a situated epistemology whereby what we can know is limited by our
situation in the world as embodied beings, and so an understanding of the world as a
series of self organizing assemblages which are completely connected, constantly
changing, and contingent; always these, never just this. Further, Jones (2005: 206)
outlines a conception of an ecology of emotion, memory, self and landscape, by which
he generally refers to the transactions of body(ies), space(s), mind(s), feeling(s) in the
unfolding of life-in-the-now.
While taking inspiration from the work of Bateson and his followers (particularly,
as should become clear, Ingolds thinking of the ecology as an indivisibly relational
developmental system), the specific initial inspiration for taking this approach comes
from Harrison-Peppers (1990) study of street performance discussed earlier and the way
in which she attends to the complex relatedness of the practice of street performing to
the environments in which it takes place. As she states:
It is nearly impossibleto separate street performance from the urban
environment, for the city exerts a primary influence on both its perception
and reception. The shape, texture, and uses of urban space determine
behaviours and expectations, performance structures, and the theatrical
frame. The width of the sidewalk or shade from a tree, the noise surrounding
the performance space, the proximity of other performers, the social as well
as the atmospheric climates, the civic regulations concerning performance
activities all are part of the performers daily, even minute-to-minute
negotiations with a fluid and vital urban environment. The setting may even
influence an audiences contributions
(Harrison-Pepper 1990: xv).

Bouissac (1992: 10) names this as an ecological approach, which, he argues,

onlycan provide the proper conceptual frame for the complete description and deep
understanding of their [the street performers] art. While I am in broad agreement with

16
this statement and have hence adopted this approach in the thesis, I am sceptical that
anything like a complete description of street performance is possible. This comes
down to the sheer expansiveness of the ecology in which street performers perform,
both spatially and across time. This dynamic, always evolving system can only ever
exceed our capacities as researchers to articulate the relations that take place within it.
In further developing this ecological approach, the thesis also takes inspiration
from the work of Bennett, and, in particular, follows her assertion that:
humans are always in composition with non-humanity, never outside of a
sticky web of connections or an ecologyTo call something ecological is to
draw attention to its necessary implication in a network of relations, to mark
its persistent tendency to enter into a working system. That system however,
can be more or less mobile, more or less transient, more or less conflictual
(Bennett 2004: 365).

Here Bennett draws attention to the excessive, yet practical, nature of an ecology there
is a tendency towards working out. More specifically, we can break this down into a
threefold movement. Firstly, an ecological approach pays attention to the performative.
Suggesting an ecology is performative highlights the importance of how action is
produced through, and citied off, already placed signified frameworks (Butler 1993;
1999). For example, these can relate to a broad range of discursive formations, such as
the legislative controls placed on street performance discussed previously. Secondly, an
ecological approach pays attention to performance. There are a number of ways in which
performance can be understood (see Thrift and Dewsbury 2000), but here I am defining
performance as something subjunctive, liminal, dangerous, and duplicitous (Schechner
2003: xix). Paying attention to performance highlights the importance of lived bodily
investment and our actual taking place through or as our bodies. This suggests an
attention to the live, the experiential, the intensive, and evental shifts or interventions.
Finally, an ecological approach pays attention to practice. Paying attention to practice
highlights how this all actually works out, or the practicability of the ecologys continued
functioning; how bodies, prescriptions, temporalities, and so on play out in the everyday,
and thus how the ecology tends towards a working system.
Therefore, such an approach is attentive to both the evental sets of relations
those lines of connection that trace our little modifications, that make
detourssketch[ing] our rises and falls (Deleuze and Parnet 2006: 93) and the
contextual sets of relations those performative frameworks mentioned above, those
segmentations that cut us up in multiple ways but nonetheless practically work out
present within practices. Alternatively, this can be thought in terms of notions of

17
equilibrium and disequilibrium (Guattari 2008). When something new enters into the
ecology through such a line of connection, it is necessary that a new equilibrium be
reached: [t]his assemblage has to work in order to live, to processualise itself with the
singularities that strike it. All this implies the idea of a necessary creative practice
(Guattari 1995: 94). This might happen through the auto-reproductive capacity of the
ecology itself, or necessitate outside intervention. The necessity of this intervention, or its
nature, is not however determinable in advance. Such interventions may seek to
homogenize the ecology to ensure its continued functioning, but equally this could be
sought through the proliferation of heterogeneity (Guattari 2008).
This ecological approach also responds to a further (internal/auto-) critique made
of non-representational theory. Work in non-representational theory, particularly in its
Deleuzian manifestations, has been criticized for wanting to go at the ever new, at an
unalloyed bliss of action (Thrift 2007: 258 quoting Deleuze 1998: 28). Given the
vitalist inheritance of some of the work undertaken under the banner of non-
representational theory (this thesis included), it has been suggested that things have been
a little too animated and lively; that everything is moving all the time under the
remorseless pressures of becoming (Rose and Wylie 2006: 476; see Thrift 2007: 10;
Harrison 2008). I want to make it clear and somewhat echoing my response to
Creswells (2006) critique of non-representational theory that what I want to do here, in
taking this ecological approach, is to pay attention to the contextual frameworks, to the
performative and practical consistency of the world, whilst at the same time paying due
attention to movement at varying speeds (both speeding up and slowing down), or as
Thrift (2007: 8) states, to the fact that actions presuppose practices and not visa versa.
An ecology is then a co-functioning transient happening, a pre-personal
affective occurrence of varying duration and intensity (Deleuze and Parnet 2006), and
can be understood at a variety of scales. There is as much a social ecology as there is a
mental ecology or molecular ecology at the level of the body and its intensities (Guattari
2008). Not only are humans entered into a sticky web of connections (Bennett 2004),
but to be human is to be a sticky web of connections (Guattari 2008). We can think of the
ecology at the level of the street and how it is produced through the complex
interrelation of bodies, representations, and practices (Chapter 4), at the level of the body
itself, both in its complex molecular affectivity and its relations to the environment it
inhabits (Chapters 5 and 7), at the level of the inter-corporeal and the affective processes

18
of subjectivation that are ongoing in the encounter of human bodies (Chapters 4 and 5),
but also between human and non-human bodies (Chapters 5, 6 and 7).
Finally, it is important to emphasize here that I am talking about an approach I
am not attempting to build something like an ecology theory to rival the likes of ANT
(see Latour 2005), Assemblage Theory (see DeLanda 2006), or any other broadly
relation-based theory. I am not going to develop anything like a range of key tenets or
sub-theories of this ecological approach across the chapters of the thesis. Rather, I use it
to highlight a consistency of approach and concern across the chapters of this thesis
which is also present in the theorists drawn on throughout. Each of the thinkers drawn
on variably share an ecological sensibility in their work; namely, an attention to the
complex relatedness of the world and the ways in which this holds a consistency, but is
also dynamic and open to change. This is to be found in Deleuzes ethological and
diagrammatic conception of affectivity and passivity (Deleuze 1988; 2004b), Guattaris
discussion of ecological complexes of subjectivation (Guattari 1995), Deleuze and
Guattaris machinic thought (Deleuze and Guattari 2004a; 2004b), Nancys thinking of
being as being-with and presencing (Nancy 1993; 2000; 2008b), Nietzsches fragmentary
metaphysics of the will to power (Nietzsche 1968), Lefebvres polyrhythmic production
of space (Lefebvre 1991; 2004), and Merleau-Pontys emphasis on our bodily being-in-
the-world (Merleau-Ponty 1968; 2002).5

VI. The Thesis

Each of the main chapters of the thesis are intended to both fit into an empirical and
theoretical narrative, and to stand alone as self contained units or investigations. The
thesis is an ecology and each chapter a specific cut on that ecology; street performance is
ecological and each chapter takes a different sub-ecology of this ecology as its focus.
Certain themes circulate and are presented from different angles in every chapter. Each
chapter is interested in subjectivity and the body, intersubjectivity and inter-corporeity,
affect and feeling, materiality and immateriality, performance and performativity, space
and performance.
More specifically, Chapter 4 takes the broadest cut on the ecology and so sets the
stage for the subsequent chapters. In Chapter 4 I look at the interrelation between the

5 I am also reticent to draw on ANT here given the unduly aggressive over-flattening of the world that it
undertakes (Latour 2005). While in taking an ecological approach I want to consider the much more-than
human nature of the world and the evident capacity of this to play a role in the playing out of practices,
following Rose and Wylie (2006), I do also want to maintain something of a topographical structure to this
world.

19
intervention street performers and buskers make and the legislative and everyday context
from performances in the public space of the city; I uncover what happens in the
performative transformation of the street space into a performance place and the sorts of
momentary forms of sociality (between performer and audience, and within the
audience) that emerge within this. As part of this discussion I develop a conceptual
understanding of space-time through the work of Lefebvre on the production of space
and rhythmanalysis and Deleuzes diagrammatics.
This is further developed in Chapter 5 where the focus shifts more explicitly onto
the performer. In this chapter I focus on the embodied experience of performing in the
spaces of the street rather than a more traditional theatre environment and the affective
relations that emerge from this between the performer, the performance space,
members of the audience, and so on. This chapter does not forget the legislative context
of Chapter 4 and pays attention to how this impacts upon and so affects the experience
of performing.
Chapters 6 and 7 which, although running consecutively here, are more intended
to run parallel, both empirically and in their conceptual development. These chapters
both pay attention to the acts of audiencing that inhabitants of the urban environment
undertake in relation to street performance given the loss of the traditional theatre
environment. Chapter 6 thinks about the fleeting acts of attending that make up so much
of our everyday perception experience. This is pursued through a detailed engagement
with the work of Husserl around the affection of the object, and a critique of this in
relation to the work of Deleuze. Chapter 7 thinks about the ways in which people listen
to performers, taking this beyond the standard social scientific discourses around
interpretation and meaning, and thinking about the resonant impact sound makes upon
the body. This is pursued through a detailed engagement with the work of Nancy and
both his ontology of being-with and his thinking of subjectivity, the body, and sense.
These chapters are all prefaced by a theoretical Prolegomena, and a discussion of
the methodology employed by the thesis and some of the issues and challenges that have
arisen in the undertaking of the research. The Prolegomena draws out the parallel
theoretical development pursued in chapters 4-7. This development arises out of the
work in non-representational theory outlined previously in terms of a re-invigorated
engagement with phenomenology by geographers and the development of a post-
phenomenology. This revolves around the understanding of the subject of these
practices, the social-cultural-political situation of this subject/body, and also pays greater

20
attention to the sensuousness of such practices than certain subsets of phenomenology
have done previously. The development of this approach is key to the arguments of this
thesis given its aim of addressing the centrality of the body to understandings of
experience, and particularly affective registers of such experience which lie prior to
conscious reflection, but also to not forget that such a body and experience is always
already situated with a specific context and so affected by that context. The development
of this post-phenomenology is contextualized specifically in relation to the work of two
central figures in the history of phenomenology: Husserl and Merleau-Ponty.
The thesis concludes by summarizing the substantive conclusions of the thesis in
relation to street performance, re-articulating where it has got to in terms of its pursuit of
a post-phenomenology and the related contributions to the agendas of non-
representational theory, and finally by articulating the future research agendas that
emerge from this.

21
22
 Chapter 2

Prolegomena to a post-phenomenology of
practice

Phenomenology was never intended to begin and end with one man [sic]
(Russell 2006: 55)

If phenomenology has always consisted in heretical readings of Husserl, is

the question of post-phenomenology superfluous?
(Adams 2007: 3)

I. Introduction

Geographers for some time now have been interested in phenomenology the school of
thought which, described most simply, can be defined as an approach which tries to
give a direct description of our experience as it is, without taking account of its
psychological origin and the causal explanations which the scientist, the historian or the
sociologist may be able to provide (Merleau-Ponty 2002: vii). Most evidently, this
interest could be seen in the humanistic geographies of the 1970s and early 80s (for
examples see Buttimer 1976; Ley 1977; Seamon 1980), critical engagements with this
humanistic literature which argued for a more authentic phenomenological geography
(Pickles 1985), but also more recently in discussions of practice where the work of the
phenomenologist Merleau-Ponty has been prominent (Cresswell 2003; Paterson 2009,
forthcoming).
Recently, and emerging from work inspired by the non-representational styles of
thinking discussed in the previous chapter (Rose and Wylie 2006; Rose 2006; Wylie

23
2006), there has been a (re)turn to phenomenology in geography under the development
of what has been called a post-phenomenology.6 As the title suggests, there is
something distinct about this recent engagement with phenomenology compared to that
undertaken previously. This distinction comes in that this work has re-read
phenomenological texts and ideas through the lens of post-structural writers such as
Deleuze, Derrida and Levinas, and, in so doing, has aimed to extend the boundaries of
the phenomenological focus upon the experiencing subject (Lea 2009, forthcoming). As
such, this engagement with phenomenology has been less embracing of
phenomenological ideas than the previous engagements mentioned above, but also, more
specifically, there has been a move away from the assumption of a subject which exists
prior to experience towards an examination of the ways in which the subject comes to be
in or through experience. While humanist geographies were interested in the
experiencing subject and how felt experience is both constitutive of, and constituted by,
place (Lea 2009, forthcoming), now post-phenomenological geographies are interested in
the trans-human and thus the decentring of the experiencing subject. This refigures
experience in terms of an experiencing with the world rather than an experiencing of the
world (Wylie 2006).
This engagement and re-reading is something that this thesis also seeks to pursue
as it provides a direct avenue into thinking about the embodied experience of performing
and the material relatedness of practices more generally, and as such is attentive to the
sort of ecological logic and non-representational style of thinking outlined in the
previous chapter. It is attentive to this ecological logic in that this emphasis on
experience as being-with the world highlights the ways in which the body is dynamically
and intimately inter-twined with its environment in such a way that the two can not be
easily separated out, and how, in this intertwining, the subject is a product of such
relations, not an author of them.
Given that the body of work collected under the title phenomenology is
expansive and by no means homogenous or consistent (different phenomenologists took
very different approaches but also many experienced turns in their own thinking), and
that there are a number of different points of engagement and re-reading through post-
structuralism that can be undertaken (as suggested above), in this chapter I am going to

6 A reinvigorated engagement with phenomenology is by no means confined to geography. There have

been a number of recent attempts to move beyond phenomenology (to variable degrees) by engaging it.
This can be seen in the development of Christian Phenomenology (Henry 2003), certain strands of
speculative realism (see Harman 2005) and also the development on an objective phenomenology in the
recent writings of Badiou (see Badiou 2009).

24
outline what the specific post-phenomenology being developed in this thesis is and what
the specific topics of conversation that this thesis will set up are. In doing so, in the next
section, I will further expand upon the initial definition of post-phenomenology given
above through a discussion of the work of Idhe who originally coined the phrase post-
phenomenology, and the connections and divergences of his work with related work
being done in geography. From there, in the next two sections, I will move on to discuss
the specific phenomenological works that this thesis will engage with and move beyond
those of Husserl and Merleau-Ponty respectively. I engage with these two thinkers here
given Husserls development of a number of central phenomenological concepts (lived
experience, reduction, intentionality, intersubjectivity) which have come to be key points
in the critique of phenomenology, and given Merleau-Pontys re-reading of these
conceptions which provides an opening onto something like a post-phenomenology of
practice that is more attentive to our generative being-with the world. Finally, the chapter
closes with a discussion of the key points of critique of this work which the thesis seeks
to pursue.

II. Post-phenomenology

For the philosopher of science and technology Idhe (2003), post-phenomenology is an

attempt to escape the subject-centered nature of classical phenomenological thought,
and, specifically, the transcendental subject or ego found in Husserl (to be discussed
further shortly). As such, Idhes (2003: 11) substitutes embodiment for subjectivity and
so moves towards an existential, rather than transcendental, perspective. Alongside this
more existential focus, there is also a realization of the significance of the social or
socialized nature of this lived body. In engaging the lived body, Idhe posits, not
unproblematically, two bodies one lived and one social which are to be combined
rather than subsumed one into the other. Or, in Idhes (2003: 13) own words:
first, I deny that body one [the lived] can be absorbed into the cultural, it is
the necessary condition for being a body and is describable along the lines of
corps vecu. But, equally, body one [the lived] is situated within and permeated
with body two [the social], the cultural significations which we all experience.
Embodiment is both actional-perceptual and culturally endowed.

While this move is made in light of later work in phenomenology, particularly the
work of Merleau-Ponty and a critique of certain limitations of this, Idhes main post-
phenomenological move comes in the conversation he sets up between phenomenology
and pragmatist philosophy and work in technoscience. As Idhe has recently discussed
(see Idhe 2009), in connecting pragmatism and phenomenology, he employs

25
pragmatisms emphasis on practice to counter the idealist tendencies of phenomenology
in its emphasis on representation (as suggest above). This leads to a discussion of
practices in terms of an organism/environment model rather than a subject/object
model and so a nonsubjectivistic and interrelational phenomenology (Idhe 2009: 10-
11). However, he does maintain from phenomenology its more rigorous style of analysis
through its discussions of variation analysis, embodiment, and the lifeworld. Further,
from technoscience, Idhe (2009) folds in its interest in the role technology plays in social
and cultural life and how particular technologies can mediate consciousness.
Therefore, the post-phenomenology developing in geography does share some
commonalities with the post-phenomenology of Idhe (though a direct influence is by no
means evident). This is specifically the case in terms of the development of a less
subjectivitistic phenomenology, but there is a distinction in the points of (more critical)
conversation it sets up post-structuralism is the chosen interlocutor rather than
pragmatism. In this engagement and conversation with post-structuralism, one of the key
targets of the post-phenomenology being developed in geography has been what Deleuze
calls vulgar phenomenology, by which he means intentionality (Deleuze 2006b: 89; see
Wylie 2006). In its most simple sense, intentionality relates to the proposition that an
experience is an experience of something we are always looking at , listening to ,
thinking about , and so on. It relates to a necessary aboutness. This aboutness
implicates the presence in advance of experience of an intentional subject for
experience to be about something, there has to be an author of this aboutness and a
point from which the directedness of the experience comes. This notion of intentionality
is then closely tied to a particular idealist conception of the operations of subjectivity
whereby the subject governs through internal representational thought (Rose 2006:
546) (I will return to this in more detail later both in relation to Husserl and Merleau-
Pontys conceptions of intentionality). Therefore, the post-phenomenology being
developed in geography and this thesis can be taken most simply to be the development
of a phenomenology beyond intentionality (Moran 2000), that is, beyond the intentional
subject.
This movement away from intentionality also highlights a divergence of the
geographical post-phenomenology from the post-phenomenology of Idhe. While Idhe
(2007) maintains a faith in the intentional correlate of experience, albeit re-
conceptualized in terms of being interrelational, this is not maintained within the version
of post-phenomenology developed in geography and in this thesis. Even if it is possible

26
for intentionality to be re-articulated as interrelational, there is still, for me at least, too
much of a lingering directedness in this relation from the subject (as centre) to that which
it is in relation to; for me, intentionality assumes too much of that which enters into a
relation in advance of the actual taking place of the relation. This will be articulated in
more detail later in Chapters 5 and 6 in relation to an attempt to enact a transposition of
the operations of subjectivity from the individuals head to a particular relation between
self and world (Rose 2006: 546), and, in Chapter 7, as a move to understanding the
subject as an appearing-with that arises in the bodys being-with other bodies
(Critchley 1999: 58).

Diagram 1

Having provided this brief sketch as to what post-phenomenology has meant

both within and outside of geography, and in this thesis, in the following sections I will
outline a specific line of development and critique being traced across the history of
phenomenology and onto the post-phenomenology of this thesis (see Diagram 1). This
line originates in the work of Husserl and his initial conception of the phenomenological
movement, and will be discussed in the next section. From there, in the following
section, this line is traced through the work of Merleau-Ponty with his critique of
Husserls idealism and his placing of the body at the centre of phenomenology. Finally,
moving beyond Merleau-Ponty, this line of critique is furthered in the final section (and
the rest of the thesis) in relation to three themes or trajectories that are intimately tied to

27
the ecological approach outlined in the previous chapter. Firstly, as suggested above, the
thesis seeks to move beyond intentionality, and the implicit necessity of a pre-existent
subject for this, towards an understanding of subjectivity as emerging in the creative
interrelation of a body and world. Secondly, the thesis seeks to attend to the ways in
which such a body is performatively interpolated into broader social, cultural and
political framings or contexts, something which both Husserl and Merleau-Ponty do not
adequately attend to (echoing my response to the critiques of non-representational theory
outlined in the previous chapter). Finally, the thesis seeks to attend to the sensuousness
of the bodys relatedness with the world, again something which is not adequately
attended to by Merleau-Ponty and Husserl, but which is foregrounded in the non-
representational context of this study and the related discussions of affect.7

III. Origins of Phenomenology Husserl

Whilst a number of geographers have held an interest in the work of Husserl in the past
(see Buttimer 1976; Ley 1977; Pickles 1985), of late his work has garnered little attention;
his more existential phenomenological heirs Heidegger, Levinas and Merleau-Ponty have
surpassed Husserl as the most prominent phenomenological inspirations of geographical
research and in the development of a post-phenomenology in geography (on Heidegger
and Levinas see Harrison 2007b; on Levinas see Harrison 2008; Paterson 2004; on
Merleau-Ponty see Wylie 2006). I want to engage Husserl here given his standing as the
founder of the phenomenological movement, and, therefore, as it would appear
appropriate to actually engage his work on some level in the development of a post-
phenomenology, and also in that such an engagement with render more sharply the post
in post-phenomenology.

The Development of Phenomenology in Husserl

Although not the first to use the term, Husserl can be considered to be the founder of
phenomenology it was announced by him in 1901-02 as a radical new way of doing
philosophy which was attentive to concrete lived experience rather than abstract
metaphysical speculation (Moran 2000). Husserls initial conception of phenomenology
drew significant inspiration from the work of Franz Bretano on descriptive psychology,
although Husserl later distanced himself from this work (turning to Descartes and Kant),

7 While an engagement with Heidegger Husserls one-time collaborator in the propagation of

phenomenology is less explicit in the thesis, it nonetheless provides the starting point for the post-
phenomenological work of Nancy discussed in Chapter 7. A more substantial or explicit engagement with
Heidegger is however for another thesis.

28
and his work inspired a number of significant names in the history of 20th century
philosophy, most notably those mentioned above.
Over the course of his work, Husserls conception of phenomenology underwent
significant revisions and developments. This development can be generally summarized
into three broad periods (Moran 2000). Firstly, there are Husserls struggles with
psychologism between 1887 and 1901. Here Husserl reacted against the dominance of
psychologism, a school of thought which argued that thoughts, and the laws that
governed them, were reducible to the psychical acts in which they subsist and the
lawfulness of those acts (Zahavi 2003: 8). For psychologism the study of logic was to be
the study of judgment and so it placed itself above both mathematics and philosophy as
central in providing such disciplines with their ultimate explanation and ground (Russell
2006). In general, Husserls argument was that psychologism deprives itself of the ability
to explain the validity of logical laws and their a priori status, and it consequently deprives
itself of the ability to explain the logical unity that belongs to any body of knowledge
(Russell 2006: 11).
Secondly, there is the period of descriptive phenomenology between 1901 and
1913 whereby Husserl
investigated the acts of consciousness through which knowledge is
achieved and theories are developedHe sought to explain through
observation and detailed description of such acts howtheories can be
built up out of deductions and inferences, and how these in turn are
grounded in simple propositions derived from evident acts of perception
(Russell 2006: 40-41).

Finally, there is Husserls mature period of transcendental phenomenology which

ran from 1913 until 1938. During this, Husserl increasingly turned to Descartes and Kant
in conceiving his phenomenology as needing to explore not just the essential structures
of all conscious experience and their intentional objects, but the rootedness of these
essences and objects in a transcendental realm and in the transcendental ego as their
absolute source (Moran 2000: 125). Or, as argued in Husserls (2001a: 6) own words,
only a transcendental science, that is, a science directed into the hidden
depths of accomplishing cognitive life, and thereby a science that is clarified
and justified only this science can be the ultimate science; only a
transcendental-phenomenologically clarified world can be a world that is
ultimately intelligible, only a transcendental logic can be an ultimate theory of
science, only it can be an ultimate, deepest, and most universal theory of
principles and of norms of all sciences, and at the same time transform them
into clarificatory and intelligible sciences.

29
Given this variation in Husserls phenomenological project, and as its scope is too
expansive for a simple summary here, I will now give a brief introduction to a number of
central tenets of his project as they are variously significant to the post-phenomenology
being developed here.

Lived Experience
Firstly, Husserl wanted his phenomenology to be attentive to actual lived experience. The
rallying call for phenomenologists was: we must go back to the things themselves
(Husserl 2001b: 168). Phenomenology was to be a practice rather than a system. By this
practice
[p]henomenology is best understood as a radical, anti-traditional style of
philosophizing, which emphasizes the attempt to get to the truth of matters,
to describe phenomena, in the broadest sense as whatever appears in the
manner in which it appears, that is as it manifests itself to consciousness, to
the experiencer
(Moran 2000: 4).

Phenomenology thus seeks to avoid misconceiving experience as a result of

presuppositions based on religious/cultural traditions, everyday common sense, or
science and philosophy. Explanations are not to be imposed on phenomena in advance
but rather, the phenomena is to be understood from within (Moran 2000: 4). The
phenomenological investigation should be guided by what is actually given, rather than
by what we expect to find given our theoretical commitmentsWe should, in other
words, not let preconceived theories form our experience, but let our experience
determine our theories (Zahavi 2003: 44-45). This getting back to the things in-
themselves was to be achieved by sticking solely to what can be demonstrated with
evidence. And this means vigilantly avoiding all metaphysical speculation and positing of
concepts and faculties (Russell 2006: 51). In Husserls own words, genuine science,
must neither make nor go on accepting any judgment as scientific that I have not derived
from evidence, from experiences in which the affairs and affairs-complexes in question are
present to me as they themselves (Husserl 1988: 13 [emphasis in original]). This is referred
to as the principle of principles and leads to the second main tenet of Husserls
phenomenology: the reduction.

The Reduction
For Husserl, the practice of phenomenology required a radical shift in view point akin to
a suspension or bracketing of such natural, everyday attitudes to the world, of all
world positing intentional acts which assume the existence of the world (Moran 2000:

30
2). This was to lead the phenomenologist back to pure transcendental subjectivity, to
allow them to isolate the central essential features of the phenomena under
investigation (Moran 2000: 11). This is an attempt to be attentive to what Husserl called
the phenomenas mode of givenness, or the manner of their being given to us. One way
we can understand this, as Russell (2006: 64-66) notes, is through an examination of
doubt. When we doubt the existence of an object something is altered in the way that we
relate to that entity. In the act of doubling our usual positing of that object, as found in
our natural attitude towards the world, is suspended (Husserl 1988: 3). This alters our
mode of relating to that object; it throws the object into greater relief. For Husserl the
reduction was then to individuate correctly the domain of pure consciousness and the
domain of meaning-constitution (Moran 2000: 78).8
In line with Husserls critique of psychologism (see Husserl 2001b), while
psychologism approaches consciousness as it is a real phenomenon, phenomenology,
through the application and practice of the reduction, considers consciousness as a
transcendental phenomenon, as the origin of objectivity (Russell 2006). This takes the
emphasis away from particular lived experiences within a particular environment or life-
world (the worldly situation of a subject within a socio-cultural environment), towards a
more impersonal and less located, universal source of experience (Lea 2009,
forthcoming).
Overall, we can discern three theoretical reasons for Husserls introduction of the
reduction: firstly, it allowed a detachment from all conventional opinion; secondly, it
allowed the return to, and isolation of, the central structures of subjectivity; and finally, it
prevented the transformation of hard-won eidetic (or essential) insights back into
psychological insights (Moran 2000). In light of this it may seem that the reduction is
something of a turning away from the world, but Husserl always argued that it was in fact
the opposite. Husserl saw the reduction as bringing the richness of our intersection into
the world to light in a new mannerTo experience the reduction is to experience an
enrichment of ones subjective life it opens infinitely before one (Moran 2000: 79 &
147). The reduction, for Husserl, in fact acts as an expansion of the field of research
(Zahavi 2003: 46).
The development of the reduction in Husserl led to two prominent consequences
(Moran 2000). Firstly, it led Husserl in a Cartesian and Neo-Kantian direction towards

8 This is different from Cartesian skepticism as it is not about arriving at the last man standing (the
cogito), but instead it puts all of experience in brackets so that we comport ourselves in a different way
(Russell 2006).

31
the transcendental ego as the formal structure of all self-experience (Husserl 1988). At
the same time, it led him towards the way in which consciousness is completely caught
up in the world (Zahavi 2003: 51-52), wrapped up in its intentional correlate the third
key tenet of Husserls general oeuvre.

Intentionality
We can understand the intentional structure of consciousness to be a form of
aboutness. For example, every act of loving is a loving of something, every act of seeing
a seeing of something etc. (Husserl 1988: 33; Husserl 2001a: 20). The intentional structure
of consciousness finds consciousness directed beyond itself to a vast array of objects
(Russell 2006) there is an object-directedness (Zahavi 2003: 14). As Moran (2000: 16)
notes, [t]he point, for Husserl, is that disregarding whether or not the object of the act
exists, it has meaning and a mode of being for consciousness, it is a meaningful correlate
of the conscious act. Intentionality is then the way in which the flux of experience gets
polarized into unities of sense, in virtue of which we are conscious of identifiable and
reidentifiable objects (Smith 2003: 108). This allowed Husserl to explore the domain of
meaning-correlates of conscious acts and their interconnections and binding laws. For
Husserl, in our intentional experience which we gain full access to in the reduction
we are always transcending consciousness towards the objective (Moran 2000). However,
we can distinguish intentional consciousness around what Husserl calls noetic and
neomatic analyses. The noetic analysis examines the structure of the acts, while the
neomatic analysis looks at the structure of the object. In these terms, the noetic is then
concerned with the mode of givenness of the object with how conscious acts present
the object (is it material, imagined etc.) while the neomatic analyzes the differences in
the object presented; it analyzes the meaningfulness of the object. The first relates to the
how, while the later relates to the core of the object itself. Through an analysis of both
the how and the object itself, Husserl argues that transcendental phenomenology can get
at the objective within the subjective (Russell 2006; Zahavi 2003).
This structure of intentionality, although often understood as an active pursuit, is
not always so it is not necessarily in fact part of a conscious activity on behalf of the
subject. We can think of acts of perception which may be passive, such as listening we
cant help but hear a sound.9 Relatedly, we can understand a non-intentional relation in

9This is something that will be returned to in the discussion of the active and passive synthesis in Chapter
6, but also in Chapter 7 though not directly addressing Husserl in the discussion of Nancys conception
of listening.

32
terms of sensation. Husserl argued that not all aspects of our lived experience are
intentional in the sense of presenting something to our attention. Sensations, for Husserl,
are not intentional. Instead, they are a non-intentional real part of the act; they
accompany the intentional act as experiences that are simply undergone (Waldenfels
2004). They are non-intentional because they lack an intrinsic object-reference (Zahavi
2003: 27). This said, there is still something of an intentionality in such passivity in that
there is a latent intentionality, or a hidden intentionality there to be actualized (see
Husserl 2001a: 21). We could perhaps say there is an about-to-be aboutness (I will
return to this in Chapter 6 in more detail). They are a part of every perceptual act but
they are not what make that act an intentional act. For Husserl, the synthesis of sense in
the initial act of interpretation is a non-conceptual act; it is distinct from the conception
and naming of an object (Moran 2000; Russell 2006).
To summarise, we can understand Husserls conception of intentionality in the
following manner:
Husserl sees our mental processes as, normally speaking, object-directed
acts. When directed at a material object, the act is always only a partial view
of the object; nevertheless, it has the sense of grasping the object as it is.
This sense of reaching to the object and grasping it as what it is is enabled by
the sensuous given substratum, the non-intentional experience undergone,
being grasped and shaped through an act of interpreting which yields up the
interpreting sense. This sense in turn is acknowledged in one form or
another by the act quality, be it a judgment, a wish, and so on
(Moran 2000: 118).

Intersubjectivity
Finally, the last central tenet Im going to discuss here is Husserls conception of
intersubjectivity, or intersubjective experience. Husserl came to see his understanding of
intersubjective experience as central to his phenomenological project as objects cannot
be reduced to being merely my intentional correlates if they can be experienced by others
as well (Zahavi 2003: 115). Therefore, the ability to intersubjectively experience the
object guarantees its real transcendence. This makes the knowledge of the presence of
other minds essential as only insofar as I experience that Others experience the same
objects as myself do I really experience these objects as objective [opposed to
subjectively] and real (Zahavi 2003: 116). There has to be a thereness-for-everyone
(Husserl 1988: 92). This confirms the validity of the phenomenological experience as
the very constitutive relation between intersubjectivity and objectivity is a prior in
nature (Zahavi 2003: 116).

33
 In terms of the recognition of the presence of other minds, or the experience of
intersubjectivity (Russell 2006), Husserl understood the consciousness of others in terms
of a secondary act of constitution that followed and modified consciousnesss primary
act of constitution (Sanders 2008). It was by this act of consciousness overstepping
itself that made possible experiences in which not all my modes of consciousness are
modes of my self-consciousness (Husserl 1988: 135). Initially, Husserl employed the
concept of empathy in relation to the experience of intersubjectivity and the ability of a
subject to read others actions as analogous to expressions of their own inner states. Here
empathy referred to a process whereby a primary experience of a bodily manifestation or
state of an other for example, a blushing face allows for the assumption of, or
reveals, a secondary manifestation that is not directly experienced that there is a subject
present in that body who is embarrassed. Here the body of the other is experienced as
expressing inner psychical states (Moran 2000).
Later, Husserl radicalized this problem of the experience of the other so as to
approach it not in terms of how do I understand others? but rather how is the other
constituted for me?. While the experience of the other, for Husserl, is a natural and
inextricable part of my consciousness, this experience is not given in the same way that
objects are given (Moran 2000: 176). Rather the other is given through appresentation
and pairing. As Sanders (2008: 143) notes, [a]ppresentation explains the process
whereby the direct perceptual presentation of one object mediates or makes possible the
indirect perception of certain other aspects of that object that are themselves inaccessible
to direct perception. In terms of the experience of the other, the experience is
unfulfillable by the subject, but something is indicated in it. Something akin to analogy
occurs here in the form of a pairing. Again from Sanders (2008: 143), [p]airing occurs
when one object is regularly presented thereby associated with another. This
interrelated process comes down to a process of recognition whereby the direct
perceptual experience of another body involves the sense of perceiving another subject
other than yourself. From this, a pairing occurs when a similar body is experienced it is
assumed a subject is also present in that body and which expresses itself through that
body. The other body is experienced as a body like your own.

Husserls Contributions
On the basis of the development of these key concepts, there are a number of
contributions Husserl made towards the understanding of practice. Firstly, and very
simply, Husserl wanted to be attentive to actual lived experience, to what people did.

34
More specifically, and particularly given his conceptions of lived experience and the
reduction, Husserl sought to provide a scientific account which was grounded in
experience, and particularly experience prior to the colorings of the ideas, or
presuppositions, of science and their unreflexive presentation of objectivity (Pickles
1985: 3). This contributed to his popularity in the humanist geographies of the 1970s as
his ideas facilitated a description of mans geographical experiences as they are actually
experienced as meaningful, value-laden experience prior to the abstractions of science
(then positivist spatial science)(Entrikin 1976: 629). Further, and related to this, this
removed any notion of there being hidden explanatory mechanisms or a more significant
realm of enquiry than such experience. Rather, for Husserl, the drama of the world
plays itself out within specific appearances, not behind or beneath them (Harman 2005:
21).
However, there are also a number of problems with Husserls phenomenology,
many of which are related to his idealist conception of the subject, as was seen in his
conception of the reduction and the belief that individual experience could be
transcended and intersubjectively confirmed. It is questionable whether Husserl actually
returned to the things themselves and rather only to their presentation to human
consciousness (Harman 2009: 151). Therefore, I will now move on to discuss the work
of Merleau-Ponty, and particularly how he develops central aspects of Husserls
phenomenology by foregrounding the central role the body plays within perceptual
experience and so giving phenomenology a more existentialist slant. This will highlight
key criticisms of the work of Husserl just discussed and so mark an initial move towards
a post-phenomenology.

IV. Phenomenologies of the Body Merleau-Ponty

Merleau-Pontys understanding of phenomenology was intimately related to his

interpretation of the work of Husserl. Therefore, a detailed elaboration of a number of
phenomenological concepts taken up from Husserl by Merleau-Ponty is warranted here
as there are a number of different points of emphasis in these which open up the
possibility for developing a number of post-phenomenological trajectories. Following an
elaboration of these concepts, I will then go on to discuss in detail the central aspects of
Merleau-Pontys philosophy of the body which further elucidates this more existential
phenomenology and lays the grounds for this post-phenomenology.

35
 Merleau-Pontys Modification of Husserl
For Merleau-Ponty (2002: vii), phenomenology was a style of thinking that seeks an
account of the world as we are actually involved in it. It is an account garnered through
our actual experience. Rather than theorizing about the world, such an account was to come
from actually living it (Matthews 2006). Merleau-Ponty (1964: 25) was attempting to
develop a method for getting closer to present and living reality, or as he calls it, a
primordial level of experience. To do this, phenomenology must set aside all scientific
explanations of perception and the perceived in order to investigate the pre-scientific
experience that such experience takes for granted (Toadvine 2008: 22). While
phenomenology is often thought of as an attempt to disclose essences (as was just seen
in the work of Husserl), Merleau-Ponty gives this an existentialist slant, stating that
phenomenology puts essences back into existence and therefore does not expect to
arrive at an understanding of man and the world from any starting point other than that
of their facticity (Merleau-Ponty 2002: vii). There are overtones of realism here (see
Merleau-Ponty 1964: 31-32), but Merleau-Ponty was trying to guide a path between
idealism and realism (Carman 2008).10 Merleau-Ponty (2002: xiv) wanted to lay emphasis
on our being-in-the-world which does away with any kind of idealism. This marks a
significant initial move away from Husserl which gives greater weight to the world, and
suggests something of an existence independent of our experience of it. The subject is
decentred.
This account of the world was to proceed through the phenomenological
reduction. For Merleau-Ponty, [t]he point of the reduction is to get beyond our
common-sense prejudices associated with the natural attitude in which we unreflectively
encounter the world (Gutting 2001: 187). However, this was not to be a complete
removal from the world (Matthews 2006). Merleau-Ponty, although taking the reduction
from Husserl, read the reduction from an anti-idealist perspective. We need to withdraw
from the world as we commonly think it, we must break with our familiar acceptance of
it, and approach it with something like an attitude of wonder in the face of the world

10 In this preface Merleau-Ponty (2002: ix-xii) states:

The world is there before any possible analysis of mine, and it would be artificial to make it
the outcome of a series of syntheses which link, in the first place sensations, then aspects of
the object corresponding to different perspectives, when both are nothing but products of
analysis, with no sort of prior reality.

This suggests his realism. He also states however that I am the absolute source, suggesting an idealism.
This is balanced with the middle road of there not being an inner man, [rather] man is in the world, and
only in the world does he know himself[I am] a subject destined to the world.

36
(Merleau-Ponty 2002: xv). The reduction was to be a relaxing of our ties to the world so
that its strangeness can become apparent. This relearning was to involve the bracketing
off of our natural attitude to the world and a learning to not accept the theories about
the world given to us by empirical science as suggested above (Matthews 2006).
Not only did Merleau-Ponty not advocate a complete reduction, he did not
believe such completion to be possible. This would entail a withdrawal from our
necessarily embodied perspective (see below). Merleau-Pontys reduction was not to be a
purification of consciousness of all empirical content, but rather a reflective effort to
disclose our pre-reflective engagement in the world (Toadvine 2008: 24). Therefore, we
are not transcendental subjects and so Merleau-Ponty further distances himself from
Husserl here. Rather,
the withdrawl produces a more explicit awareness of the precise ways in
which we are inextricably involved in the worldThe phenomenological
reduction [in Merleau-Ponty], therefore, is not the attainment of a new
standpoint from which we view previously inaccessible philosophical truths
but a means of sloughing off false conceptions due to, for example, the
abstractions of science and ordinary language, and of returning to our
original position in the midst of the world a position that, in some sense, we
have never entirely abandoned
(Gutting 2001: 187 [emphasis added]).

The final main aspect of Merleau-Pontys phenomenology is his adoption, and

again re-interpretation, of Husserls conception of intentionality. This is again an anti-
idealist interpretation of Husserls concept. For Merleau-Ponty, intentionality was not
only that consciousness is consciousness of something, a directedness, which would
suggest a prioritizing of the subject. Rather, for Merleau-Ponty, intentionality expresses
the inextricable unity of world and consciousness, with neither assimilated to the other
(Gutting 2001: 188). As just suggested, there is not here a subordination of the
phenomenological field to a transcendental subject. Rather, for Merleau-Ponty, the unity
of the world is lived as ready-made or already there (Merleau-Ponty 2002: xix) such
unity is not a product of conscious judgment (Toadvine 2008).
In sum, phenomenologys role, for Merleau-Ponty, is the disclosure of the world.
This disclosure, however, is not to be understood as the expression of a pre-existing
being. Rather, it is in fact the laying down of being (Merleau-Ponty 2002: xxii). This is
ultimately tied to Merleau-Pontys conception of our necessarily embodied engagement
with that world, something that moves away from Husserls more idealist conception of
subjective lived experience and his subordination of the world to that subject, which I
will outline in more detail now.

37
 Phenomenology of Perception
In giving the body a central place in his phenomenology, Merleau-Ponty rejects dualistic
theories of the body and soul and takes as his task the articulation of the prediscursive
structures of existence[locating]subjectivity not in the consciousness or in the mind,
but in the body (Longhurst 1997: 488). There is no ontological separation of the
experiencing I and the body: [t]he union of soul and body is not an amalgamation
between two mutually external terms (Merleau-Ponty 2002: 102). One is ones body
(Morris 2008). The body is primary. This primacy is not a primacy of a body in general, of
the body, but the primacy of my body it is the standpoint from which I must perceive
the worldthe body cannot itself be understood in an objective, disengaged way
(Gutting 2001: 190).
Looking at Merleau-Pontys phenomenology of the body in more detail, I will
focus on four key strands of this suggested by Thrift (1996) as each of these are central
to this interest of this thesis in embodied experience and the relatedness of bodies to the
spaces they occupy in the undertaking of a practice or performance. Firstly, the human
body is unique in playing a dual role as both the vehicle of perception [we see from and
through the body] and the object perceived, as the body-in-the-world which knows
itself by virtue of its active relation to its world (Thrift 1996: 13). The body is lived.
Therefore, the body exceeds ontological categories of objectivity and subjectivity; it is
not only a biological entity, nor just a vehicle for my subjectivity (Morris 2008). The body
is that which we cannot leave behind in that it is a necessary condition for perceiving
things, but equally cannot be surveyed in the same way they can (Hass 2008: 76-77).
This is not to say that it is opposed to things. It is of the same stuff. Therefore,
[m]y body is not lived as a thing, but as a vital power among the things, as a
mobile, relatively stable, receptive creature that organizes the world as it
goes. Contrary to Cartesianism, my body is closer to my self than to objects,
or perhaps better to say that my embodied self and the things of the world
are closer together than Descartess dualistic thought can possibly imagine
(Hass 2008: 79).

Secondly, and following this, the body is always activeit takes hold of the
world (Thrift 1996: 13); the body takes an active grip on the world (Thrift 1997). As
Merleau-Ponty (2002: 94) states, having a living body isto be intervolved with a
definite environment, to identify oneself with certain projects and to be continually
committed to them. In this taking hold of the world, the body actively appropriates
space through its intentional activity so that its experience of space becomes manifest
within the body (Allen 2004: 724). This is tied to Merleau-Pontys conception of

38
phenomenological intentionality as discussed previously and so arguably presents a well
known problem of classical phenomenology. While Merleau-Ponty attempted to build a
non-idealist conception of intentionality, he still reintroduced the intentional subject
that so much of post-structural theory has sought to disassemble (Wylie 2006: 521). As
Vasseleu (cited in Wylie 2006: 525) highlights, in the Phenomenology of Perception
Merleau-Ponty seems to presuppose the perceiving subject and the perceivable object,
rather than considering them as originating in a perceptual field. This said, Merleau-
Pontys later work does begin to revise this understanding as will be discussed later
and is something which this chapter will seek to work through.
The third central aspect of Merleau-Pontys understanding of the body is its
highlighting of how the body is always located in time and space (Thrift 1996: 13).
However, as suggested previously, we do not exist in space like other objects:
Our body is not in space like things; it inhabits or haunts space. It applies
itself to space like a hand to an instrument, and when we wish to move
about we do not move the body as we move an object. We transport it
without instrumentssince it is ours and because, through it, we have access
to space
(Merleau-Ponty 1964: 5).

Our body is not only located in time and space but in fact I am conscious of the world
through the medium of my body (Merleau-Ponty 2002: 94-95). Space and time
themselves are conceived through the body (Thrift 1996: 13). Merleau-Ponty suggests
we grasp external space (and time) through relations to our body11:
The word here applied to my body does not refer to a determinate
position in relation to other positions or to external coordinates, but the
laying down of the first coordinates, the anchoring of the active body in an
object, the situation of the body in the face of its tasks
By considering the body in movement, we can see better how it inhabits
space (and possibly time) because movement is not limited to submitting
passively to space and time, it actively assumes them, it takes them up in
their basic significance which is obscured in the commonplace of established
situations
(Merleau-Ponty 2002: 115 & 117).

As the body is our point of access to space, it is also the point of access to the theatre of
action that space provides. The body presents us with the centre of potential action
either towards the body itself or towards the object (Merleau-Ponty 2002: 125). It is not
a matter of I think, but I can (Morris 2008).

11We could also ask here, does the event of space not also grasp us? This is something I will return to as
part of the post-phenomenological trajectories to be discussed shortly and in the discussion of the spatiality
of street performing.

39
 Finally, as a result of this locatedness in time and space, bodies and things are
not easily separated terms (Thrift 1996: 13). The two become intimately related. We
have a corporeal schema, a body image, but this image is not definite. As Merleau-Ponty
(2002: 114) suggests, the body image is dynamic. It is possible for us to enact a
dilating [of] our being-in-the-world, or changing our existence by appropriating new
instruments (Merleau-Ponty 2002: 116). There is an ontological openness of the body in
its being-in-the-world (Morris 2008). A number of examples can be used here, but the act
of scratching an itch on ones back provides clear illustration:
It is not by means of access to a Cartesian abstract or geometrical space that
one knows where to scratch in order to satisfy an itch on ones back. This is
true, even if one has to use an instrument like a stick. From this point,
Merleau-Ponty claims, the stick is no longer an object for me but has been
absorbed or incorporated into my perceptual faculties or body parts
(Grosz 1994: 91).

The stick becomes a bodily auxiliary, an extension of the bodily synthesis (Merleau-
Ponty 2002: 176); it enriches and recasts the body image. This highlights the ways in
which our bodies are intimately enrolled in relations with the world around us and
therefore not separable from that worldly ecology.
To these four central strands in Merleau-Pontys conception of the body I also
want to add his discussion of bodily inter-subjectivity as embodied subjectivity is also
intersubjectivity: living bodies are involved with other living bodies from the start, and
the perceptual field is social through and through (Hass 2008: 98-99). Further, an
understanding of intersubjectivity is also central to the substantive concerns of this thesis
with the relations that occur between performer and audience in the undertaking of a
performance, and the significance of this to the experience of performing.
Much of Merleau-Pontys discussion of intersubjectivity again comes from an
engagement with, and re-reading of, the phenomenology of Husserl (see Husserl 1988).
Merleau-Ponty took on board Husserls general frame, but focused less on Husserls
emphasis on the subjective awareness of others, or the question of how they are
constituted for me, towards an account of intersubjectivity that emphasizes their
emergence from the reciprocity of a shared corporeal existence (Sanders 2008: 144). In
doing so, Merleau-Ponty (2002) aims to avoid premising his understanding of
intersubjectivity on the basis of a subject-object dualism, which, for him, will dissolve the
problem of the question of the presence of other minds. Under such a dualism to see a
body is only to see an object. Seeing a human body is the same as seeing a pen, a toaster,
a computer monitor, and so on. A body is just an object or matter (Hass 2008).

40
However, given Merleau-Ponty does not see the living body as a mere object, but rather
as a body-subject, this does not separate off the presence of other selves. Merleau-Ponty
(2002: 409) asks: If my consciousness has a body, why should other bodies not have
consciousnesses?.
This, however, does not entirely solve the problem. How are we to know which
bodies have consciousness? For Merleau-Ponty this comes down to behavior. Im not
just a body; I am a behaving body. This behaving body moves out into the world and
projects itself into that world. Therefore, through our behaviors we become paired
(Hass 2008): I see another subjectivity invested with equal rights appear, because the
behavior of the other takes place within my perceptual field (Merleau-Ponty 1964: 17-
18). It needs to be made clear that this pairing does not occur as a reflective act of
judgment. It is not the case that we look to our own behavior, then look at anothers
behavior, and infer by analogy that another self is there. Rather, this pairing occurs at the
level of the lived, not the predicate: we literally find ourselves in an intersubjective
world, we have been coupling with other selves long before we come to explicit self-
consciousness (Hass 2008: 108). Equally, given the perspectival nature of our embodied
existence, and therefore of our encounter with the other, as suggested above, it is not
possible that the other be known completely (Busch 1992). There is, however, a sense of
reciprocity or sharing of existence: [t]o be a consciousness or rather to be an experience
is to hold inner communication with the world, the body and other people, to be with
them instead of being beside them (Merleau-Ponty 2002: 111). This is illustrated in
Merleau-Pontys (2002: 413) discussion of dialogue:
In the experience of dialogue, there is constituted between the other person
and myself a common ground; my thought and his [sic] are interwoven into a
single fabric, my words and those of my interlocutor are called forth by the
state of the discussion, and they are inserted into a shared operation of
which neither of us is creator. We have here a dual being where the other is
for me no longer a mere bit of behavior on my transcendental field, not I in
his. We are collaborators in a consummate reciprocity. Our perspectives
merge into each other, and we coexist through a common world. In the
present dialogue, I am freed from myself, for the other persons thoughts are
certainly his; they are not of my own making, though I do grasp them the
moment they come into being, or even anticipate them. And indeed, the
objection which my interlocutor raises to what I say draws from me thoughts
which I had no idea I possessed, so that at the same time that I lend him
thoughts, he reciprocates by making me think too.

This emphasis on sharing, reciprocity, and the establishment of a common ground,

brings us into proximity to Merleau-Pontys later thought, and specifically to his writings

41
around the flesh, to which I will now turn in that it marks an even more significant
departure from Husserl than that already discussed and so takes the potential post-
phenomenology to be found in Merleau-Ponty further.

The Visible and the Invisible

The relationship between the body, things, and others was taken further in Merleau-
Pontys last (uncompleted) work, The Visible and the Invisible, and specifically in his
development of the notion of the flesh (Merleau-Ponty 1968). Unfortunately, Merleau-
Ponty died before completing the manuscript. While it is then not necessarily possible to
complete a working ontology from these extant fragments (Moran 2000), they can at the
very least be used to chart a trajectory from this work, what I am calling here a post-
phenomenological trajectory.12
In the existent materials, Merleau-Ponty enables a significantly less intentionalist
and less subject-centred phenomenology (Wylie 2006: 522). The flesh is a single fabric
which refers to both the flesh of the body and the flesh of the world (Thrift 1996: 13)
which fold back into each other. It is a connective tissue of interior and exterior
horizons (Merleau-Ponty 1968: 131 [footnote]). The flesh, for Merleau-Ponty (1968: 139
[emphasis in original]), therefore refers not to a privileged animate category of being but
is taken at a more elemental level:
The flesh is not matter, is not mind, is not substance. To designate it, we
should need the old term element, in the sense it was used to speak of
water, air, earth, and fire, that is, in the sense of a general thing, midway
between the spatio-temporal individual and the idea, a sort of incarnate
principle that brings a style of being wherever there is a fragment of being.
The flesh is in this sense an element of Being.

Therefore, in thinking of the flesh as elemental in this sense refers, it to a

precommunicative domain out of which both subject and object, in their mutual
interaction, developSubject and object, mind and body, the visible and the invisible,
are intercalated (Grosz 1994: 102-103). This understanding potentially presents a
refiguring of Merleau-Pontys ontological openness of the body beyond subjective
experience (Morris 2008).
In light of this, in relation to our corporeal schema, the body is a system which
is open to the world, and correlative with it (Merleau-Ponty 2002: 166 [footnote]):
The subject and the object are inherently open to each other, for they are
constituted in the one stroke dividing the flesh into its various modalities.

12That said, it is important to note that there have been attempts to complete Merleau-Pontys late work.
See Low (2008).

42
 They are interlaced one with the other, not externally but through their
reversibility and exchangeability, their similarity-in-difference and difference-
in-similarity. Things solicit the flesh just as the flesh beckons to and as an
object to things. Perception is the fleshs reversibility, the flesh touching,
seeing, perceiving itself, one fold (provisionally) catching the other in its own
self-embrace
(Grosz 1994: 103).

However, this reversibility and self-embrace is never complete, it is always open, always
imminent and never realized in factalways on the verge[but] never reach[ing]
coincidence; the coincidence eclipses at the moment of realization (Merleau-Ponty 1968:
147). This should therefore not be thought of as a symmetrical relation or as a negation
of difference. Rather, although not opposed to me, that which is folded is separate from
me and it is this separation that makes possible their perception: [i]f there were no
difference, everything would blur into monochrome and perception as we know it would
vanish (Hass 2008: 130). It is not a case of symmetrical exchange, but overlapping, or
overlapping through divergence (Hass 2008: 134).13
We can return here for a moment to our previous discussion of intersubjectivity,
and specifically a charge that has been levied at Merleau-Ponty by Levinas (see Busch
1992; Sanders 2008). The charge is that his account of intersubjectivity, especially when
thought in terms of reversibility, reduces the other to the same. For Levinas, Merleau-
Pontys account cannot account for the transcendence of the other (Sanders 2008).
Given that the other has ontological status in Merleau-Ponty and is of the same element
of being, this does not let the other be otherwise than being which, for Levinas, is
necessary for the other not to be reduced to the same (see Levinas 1998). However,
while Merleau-Ponty might not present the other as absolutely other as Levinas desires,
as suggested above, this is not to say that he places the other in reciprocity or fusion.
There is difference in the reversibility of the flesh; the reversibility of the flesh functions
as an interval or rupture, and [f]usion is impossible as lived experience never proceeds
from a situation where both known and unknown terms belong in advance to the same
order (Merleau-Ponty cited in Sanders 2008: 148).
Returning to the problem of the intentional subject mentioned previously, in
Merleau-Pontys shift between his earlier Phenomenology of Perception and his later
The Visible and the Invisible he begins to address this. In his introduction of the flesh

13 See Wylies (2009: 283) discussion of absence here which, drawing on the work of Derrida (2005),
suggests that Merleau-Ponty in fact does not present non-coincidence as a constitutive absence but
rather presents coincidence always as a possible-in-principle and therefore remains wedded to at least
the promise of coincidence.

43
as a general element which designates both the body and the visible world, we
significantly soften the intentional subject; the body-subject is now of the world: body
and world, subject and object, are conjoined as flesh (Wylie 2006: 525). This shows
how both subject (the phenomenological tacit cogito) and its object (the world) derive
from a common stuffwhich sustains them as two distinct but inextricably entwined
dimensions of being (Gutting 2001: 209). We no longer just have an intentional subject
acting and giving meaning to the world, but also a world that gives meaning to the
subject they exist as an interworld (Moran 2000: 403). Therefore, this conception of
the flesh is of great significance to the ecological logic outlined in the previous chapter
given the ways in which it emphasizes the bodys complex relatedness with, and origins
in, the environments in which it is placed.

V. Post-phenomenological Trajectories

From Merleau-Pontys later writings there is then a suggestion of a post-

phenomenological trajectory in his work which moves away from an explicit focus on the
intentional subject and therefore towards a more ecologically related understanding of
the subject-body-world in practices. In this thesis I want to pursue this trajectory further,
and also build on Merleau-Pontys work by adding a couple of other trajectories which
his work (nor Husserls) arguably does not pursue enough. Therefore, I will conclude this
chapter by outlining these three trajectories in some detail. I am calling these trajectories
here as I do not see the lines of thought being traced in this thesis as either definitive or
as holding the potential within them to be pursed to completion. Rather, they are a series
of openings onto a topic to be further complicated in the future.
Firstly, in terms of this softening of intentionality, I want to take this further.
While the subject and the body in Merleau-Pontys late writings become intercalated, this
move is, like these writings, arguably not completed. There is a danger that Merleau-
Ponty re-installs a human transcendence in his discussion of embodied subjectivity in his
starting with the subject-object distinction (Hinchliffe 2003). The early Merleau-Ponty at
least sets up this distinction in terms of an object existing only in terms of there being
someone to perceive it and, in doing so, maintains the vocabulary of idealism inherited
from Husserl (see Merleau-Ponty 1964: 16, 29 & 42). Further, there is still a danger of a
lingering humanism in his notion of flesh. As Harman (2005: 173) notes, while Merleau-
Ponty brings humans and nature into reciprocal relation through the flesh of the world,
he runs into the problem that the mutual duel only functions as long as humans are on
the scene. Deleuze and Guattari (1994) also see a matter of concern in the apparent

44
peity of Merleau-Pontys conception of the flesh. Deleuze and Guattari see the flesh as
too tender. It is too civilized and too close to the teleology of consciousness
endorsed by the Phenomenology of Perception (Alliez 2004: 73). As Rajchman (2000:
8-9) clarifies:
Merleau-Pontys notion of the flesh still harbors a strange peity, tied with a
dream of an originary experience or urdoxa On the other hand the being
of sensation [to be found in Deleuze] that one extracts from common
perceptions and personalized affects, or from the space of representation
and the re-identification of objects, leads not to an intersubjective orientation
in the world, but rather to a mad zone of indetermination and
experimentation from which new connections may emerge.

In Chapters 5-7, I aim to develop this post-humanist trajectory in maintaining no such

subject-object distinction or lingering human transcendence or idealism, but rather
address this tension through a shift in emphasis from intersubjectivity to intercorporeity
(Csordas 2008) and a focus on the interrelation of more-than/non-human bodies. In
Chapter 6 in particular, this is achieved in relation to a specific engagement with
Husserls own writings and a specific point at which Husserl approaches, but fails to
reach, this himself. My aim here is to develop and maintain the idea that, in light of such
writings, [s]ubjectivity may no longer be the basis or fount of intelligibility, but an
account in which subject and object, self and world, devolve or precipitate from interrogative
materialities may still be written (Anderson and Wylie 2009: 323).
Secondly, one aspect of our embodied existence that Merleau-Pontys work
arguably does not pay enough attention to is the way in which our bodies are socialized
into a specific comportment (Hass 2008). While not wanting to fall into the position of a
body totally imprinted by history or one that is strictly constituted by societal norms
and practices (Foucault 2000: 376), Merleau-Pontys writings do not adequately account
for the ways in which the body is performatively interpolated within broader societal
framings. This returns to the critiques of work in non-representational theory outlined in
the Introduction to the thesis and the ecological approach suggested in response. As
Hass (2008: 93) suggests Foucaults thought is powerfully revealing of the coercive
influence of cultural forces, systems, and norms on living bodies and the orientation is
simply not present in Merleau-Pontys thought. For Merleau-Ponty, the experiential field
is a largely happy place. While Merleau-Ponty does talk of the interrelation of the
biological and the personal in terms of the formation of habit or the relation between the
sedimented and spontaneous (see Merleau-Ponty 2002: 95), he has little or no
recognition that culture coerces our bodies in a political wayhe is missing a body

45
politics (Hass 2008: 94). Therefore, throughout the thesis as a whole, and especially in
Chapters 4 and 5 through the work of Lefebvre and Deleuze, I want to be attentive to
such performative matrices of power which circulate through (though not entirely
constitute) the body and impact upon practices.
The third and final trajectory comes from Serres in his conversation with Latour
(Serres 1995). Here Serres speaks of what he feels to be, in fact, the bodilessness of
Merleau-Pontys phenomenology, and phenomenology more generally. Such work, for
Serres, is emaciated (Connor 1999). As Serres writes:
When I was young, I laughed a lot at Merleau-Pontys Phenomenology of
Perception. He opens it with these words: At the outset of the study of
perception, we find in language the notion of sensation Isnt this an exemplary
introduction? A collection of examples in the same vein, so austere and
meager, inspire the descriptions that follow. From his window the author
sees some tree, always in bloom; he huddles over his desk; now and again a
red blotch appears its a quote. What you can decipher in this book is a
nice ethnology of city dwellers, who are hypertechnicalized, intellectualized,
chained to their library chairs, and tragically stripped of any tangible
experience. Lots of phenomenology and no sensation everything via
languageAll around us language replaces experience
(Serres 1995: 131-132).

In line with this critique, which is by no means widely agreed on (see Harman 2005: 46),
in this thesis I want to emphasize the vitality of embodied experience as opposed to this
body emaciated by language. I am going to pay specific attention to the affective relations
the street performing body enters into still a city dweller, but a city dweller out there
experiencing and try to convey some of this in the descriptions of the events that
unfolded in my experiences of performing. I want to attempt to develop a style of
presentation though perhaps not as extreme as that Serres desires that reaches
towards the corporeal sensibilities and somatic sensations present in these events
(Paterson 2009, forthcoming). Again, this trajectory will be carried on throughout the
thesis, but most specifically in Chapters 5-7.
While these three trajectories do mark a substantial departure from Husserl and
Merleau-Ponty, in some sense this sentiment of moving beyond is fitting given that the
history of phenomenology can be understood as a series of divergences from Husserl, or,
as Ricoeur noted, the history of phenomenology is a history of Husserlian heresies
(Moran 2000: 3). This approach then warrants the title post-phenomenology both in that
it moves far enough beyond phenomenology (both in terms of a genealogical development
and in terms of its movement on from certain limitations of Husserls project) to warrant

46
the addition of the post, but still deserves the reference to phenomenology (rather than
calling it simply post-structural) as this move is made from and through phenomenology.

47
48
 Chapter 3

Researching street performance

In the place of the pursuit of certainty in generating representations of the

world, there is recognition that the world is so textured as to exceed our
capacity to understand it, and thus to accede social science methodologies
and forms of knowing will be characterized as much by openness,
reflexiviting and recursivity as by categorization, conclusion and closure
(Davies and Dwyer 2007: 258).

We simply do not have the methodological resources and skills to

undertake research that takes the sensuous, embodied, creativeness of social
practice seriously
(Latham 2003: 1998).

When there has been so much discussion about the significance of the
body, how do we write meaningfully about those everyday embodied
experiences of touching and feeling, conjunctions of sensation and emotion
that cannot arise without the physicality of the body?
(Paterson 2009, forthcoming).

I. Introduction

Given the ongoing interest in geography in practices of late, it is evident that attention
needs to be paid to the methodologies with which geographers study these practices
(Latham 2003) and the modes with which they are written up (McCormack 2002;
Paterson 2009, forthcoming; Wylie 2005). In light of changes in the conception of
research and academic practice (Davies and Dwyer 2007), and a concurrent shift in focus
to what is done not what is represented (Crang 2003: 499), it has been drawn into
question whether the conventional methods used within geography can capture the
more expressive, non-verbaland emotive, non-cognitive aspects of social practice and
performance (Morton 2005: 663). From this, it has been asked how the traditional

49
methodologies of human geography in depth interviewing, focus groups, participant
observation, and so on can attend to the excessive and open-ended nature of such
practices and the world more generally. The question is then: how can we, as
geographers, do justice to such practices when they will always escape our abilities to
know or are too complex to write down, explain fully, chart or map (Morton 2005:
664)? In response to these challenges, it has been suggested that we should work
through how we can imbue traditional research methodologies with a sense of the
creative, the practical, and being with practice-ness, and that if [p]ushed in the right
direction there is no reason why these methods cannot be made to dance a little
(Latham 2003: 2000). In this chapter I want to contribute to such moves by
experimenting with researching through the body, employing time-lapse photography,
and videoing, but also by working creatively with participant observation (or observant
participation), photography, interviews, and documentary analysis.
Further, in terms of writing practices, geographers have begun to make attempts
at engaging the challenges this presents. In response to the seemingly irresolvable
paradox of finding a means to articulate such experience without limiting it to mere
representation, without establishing yet another lexicon noran honest form of
Cartesian introspection (Paterson 2009, forthcoming), geographers have begun to
experiment with performative writing which seeks to give a word to a wordless
movement without stifling the life of that movementwhich is often below the
cognitive threshold of representational awareness that defines what is admissible into
serious research (McCormack 2002: 470) and creative writing which develops a poetic
sensibility so as to evoke rather than describe the practice under consideration (Paterson
2009, forthcoming; see Wylie 2005). In this thesis, particularly in Chapters 4 and 5, I have
attempted to deploy some of this creative sentiment in writing in a way which will evoke
the experiences undergone, as well as describe them, experimenting with different forms
of narartive, as well as by presenting visual materials which evoke something of the
events that occurred.
Therefore, I will spend the majority of this chapter discussing the various
methods employed in researching street performance, the rationale behind their choice,
and the challenges that emerged in their playing out. The relationship of each method to
the empirical research questions outlined in the Introduction and post-phenomenological
trajectories outlined in Chapter 2 is outlined in Table 3.1. Reference will also be made to
the writing/presentation strategies employed. As such, the chapter will unfold as follows.

50
Firstly, I will discuss the use of observant participation, focusing specifically on how this
entailed researching through the body. Following this, I will turn to the use of visual
methodologies in the research and discuss the use of digital video recording and
photography (including time-lapse photography). Finally, I will discuss the use of
interviews and the analysis of documentary materials. Throughout these discussions
reference will be made to the ethical issues that had to be addressed in conducting the
research.

Table 3.1: Questions and Methods

Research Question Sub-theme Method/Materials Chapter Trajectory
Question
1) What happens a) Intervention/ (Time-lapse) 4 Performative
when the street transformation Photography, Video,
space is Interviews (Audience and
transformed into a Formal), Documents,
performance place and Observant
and how is this participation
affected by the
performances b) Everyday context (Time-lapse) 4&5 Performative
everyday and Photography, Video, and
legislative context? Observant participation

c) Legislative context Documents, Interviews 4&5 Performative

(Formal and Performer),
Observant Participation

2) How do the a) Embodied Observant participation 5 Subjectivity,

spatialities of the experience of and Video Performative,
street, and the performing &
socialities that Sensuousness
emerge therein,
affect the embodied
experience of b) Embodied Observant participation, 4, 6 & 7 Subjectivity
performing and the experience of Video, Photography, and &
performance? performance Interviews (Audience) Sensuousness

II. Observant Participation

The main research method employed was observant participation (Thrift 2000b). I am
following Thrift in calling this observant participation, rather than participant
observation, as this emphasizes the serious empirical involvement entailed (Dewsbury
2009, forthcoming). This consisted of talking, witnessing, sensing and listening, and
involve[ment in] the more experiential and felt qualities of performing and
performances (Morton 2005: 668). I employed this method to examine the experience of
performing in the street and the audiences experience of such performances, but also to
examine the everyday routines and how performers intervened into these (see Table 3.1).

51
 Such methods have often been derided for being somehow soft and touchy-
feely [but] have in fact been rather limited in touching and feeling and while
geographers have of late been including the body in their research topicsthese ideas
have had a muted impact in terms of thinking through qualitative research practice
(Crang 2003: 494 & 499). While work on the body has become prominent in geography
(see Chapter 5), it has not yet become something through which research is often done
(Crang 2002; 2005); [t]he body quite often ends up providing a sort of inescapable
positioning of the researcherbut less often is the instrument of research (Crang 2003:
499). There are some notable exceptions to this (see Longhurst, et al. 2008; McCormack
2002), and this thesis seeks to build on such initial moves. My involvement in the
practice under study, and the focus on embodied experience in this, highlights the
embodied nature of the research undertaken here.
The observant participation undertaken can be sub-divided roughly into two
strands: 1) street performing, and 2) being a member of street performers audiences and
an occupant of the street more generally.
Prior to the actual commencement of this specific research project, I busked
regularly in Glasgow between May and August 2005 (see 3.1). Here I busked with a
partner I played guitar and he sang and we played what could be loosely grouped as
classic singer-songwriter music (songs by The Eagles, James Taylor, Don McLean,
Simon and Garfunkel, and so on). At this time the money we received from busking was
our sole income. During this time I kept a research diary primarily describing specific
encounters that occurred with members of the audience, how specific spaces felt to
perform in, and how variations in levels of donations affected my mood and reflections
from this did play a part in the initial development of the research themes present here,
and they are also drawn on, often implicitly, within the discussions of the thesis.
While the main empirical focus for much of the thesis is Bath (see Chapter 4),
during the actual term of this project, I busked in Bristol and Bath (see 3.2). The rational
for the dual location will be discussed in detail in Chapter 5, but this primarily related to
me getting used to busking again given the significant gap in time between busking in
Glasgow and doing this research, with Bristol being more familiar to these previous
experiences than Bath. Here I busked from May to July 2008, busking on average 2-3
times a week most weeks and playing for around 3 hours on each occasion. In total I
busked for around 60 hours (excluding travel time, waiting for pitches etc.). Here my act

52
3.1 Busking in Glasgow

Photo by Alyn Griffiths

3.2 Busking in Bath and Bristol

Photos by Louise Rutt

entailed me playing instrumental acoustic guitar (including traditional Irish folk songs,
contemporary folk-jazz, and some original compositions). During the time performing a
research diary was kept which recorded the experiences generated (Whatmore 2003), and,
in particular, the felt aspects of performing. Without pre-determining specific themes in
advance of performing (other than being interested specifically in my embodied
experiences of performing), and rather letting themes emerge as they became apparent,
my notes focused on my relations to the materiality of the street and its everyday spatio-
temporal patterns, other performers, members of the public, and so on. I noted how
interactions, or a lack thereof, with passersby made me feel, how the patterns of

53
movements of people in specific spaces at specific times affected my sense of that space,
how specific donations affected my mood differently, and so on.
This focus necessitated a shift from comprehension to apprehension in the
forms of knowing involved in the research (Davies and Dwyer 2007: 258) and thus
entails an acknowledgment that the way we represent the world [in texts such as this
thesis] is hindsighted, past participled, [and quite literally here in the visual methods
discussed later] stilled like frames in a film. The way we experience the world is processual,
unfinished (Denning cited in Dewsbury and Naylor 2002: 254). In light of this, and in
an attempt to make this tension more apparent, significant aspects of this thesis
(especially Chapter 5) take the approach of narrating the unfolding of the fieldwork and
specific events that occurred within it rather than taking a more thematizing or
schematizing approach (see Wylie 2005). In Chapter 5 in particular, I combine extracts
from my field-diary with more academic reflections so as to give a sense of the
experiences and encounters that occurred during my time performing. This, I hope,
serves in some way to forestall the danger of the research being too artificially frozen or
rigidified in its presentation in written form and so making present something of the
experiences that took place.
The writing of the research-diary also presented a challenge. When busking there
is no clear back-stage area (Mason 1992) and so nowhere that I could obviously take
notes covertly, especially if I wanted to do this shortly after the event being noted
occurred. Therefore, short notes where sketched during the time busking occasionally
between songs to act as memory aids. These were worked over and written out more
fully either at times where I took substantial breaks (such as when waiting for a pitch or
if it rained), while waiting at the train station, on the train home, or immediately after I
had arrived home. This was always done as soon as possible after finishing busking.
In addition to this time busking, I also spend time observing performances in
Bath. This ran throughout the time I busked there, and continued in a more concentrated
fashion (again around 3 times a week for around 3-4 hours per visit) between July and
September 2008. This produced around 100 hours of observation. Again, a diary was
kept of the experiences which focused on my embodied experiences of the performances
of others I participated as part of their audience. My diary notes focused on what
affected me about their performance, what drew my attention (or did not), how I
interacted with other audience members during a performance and how this made me
feel, and so on. The notes taken were generally written out shortly after observing an

54
event or performance, as here I did not face as much of an issue with finding space and
time to make notes it was relatively easy to find a bench or somewhere to sit and write
in a relatively inconspicuous manner. This observation was also undertaken at a more
detached level of standing back and watching how performers and audiences interacted
with each other and their broader environment what performers and audiences said to
each other and what reactions arose from this, what non-verbal interactions (such as
clapping or gestures) occurred, how performers used aspects of the space (such as
benches) in their shows, and so on and was additionally facilitated by the use of visual
recording technologies which I will discuss in detail shortly.
In undertaking this observant participation a number of issues arose. Firstly, in
terms of actually performing, the positionality of myself as researcher poses significant
questions. While I am more interested in studying the practice of street performance than
the lives of street performers and street performing as a lifestyle per se, and hence my
reticence to use the term ethnography, it is important to recognise the situated
knowledges of those participating in the research, including myself as researcher, in that
[w]e are all caught up in a web of contextsthat shape out capacity to tell [stories]
(Ley and Mountz 2001: 235). Although such reflexivity can act as a means of avoiding
the false neutrality and universality of so much of academic knowledge, it is in fact an
extraordinarily difficult thing to do (Rose 1997b: 305-306). Attempting to produce a
transparent self is in fact an attempt at turning extraordinarily complex power relations
into a visible and clearly ordered space that can be surveyed by the researcher (Rose
1997b: 310). This is especially difficult, as the theoretical discussions of Chapters 5-7 will
show, as the researcher and researched do not remain un-changing throughout the
research process (Crang 2002; 2003); the research is constitutive of them. This should be
apparent in the auto-biographical tone of Chapter 5 and its focus on my unfolding sense
of self and disposition toward street performing throughout the term of the fieldwork. It
may then be more fruitful to look for a reflexivity with the aim of producing non-
overgeneralizing knowledges (Rose 1997b: 315); a reflexivity that can acknowledge that
it may not be adequate since the risks of research are impossible to know (Rose 1997b:
317) and so be an acknowledgement of uncertainty.
In relation to this, there are some initial points that can be drawn. Significantly
here, I have busked in the past for purposes that were not primarily research-based I
was a full-time busker in Glasgow in the summer of 2005 before starting as a
postgraduate and my sole income came from this. While I did maintain a diary from this

55
period, this was more of an aside than the main purpose of being there. Further, for the
period of research, I was busking part-time, while spending the rest of my time as a
student analysing the materials generated and writing from them. That said, while some
of the buskers and street performers I encountered performed in the street full-time, a
number of those I spoke to also only performed part-time, either to supplement their
income, or, as one stated, simply to get out of the house as he worked from home.
There were also a number of performers who were also apparently students busking in
their summer holidays (as I had done in Glasgow previously), making my seasonal
presence not untypical. In terms of age, some buskers were older than me, but also some
were younger than me. It became very clear early on in the research that there is no such
thing as a representative or typical busker. The complex demographic of street
performers makes situating myself in relation to them rather difficult.
Perhaps another way in which I can situate myself is in relation to the issue of
donations. Potentially, I may have related differently to the money donated to me than
real buskers or buskers who in some way relied on these donations. While this may be
true to an extent, in some ways it may not be entirely the case. It is true that if I did not
receive any donations this may not have had the same effect on me as a busker who was
living off such money I could still pay my rent at the end of the day, no matter how
much I received, while they may not necessarily be able to. This is evident in the
difference between busking in Glasgow and in Bristol/Bath for me there was a more
general worry if things werent going well in Glasgow and wondering about the
implications of a slow day, etc.. Also, as I was there for research, even if I received small
amounts of donations, this would not stop me from busking given I needed to for the
research others may have given up if it had turned out to be less profitable than they
had hoped.
However, and related to this, in terms of my relation to the donation as a means
of showing appreciation for the performance, in many ways this was arguably of the
same order as other buskers if I didnt receive any donations I felt unappreciated and
de-motivated since people did not appear to be enjoying my performance; if I received
many, it felt good that people were enjoying my performance. There was a singular
relation to each donation that comes through a conjunction of a multitude of different
factors (something I discuss more in the section on donations in Chapter 5). Therefore, it
is the case that the added factor of being there for research played a part in these
constellations, but did not definitely or necessarily determine them.

56
 This discussion of donations does lead into some of the ethical aspects of the
research. As just suggested, during the research I received donations from the public.
Therefore, there was an ethical consideration to be made in what to do with these
donations I did not feel comfortable keeping them as I was being funded to do the
research although a definite ethical response is not entirely obvious. It is important to
note that there does in fact have to be an element of improvisation and creative
thinking in the ethical undertaking of field work (Thrift 2003b). The eventual use actually
arose during the research in encountering another occupant of the street and trying to
develop an ethical response to this encounter (Popke 2003).
Early on in my time busking, on my second busk in Bristol, I was situated
opposite the entrance to the Galleries where a Big Issue seller was trying to work (see
3.2). I was conscious that he was shouting rather loudly, and was feeling a little guilty that
he had to do so more than usual to be heard over my playing. As his shouting continued,
he began to sound more and more desperate. As I sat there, constantly hearing his
requests, I couldnt help but feel guilty and that it might be partly down to my presence
that he was struggling to sell his remaining copies. While this may have been entirely
irrational, the longer it went on, the more guilty I felt. Eventually I couldnt take it any
longer and so, taking money from my hat, went and bought a copy from him.
From this encounter, combined in part with others that I will return to later in
the thesis, I decided that it would be appropriate to donate the monies received during
the research to the Big Issue charity. As with the encounter above, this feels like an ethical
use of the monies received.
In a more general sense, the main ethical issue that arose in my use of observant
participation in the research relates to disclosure of the research to those I encountered
in the field. While I will talk about this specifically in relation to the use of visual
recording technologies shortly, it is important to note here that during my time
participating in the street (both busking and observing), although the research was not
always advertised, I was open about my status as a researcher. If anyone questioned what
I was doing I gave them a verbal description of the research and its aims, which as will be
discussed later, often led to a longer conversation about their opinions on the researchs
themes.

III. Visual Methods

As part of the research I employed video recording and photography (including time-
lapse photography) in observing the performances of others, the impact their

57
performances made, and the more general spatio-temporal patterns of the street (see
Table 3.1). The production of visual materials in research is nothing new, with many
geographers and other social scientists producing images in their research (Rose 2007).
However, recently the use of video in cultural geographic research has become
increasingly fashionable (see Spinney 2009). Rather than proclaiming video to be the
methodological answer to studying practices (as some seem rather keen to do), here I
want to think about the actual, mundane pragmatics of using video to study practice.
With a small number of notable exception (see Laurier and Philo 2005; Laurier 2007),
this appears to be something geographers have thus far been somewhat slow to do.
Returning to photography for the moment though, there are a number of
different ways in which images are employed in this thesis. Firstly, for example in the
discussion of donations in Chapter 5, I predominantly use the sequences of images to
illustrate and help in the visualization of what I am discussing. Further, and taking a
distinction from Rose (2007), I use images as both subordinate and supplemental.
Subordinate images are images that are treated as something to be analyzed and which
offer some evidence in the answering of research questions. In contrast, supplemental
images are images that are used because of their excessive nature in relation to the
researchers interpretation. They say (or do) something more than the text that
accompanies them (either as commentary or more generally) (see Latham and
McCormack 2009, forthcoming). In this project, I do primarily use images as subordinate
images which are commented upon. However, I do not think that the supplemental
nature of images can be easily separated off, so at times (see the start of Chapter 6 and
some of the images in Chapter 4), the supplemental nature of images and their ability to
convey the feel of specific locations is drawn on (Rose 2007: 247).
In terms of the use of time-lapse photography more specifically, this was
undertaken as a combination of the general observation of specific spaces whereby a
camera was set up with a wide angle next to two of the central pitches in Bath next to the
Abbey (see Chapter 4), but also in terms of the recording of specific events or
performances (see 4.10 to 4.24 in Chapter 4). The use of time-lapse photography in the
thesis arose as an attempt to address a specific methodological question arising from the
theory being drawn on in the examination of the patterns of organization in the everyday
and the intervention street performers make into this (see Chapter 4). In particular, the
reason for employing time-lapse photography was to respond, in disagreement, to the
following statement made by Lefebvre in relation to his rhythmanalysis:

58
 Rhythms: the music of the City, a scene that listens to itself, an image in the
present of a discontinuous sum. Rhythms perceived from the invisible
window, pierced into the wall of the faadeNo camera, no image or series
of images can show these rhythms. It requires equally attentive eyes and ears,
a head and a memory and a heart
(Lefebvre 2004: 36).

Lefebvre was frustratingly illusiveabout the tools of such a practice[and] there are
no clear methods for rhythmanalysis, only the metaphors of receptivity and exteriority
(Amin and Thrift 2002: 19). Therefore, I wanted to experiment with time-lapse
photography as a potential means for undertaking and presenting rhythmanalysis, in that
such images may be useful in displaying notions of density, accretion, duration,
dispersal, and flow which all relate to the rhythms of the everyday (Harrison-Pepper
1990: 131). Part of this response is also qualified by the fact that, in this research at least,
the act of taking these photographs entailed the physical presence of the researcher, and
so, rather than being a detached technological gaze, was also co-present with the eyes and
ears, head, memory, and heart that Lefebvre desires. These were combined in the taking
of diary notes about the events photographed, which focused on the felt experiences of
these as discussed earlier.
In total, approximately 700 images were produced in the research. Around 400 of
these came from the time-lapse photography and a further 300 from the standard
photography. In general, the analysis of the images followed a pattern of looking through
the images, noting significant aspects of certain images or sequences of images such as
the patterns and flows of movements of pedestrians in the spaces across a specific period
of time and then looking at them in more detail following this initial viewing, and
writing them into the discussion.
In using video, the main technique I employed was what Laurier and Philo (2005)
call naturalistic video recording. This was used to access the fine details of conduct on
the street, and the emerging characteristics of those ecologies (Heath and Hindmarsh
2002: 103).14
In the filming undertaken a digital video camera was set up on top of my
amplifier when I busked. The camera was directed out towards the audience with as
wide a shot as possible and was left running for the duration of the performance. The
primary motivation for this was that during the time I was performing I had to
concentrate for the most part on what I was playing, and therefore may have missed or

14The main reason no video is presented with the thesis lies primarily in the unwieldy nature of trying to
include a DVD with the thesis and the need then for the thesis to be read in conjunction with this.

59
not noticed some events occurring in front of me or their detail. However, the video
camera also provided more detail in general than I could possible note at the time in
relation to what my audiences did (Lomax and Casey 1998). In addition to this mode of
recording, I also recorded the performances of others, both with a static camera (on a
tripod) and a hand held one.

3.3 Spotting the camera and resultant (lack of) affecting of behaviour

There are a number of issues in doing naturalistic video research. As Laurier and
Philo (2005) suggest, the notion of obtaining naturalistic video is itself problematic, and
that it is inevitable people will react to the presence of the camera (Lomax and Casey

60
1998). On occasion, people did notice I was filming and when some were informed they
did shy away or act awkwardly, asking am I being filmed now? This is in fact natural
behaviour in itself.
There is also the chance of a more mundane affecting of the behaviour of those
being filmed people may have acted a little different in the cameras presence even if
this is not overtly manifest. For example, on one occasion when busking in Bath, a
homeless man who had been sitting on a bench for a while informed the person sat next
to him that I had a camera set up when the man had commented to him on my playing
(see 3.3). He later got up and donated, and (as will be discussed more in Chapter 5)
appeared to not behave in any obviously different way given his knowledge of the
presence of the camera (other than potentially looking at the sign displayed below the
camera, to be discussed shortly, as he approached to donate). However, it is not clear
that he was definitely not affected just because this was not evidently manifest he may
have actively tried to act normally, or been affected in some other, non-evidently
manifest, way (Lomax and Casey 1998).
It is also important to note though that research findings and experiences are
precisely a co-production between research and researched, and so not solely just the
product of the presence of a video camera (Lomax and Casey 1998). The social world is
not out-there waiting to be brought back in (Dewsbury 2009, forthcoming). This has
meant that I have therefore had to build in an element of reflexivity into the analysis of
the video (Pink 2001), and the empirical material drawn on more generally.
A further issue relating to the use of video, referring back to the non-
representational context of this study, is that although video captures movement and
sound, it still misses many of the aspects of the event the sensuous, emotive, ephemeral
nature of things (Laurier and Philo 2005). That said, I am interested in what the camera
shows (the gestures, the sounds), not what it misses. It is emphatically not an attempt to
capture the ephemeral, the fleeting (Davies and Dwyer 2007: 261). In general then,
though the video does have limitations, I feel it presents a certain empirical utility (Rye
2003: 3).
As Heath and Hindmarsh (2002) suggest, there is no general orthography for the
transcription of video data. However, for the majority of the video (see exceptions
below), the transcription process followed their approach.15 Firstly, a provisional viewing
was undertaken where I watched the video back in real time, making notes and marking

15 Also see http://homepage.mac.com/eric.laurier/ordinary_life/page14/page14.html and Laurier (2007).

61
the times of possibly desired fragments/unwanted sequences for example, when a
donation occurred. The desired sections were then transcribed in more detail sound,
gestures, movements etc. were sketched on a timeline. Again in terms of a donation, I
noted the different things people did when they donated, noted what they said and the
tone they said it with, and tabulated this with the relevant point in my research diary.
Stills from the relevant points in each timeline were then selected and inserted into the
text for illustration, including some of the commentary from the transcript. I decided not
to edit-out these sections into separate clips and then collate them in themes as I was
concerned that this would blur their context within broader events which was often
significant (for example see 5.3 in Chapter 5).
Due to the sheer volume of footage that would be generated, and the necessary
time for analysis, I did not film for my entire time in Bath. Instead, I filmed for a total of
4 hours while busking, and a further 10 hours during observations. Further, the filming
during my time performing was started some way into the fieldwork so as to allow myself
time to acclimatize to performing in Bath.
The usage of these visual materials in this research does raise some ethical issues
(Silverman 2001). These specifically relate to the need to gain informed consent from all
research participants (Economic-and-Social-Research-Council 2006; University-of-Bristol
2005). However, taking photos and undertaking filming in a public space populated by
hundreds of people makes obtaining written consent entirely impractical to operate on an
opt-in system. Therefore, in the research undertaken here, and in line with previous work
funded by the ESRC (such as in the Cappuccino Community project run by Laurier and
Philo), the filming and photography was done overtly with a poster being displayed near
the camera which provided information on the aims of the research, an explicit statement
on the option of not having photos/film used of them, and contact details of myself so
they could ask further questions or request not to be included in the research (see 3.4).16 I
was also always next to the camera and often expanded on the poster, again making clear
the option not to be included. In terms of the presence of images of performers, it was
not practical to approach each performer, interrupt their performance, and ask for their
permission to take their picture. Reflexivity was then required in relation to what images
or stills to include, when to blur faces, and when at times images may not be suitable.

16 A slight variation of the poster shown here was used when photography was being undertaken.

62
3.4 You are being filmed poster

YOU ARE BEING FILMED FOR RESEARCH

I am undertaking this filming today on digital video for a PhD research project I
am undertaking at the University of Bristol, titled Ecologies of Street
Performance. This filming is being undertaken to examine how people act and
what they do when they watch street performers/buskers so please continue as
you normally would.

If you do not wish take part in this research (have still images or clips of you from
the video used) please just say and I will happily ensure this. Alternatively, you can
email me at the address below to let me know (Some details will need to be
provided so I can ascertain who you are).

If you have any other questions about this research, you can contact me:
Paul Simpson, School of Geographical Sciences, University of Bristol, BS8 1SS
[email protected]

More information about the research project can be found at:

http://streetperformanceresearch.wordpress.com/

Or, again, please feel free to approach me.

63
3.5 Reading You are being filmed sign

Returning to the discussion of the difficulties faced in pursing naturalistic

filming, especially in terms of the camera affecting the behaviour of people, this overt
advertising of the research and the presence of the cameras does potentially aggravate
this issue. On occasions, rather than do what they normally did, some people did stop
and read the sign (see 3.5).
Therefore, while this produced behaviour which I was not necessarily interested
in in terms of the research questions of the thesis, such responses were not so common
that it made the use of filming redundant. Further, especially during the taking of time-
lapse photography, the poster had a positive effect in that it helped to enlist interested
members of the public into the research who, having read the poster, engaged in short
conversations about the research (asking more about what I was doing, recounting their
experiences of street performers and buskers, and gave their opinions about their
presence in the everyday).

IV. Documents and Interviews

In being interested in the everyday context of street performance in public space and the
ways in which street performers are (to varying degrees) accommodated (see Table 3.1), I

64
examined a series of documents relating to this. These primarily related to Bath and came
in the form of related Council Reports and minutes from Council meetings from the past
10 years, and also relevant articles from the local newspaper The Bath Chronicle from
the same time period. The time period is significant in that an inter-related range of
attempts to change the way in which performances were controlled unfolded during this
period, and also as it is recent enough to have a bearing on the contemporary setting
(events from the late 1990s to the present did come up in my conversations with other
performers, showing their continued significance). Further, a broader contextual
knowledge was gained though the consultation of documentary materials produced
relating to other comparable sites. These included, for example, the substantial reports
produced by Oxfords Anti-Nuisance Busking Oxford group17, as well as the response
by the local Councils of Oxford, York, and Cambridge to the issue of busking and street
performance.18 These three sites are also particularly significant to the experience in Bath
given their comparable status as Heritage Cities and also in that they were mentioned and
compared in the interview with Baths City Centre Manager discussed shortly.
To supplement the analysis of these documentary materials, and fill in gaps in
their narrative, interviews were undertaken with members of Baths Environmental
Protection Team and Baths Public-Private partnership, Future Bath Plus. These
interviews were of a formal nature and interviewees were contacted via letter outlining a
summary of the project and the aims of the research. This was followed by a phone call
where a time and date was organized. Anonymity was not offered to all formal
interviewees as, given their positionality, this was not desired or practical. All these
interviewees were interviewed over the phone and so statements of their willingness to
participate, that they understood the nature of the interview, and if they were happy to
have the interview recorded, were recorded, and they were also offered summary findings
on completion of the research. These interviews were fully transcribed and coded (Crang
1997).
Something that is perhaps both surprising about the discussion of the research
methods presented in this chapter so far, and their general presence in the rest of the
thesis, is the lack of in-depth interviews with other performers. On the commencement

17See http://anboxford.blogspot.com/2007/10/anti-nuisance-not-anti-busking-oxford.html.
18
For Oxford: http://anboxford.blogspot.com/2007/10/anti-nuisance-not-anti-busking-oxford.html. For
York:
http://www.york.gov.uk/business/Licences_and_street_trading/street_trading/Street_trading_licence/Bu
sking/. For Cambridge: http://www.cambridge.gov.uk/ccm/content/business/licensing-and-
permissions/street-performers-code-of-practice.en.

65
of the research I was still unsure whether I would interview others who perform in Bath
for a number of reasons. From my experiences of busking, I have found it to be a
relatively individualistic pursuit very rarely did I find myself talking to other street
performers when I busked in Glasgow. This said, in researching street performance for
my Masters Dissertation in Covent Garden I did find that the presence of timetabling
and the mechanisms under which this proceeded (meeting to draw names etc.) brought
performers into some contact with each other. As meetings are meant to occur for the
Abbey Courtyard in Bath, I thought there would be a chance that I may get to know
some performers to the point that it would be possible to talk to them about my research
and related issues, either formally or informally. However, this did not turn out to be the
case as during my time busking in Bath no such meetings were taking place.
Therefore, the only interactions between myself and other performers came in
the naturally occurring brief contact that arose in the change-over between slots. Here
short conversations did take place, but the nature of many of these, and a number of
rejections, did lead me to think that attempting anything more formal would not be
successful most were in a hurry to move on to perform elsewhere, were not especially
chatty, and, also, any time they gave me would be time they would miss out on
performing. This was also impeded by the fact that a small number of the performers I
encountered were regularly potentially (or sometimes obviously) inebriated (either on
alcohol or drugs), therefore making the ascertaining of informed consent impossible, but
also bringing up issues of my own personal safety.19
In the informal conversations that did occur between myself and other
performers my status as a researcher was not always disclosed. This came down to the
length and nature of the conversation. If it was only a brief conversation I did not
disclose this. If the conversation developed into something more substantial I did then
disclose by status as a researcher, mainly as I had managed to steer the conversation in
the direction of themes related to the research (often in relation to the controls placed on
performers by the Council and the opinions the performers had on these see Table
3.1). In total I spoke to around 12 buskers, with conversations with 5 of them developing
into a more substantial discussion lasting from around 5 to 10 minutes or more.
Even if there had been more contact with other performers and I had enrolled
them into the research more formally, this was likely only going to prove useful in

19One other possible avenue for approaching performers was through the website www.bathbuskers.co.uk
which includes a notice board on which I advertised the research. However, I received no responses to this
request for participants.

66
addressing the questions relating to the control of street performance in Bath, rather than
the issues of the felt aspects of performing in the spaces of the street. I was, and still am,
sceptical of it having been possible for me to develop close enough inter-personal
relations in the time available for the research to discuss such matters in any depth or
with adequate freedom, or whether these issues are something that it is really possible to
have interviewees relate through a simple interview alone (Latham 2003; McCormack
2003). This would not only be down to a lack of strength in the inter-personal relations I
could have developed, but would have also been perpetuated by the likely environments
I would end up interviewing such performers in on the street (Crang 2002; Elwood and
Martin 2000). Further, and as suggested previously, I also do not feel that the relatively
small input from interviews with performers to be entirely problematic due to the
emphasis of the research on the practice over the lives of those who undertake it. This
does, though, add to the reflexive burden already discussed.
In addition to these informal conversations with other performers, a large
number of informal conversations occurred with other members of the public relating to
their experiences of performances and opinions on the presence of street performers and
buskers. These informal interviewees were not contacted formally, but were rather
encountered during the ethnographic phase of the research (either when I was
performing or when taking photographs). During these conversations my position as a
researcher was made obvious by myself and a verbal description of the research was
provided. All these participants were automatically made anonymous given the lack of
formal agreement for inclusion.

67
68
 Chapter 4

Street performance and the city

Forgoing the sanctity of a walled theatre space, with darkened auditorium,

fixed seating, prepared audiences, and reassuring reviews, the street
performer instead engages and manipulates the urban environment, using its
traffic, noise, and passersby as props for his [sic] show. Buses rumble by;
helicopters hover overhead; heckles interrupt the rhythm of the
performance; rain, cold, or police can defeat the performer entirely. The
audience surrounds the street performer, restless, waiting, impatient. Yet the
street performer succeeds in transforming urban space into theatre place
(Harrison-Pepper 1990: 140).

I. Preface

It was a hot sunny Sunday afternoon toward the end of July when I walked up Stall
Street and came across a living statue standing in the middle of the street (4.1). He was
standing on a box with a metal money jug in front of him and was wearing a long leather
coat and a wide-brimmed hat. A crowd had formed in a semi-circle to the width of the
street. Some were young, some old; groups of young people, and families with children.
All stood looking. I stopped and sat on a bench nearby to watch their reactions.
The statue drew a lot of attention, primarily due to the realistic nature of his
costume I had almost walked past him on a previous day. This area of the street was
normally quite flowing it is a transitory space between shops and attractions, and, other
than a few benches and the seating of a couple of cafes, I had rarely seen many people
hovering around here before.

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4.1. Bronze statue on Stall Street

4.2. Moving on a pigeon

The statue made a big impact on the space. There was a dramatic shift in the
patterns of flow and at times the crowd almost entirely blocked the street on both sides.
This made it very difficult to pass many struggled to make their way through the
crowd. This was especially the case when the statue did something. As can be seen in
the second image above (4.1), at times pigeons landed on him. This drew shrieks of
laughter from passing children and people rummaged for their cameras to capture this
unusual moment. Also, if he had stepped down from his box (which he occasionally did)
and a pigeon then landed on the box, the statue used this for comic effect by gently
trying to wave the pigeon off, again to the laughter of the audience (see 4.2). Otherwise,
when someone donated, he would give them a slow and mechanical thumbs up or
slowly bend down and shake their hand and pose for a photo. Reactions varied. Some
ran away scared when he moved (making those standing watching laugh) and other

70
clowned around in front to try to get the statues attention and make him break
character. I heard some say: thats amazing, how can he do that?, how can he stand so
still?.
Once the pigeon(s) flew off, or the other happenings died down and the statue
return to being stationary, the crowd diminished. Rather than there being a set show,
with start and end, there was a constant performance with the crowd ebbing and flowing,
swelling and shrinking. More people would then arrive. More would be distracted from
what they were doing. More would laugh and more would run away scared.

II. Introduction

It has been widely acknowledged that performance, as a mode of embodied activity that
transgresses, resists, or challenges social structures (McKenzie 1998: 218), maintains
within it the possibility of liminality. In this chapter I am interested in this liminality in
terms of what street performers and buskers do to the everyday life of the city with their
presence and the spatio-temporal intervention they make in these everyday patterns. I am
also interested in the types of sociality this produces. As has been highlighted by the
small literature on street performance, such interventions can take many forms. For
example, Harrison-Pepper (1990: 127 & 131) shows how street performers intervene in
the spatio-temporal organization of the space, with [p]erformance [being] a dynamic,
shifting, breathing event which affected the space in terms of density, accretion,
durations, dispersal, and flow. Further, Tanenbaum (1995: xi) argues that the music of
performers can act as a theme song for our public life, a wake-up call from the mindless
rush of theroutine, and also makes these spaces feel safer (though see Chapter 7 for a
different take on this). Such music, for Tanenbaum (1995: 1-2), presents an urban ritual
that challenges the way we think about public space by promoting spontaneous,
democratic, intimate encounters in some of the citys most routinized and alienating
environments.
However, these interventions are not always so positively viewed. In fact, as
Harrison-Pepper (1990: 22) highlights, [m]uch of the history of street performanceis
found in the laws that prohibit it (see Cohen and Greenwood 1981). There have been a
range of legislative responses to the presence of street performers and buskers in public
spaces with varying degrees of severity. At the more liberal end of such responses, in the
UK, Councils and local authorities have imposed codes of conduct for performers to
adhere to, focusing on volume, the use of amplification, duration, spacing, and so on.
This can be seen in Bath which will be the main empirical focus of this chapter. At the

71
stricter end of the spectrum, performers have either to audition for licenses which allow
them to perform, or have been banned completely. Examples of this include Covent
Garden, London, where a detailed auditioning and licensing system operates (Simpson
2006; 2008), or Edinburgh where bag pipers were recently banned from performing on
the Royal Mile.20 Therefore, while cities are increasingly expected to have a buzz, to be
creative, and to generally bring forth powers of invention and intuition, there has also
been a move to ensure an affective engineering of such space which produces a public
space with a certain buzz, and a buzz that street performers and buskers do not
necessarily fit into (Thrift 2004: 58).
Therefore, in this chapter I am interested in examining this interrelation between
the intervention street performers and buskers make and the legislative and everyday
context for performance in the public spaces of the city, and so address the first research
question outlined in the Introduction to the thesis. As such, this will also respond to the
critiques of non-representational theory that argue that it does not pay enough attention
to the social-cultural-political context of the practices it studies discussed in the
Introduction (see Cresswell 2006; and also Nash 2000), and, in so doing, develop the
second post-phenomenological trajectory outlined in Chapter 2. I want to note though
that this is in fact the least overtly phenomenological chapter in the thesis. However, this
comes, as Chapter 2 suggested, from the lack of attention within the phenomenology
discussed in this thesis to themes relating to the ways in which a body is socialized. I am
therefore interested here in how lived experience is always situated within a specific
socio-cultural setting, but also how this setting is in turn actively shaped by our
situatedness within a variety of discursive regimes which affect how such experience
plays out, and so produce certain norms.
It is a question then of uncovering what happens in the performative
transformation of the street space into a performance place (Harrison-Pepper 1990);
how, through the citation and iteration of aspects of past performances, something
different emerges within the everyday life of the city (Butler 1993; 1997), but also how
this liminal intervention is accommodated and captured by both this everyday setting and
the discursive regimes which circulate through it (McKenzie 1998). Before moving on to
discuss this, I first was to clarify a couple of notions that are of significance to the
narrative of this chapter and have been used in a rather assumed way in this introduction.

20 See http://news.bbc.co.uk/1/hi/scotland/edinburgh_and_east/7451328.stm

72
What do I mean by this everyday life of the city? And, what do I mean by public
space?
The phrase everyday life is vague and potentially problematic (Highmore 2005).
Referring to something as everyday can act to normalize a particular view. As Highmore
(2005: 1) states, [c]laiming everyday life as self-evident and readily accessible becomes an
operation for asserting the dominance of specific cultures and for particular
understandings of such cultures. However, in undertaking this operation, an appeal to
the everyday can also implicate and be haunted by the extra-everyday, for example
outsider groupings, abnormal behaviour, and so on. Therefore, the study of the everyday
can also be enacted to recoup that which has been left out by such dominant narratives.
There is then a political potential in the everyday. We can draw out a distinction
here between everyday life or daily life and the everyday or everydayness (Shields 1999).
The former refers to the routine, habitual, uncatalogued nature of day-to-day living
which connects and coordinates diverse activities, movements, and actions (Dempster
2008: 23), while the latter refers to the alienatedness of everyday life. Everyday life is the
ground of resistance and renewal upon which alienation would become apparent
(Shields 1999: 66). The study of the banality of everyday life is not necessarily banal in
itself; everyday life is compared to fertile soil which holds within it the possibility for
something different to emerge (Lefebvre 1992: 87).
The everyday life of the city can be related to the ecological perspective that was
outlined in the introduction to this thesis. Everyday life can be related to a form of
functionalism: it can be defined as a set of functions which connect and join together
systems that might appear to be distinct. Thus definedeveryday [life] is a product
(Lefebvre 1977: 9). The everyday life of the city refers to the relatively routine
functioning of those spaces in the city, to those patterns and routines that performatively
emerge from their regular usage. These routines do not simply spontaneously emerge,
but are traversed and influenced by performative signified frameworks the street is a
palimpsest of laws, orders, codes, and so on (Harrison-Pepper 1990) but which also
contain within them the potential for little modifications through, for example, the
entrance of something or someone different into such routines (such as the street
performer of our opening event which affected the patterns of use of that space). It is
this interrelation between context, routine, and modification that makes up the everyday
life that I want to think about in this chapter.

73
 Turning to the term public space, most simply, public spaces have been where
people interact with those outside their private circlesA spaces publicness can be seen
as the extent to which people have access without permission, expressed or implied, and
in which they can decide individually about how to conduct themselves (Ehrenfeucht
and Loukaitou-Sideris 2007: 106). Therefore, in public spaces no one should be
excluded because they are poor, or black, or female, or foreign, for example (Massey
and Rose 2003). However, the likelihood of an absolute public space is unlikely (Mitchell
1996). This is due to the fact that [a]ll places have restrictions physical, legal, social
on their access and use (Ehrenfeucht and Loukaitou-Sideris 2007: 106-107), and so
there is something more like degrees of publicness. As Mitchell (1996: 131) notes, the
construction of public space is always the outcome of multifarious forces well beyond
the control of any individual or social formation. Therefore, one of the foci of this
chapter will be to examine the interrelation and negotiation of these various forces which
will be drawn out in an engagement with the work of Lefebvre, a thinker whose work has
been prominent in the discussion of public space and provides a useful lens into the
working of such themes.
Having made these clarifications, the chapter will unfold as follows. Firstly, I will
provide a brief overview of the work that has been done thus far in geography around
the understanding of public space and situate the focus of this chapter in relation to this
in terms of a distinction between the political function public spaces can possess and
their role in the production of social relations. Following this, I will turn to the work of
Lefebvre to provide an understanding of the ways in which the everyday life of the city
and its public spaces are produced, maintained, played out, and are potentially modified.
In doing so, I will focus on his writings around the production of space and his recently
translated works on rhythmanalysis, as, in combination, they provide a means through
which to articulate the complex and dynamic spatio-temporal ordering of the everyday.
Following a re-orientation of Lefebvres analytical project via the work of Deleuze, I will
then turn to the empirical setting of the discussion: Bath. Having set this empirical scene,
the chapter will then work through various ways in which street performers and buskers
intervene in the everyday life of the public spaces of Bath and the kinds of socialities they
produce therein.

III. Geographies of Public Space

There is now a substantial body of work in geography, and the social sciences more
generally, which engages in various ways with the notion of public space (Fyfe 1998;

74
Goheen 1998; Mitchell 1996; 2003; Ruppert 2006). A diversity of topics have been
covered here, ranging from the access to and use of specific spaces such as parks
(Gumprecht 2007; Jackson 1988; Marne 2001; Mitchell 1992; 1995); the situation of
specific outsider or minority groupings in society (Kruse 2002; Mitchell 2003; Ruddick
1996; Stratford 2002; Valentine 1996); the presence of art in public spaces (Gibson and
Davidson 2004; Massey and Rose 2003; Pinder 2004; 2005a; 2008; Sharp 2007); and
CCTV, surveillance, and the control of conduct in specific spaces (Adey 2007; Allen
2006; Domosh 1998; Ehrenfeucht and Loukaitou-Sideris 2007; Fyfe and Bannister 1998;
Goss 1996; Kneale 2001). Within this broad range of topics a range of different
approaches and foci can be discerned. Therefore, in this section I want to draw out some
of these distinctions and situate this chapter in relation to these so as to clarify the aims
and objectives of the discussion that follows.
The first significant distinction to be made is between notions of public space and
public sphere. The notion of public sphere is often drawn from or influenced by the
conception put forward by Habermas (1989; see Gleeson 2006; Laurier and Philo 2007).
The public sphere here is the sphere of private people come together as a public
(Habermas 1989: 27), participating not because of positions of power held within society
requiring them to be concerned with such matters, but that they elect to do so. Key here
was the coffee house the physical space in which the public sphere came to exist and play
out.21 Habermas also outlines what he felt to be the loss of the public sphere from the
late nineteenth-century onwards, with a shift [f]rom a culture-debating to a culture-
consuming public (Habermas cited in Philo 2004: 11). For Habermas, we have come to
passively consume our culture and politics rather than directly engaging with them.
Therefore, it is important to emphasize that (the lack of) access to the public
sphere relates to an individual or a groups ability to take part in political debates, and can
often relate to that individual or groups presence or exclusion from a specific public
space. As Ruppert (2006: 275) states, physical public space occupies an important role in
the constitution of the public sphere by providing forums for the practices of political
debate and opinion-formation. A key example of this in the geographical literature on
public space is the access to and use of parks for political demonstrations and gatherings
(Marne 2001; Mitchell 1995).

21This was the case in England. For a discussion of the contemporary significance of coffee houses (and
cafes) see Laurier and Philo (2006a).

75
 This distinction between public sphere and public space has also highlighted a
further distinction in focus within the literature on public space which is significant to
the focus of this chapter. The focus on public space as constituting an arena in which
public debate can take place highlights the role public space can play in provide a realm
of politics and collective action. While the value of public space is not necessarily agreed
upon (see Goheen 1998), public space can provide an unstructured and informal sphere
of discussion, debate, and expression that leads to collective action concerning public
affairs (Ruppert 2006: 272). There is however a different value of public space that has
been suggested in the literature in that public space can provide a domain of sociability
(Ruppert 2006). Here it is emphasized that public spaces are the spaces of encounters
between strangers, people outside the life of family and close friends and within the
region of diverse, complex social groupsHere public space is the domain of interaction
and the practices of sociability (Ruppert 2006: 272). Such public spaces are about social
relationality in which difference is negotiated through a whole spectrum of interactions
(Massey and Rose 2003).
It is also possible to blur this distinction between politics and sociality given that
it has been argued by some that the presence of different types of sociality can give rise
to political potential for change. For example, Pinder (2005a: 385) suggests that the
presence of performance art can play a vital role in the development of critical
approaches to the geographies of cities, where they may challenge norms about how
urban space is framed and represented, and where they may help to open up other
possiblities (also see Pinder 2004; 2005b; 2008). While it is not the explicit intent of the
performances covered in this chapter, I would also suggest that they do in some sense
open up other possibilities of social relations in their presence and that there is then a
political significance to the presence of these performances, especially given recent
moves (which will be discussed shortly) towards regulating the presence of performers.
It is this perspective which focuses on sociality that aligns most closely with the
concerns of this chapter. The focus here is going to fall on the various interactions that
occur, and the socialities that emerge therein, when a performer takes to the street and
how these encounters play out and are negotiated (Massey and Rose 2003). The chapter
will focus on how street performers and buskers do (or do not) produce specific forms
of convivial civic space in the city (see Sharp 2007). This is not to say however that this is
free from the political just because the performances I am concerned with here are not
politically orientated towards addressing specific issues of common interest, or any issues

76
at all for that matter, does not divorce them from political considerations. This does
implicate the various controls which are placed on conduct in the streets, both explicit
and subtle (Allen 2006; Domosh 1998; Ehrenfeucht and Loukaitou-Sideris 2007), which
contribute to the production of these sociable spaces in the city.
In the next section I will therefore articulate a conceptual means for
understanding this interrelation between use, order, and how modifications to this order
may emerge, through an examination of the work of Lefebvre.

IV. Lefebvre and the Production of Space-Time

The Production of Space

The name of Lefebvre will be now familiar to many in geography, particularly through
his discussion of the production of space which has been prominent in the literature
around public space discussed in the previous section (Lefebvre 1991; and see Elden
2001; Unwin 2000; Stewart 1995).22 I want to continue this engagement here and think
about the relationship between street performers and buskers and the everyday life of the
city, particularly in terms of the liminality they produce in the interventions they make (or
dont make) in the experience of the everyday, both positive and negative, and how this
is contextualized by (and responded to with) various discursive frames (see Cresswell
2006). As with much of the previous literature, I am not so interested in Lefebvres
substantial but flawed history of space which constitutes much of the content of his
Production of Space, but rather with his trilectic of social space and its usefulness for
thinking about how space is both produced and productive; it is a product of social
relations but also affects how those social relations play out (Shields 1999).
Lefebvres focus on space comes as a reaction to the dominant status that time
had been given in philosophical analysis. In response to this, Lefebvre argues that space
is the ultimate locus and medium of struggle, and is therefore a crucial political issue
(Elden 2004b: 183). More specifically, Lefebvre argues that what is necessaryis an
approach that seeks to understand the dialectical interaction between spatial
arrangements and social organization itself (Shields 1999: 157). Therefore, Lefebvre is
particularly interested in space in terms of the socio-cultural production of space as a
particular kind of space through an intricate web of relationships that [are] continually

22 Also prominent has been the work of de Certeau and his discussion of The Practice of Everyday Life.
While this work is interesting, I am more interesting in pursuing Lefebvres work as, following Crang
(2000), there is a danger that de Certeau falls into the trap of unproblematically valorising tactics (also see
Thrift 1997). For me, Lefebvres focus on the complex interrelational production of space-time does not
risk this so much.

77
produced and reproduced (Schmid 2008: 41). Rather than being an abstract container of
experiences, space becomes a specific historically situated and lived construct. To
uncover the specificity of this production, Lefebvre proposes a threefold dialectic, or
trilectic, of social spatialization. This consists of: 1) representations of space; 2) spatial
practices; and 3) spaces of representation.
Firstly, in outlining his conception of representations of space, Lefebvre refers to
Cartesian and geometric notions of space in which [t]he experience of space is removed,
and replaced withabstract, scientific quantification (Elden 2004b: 187). Here space is
conceived in terms of mapping dots on a grid and so is made calculable and therefore
controllable (Elden 2004b). Representations of space produce an image and define a
space (Schmid 2008). Lefebvre contrasts this with spatial practices or lived space,
something drawn from Heidegger. Here space is experienced not as a geometric grid, but
in a lived, experiential manner (Elden 2004b: 188). Representations of space are
conceptualized spaces (Lefebvre 1991: 38). They are the spaces of knowledge and logic
and the mental space of mathematicians and planners. Spatial practices are real spaces,
space that is generated and used (Elden 2004b: 190). Such spatial practices are the
unreflective material routine of everyday life, a space not responsive to shifts in
conceptions or lived experience (Kruse 2002: 180). For example, we can think of spatial
practices as something as simple as walking down a street on a pavement, following the
directions of the traffic signals, and so on. There is a certain coherence and competence
to this, but we do not think about this or reflect on it.
The third aspect of the trilectic is spaces of representation (see Elden 2004b: 206
[note 106]). This is space as directly lived (Lefebvre 1991: 39). By directly, Lefebvre is
referring to his notion of authenticity. This is what sets spaces of representation apart
from spatial practices. Spaces here are lived authentically in moments of presence
(Shields 1999: 161). While it is now common place to recognize the fundamentally
constructed nature of almost everything following the arguments of much of
contemporary continental thought, Lefebvre was a humanist who held a complete, and
even nave faith in the primacy of authentic experience (Shields 1999: 62). Here space is
produced and modified over time and is invested with symbolism and meaning (Elden
2004b: 190). Therefore, spaces of representation do not refer to the spaces themselves,
but to something beyond this: a divine power, the logos, the state, masculine or
feminine principle, and so on (Schmid 2008: 37). This, for Lefebvre (1991: 39), is the
dominated and hence passively experienced space which the imagination seeks to

78
change and appropriate, it is space rather more felt than thought[it] is the
experiential realm that conceived and ordered space will try to intervene in, rationalize,
and ultimately usurp (Merrifield 2000: 174).
To further clarify the distinction of spaces of representation from spatial
practices, such lived spaces emerge in the un-alienated moments of a total person at one
with their context (Shields 1999). An example that could be used here is of autonomous
spaces that are temporarily appropriated from the dominant/dominated spaces of the
capitalist city. This could range from the scale of the body, for example the reclaiming of
the body from various discursive construction of gender, age, sexuality and so on (see
Longhurst 2000), to regions of cities such as parks that are appropriate for use for
political protest (see Mitchell 1995). Spatial practices are, by contrast, the common-sense
or auto-pilot understandings of the taken for granted and are set within the context of
the rationalized routes and networks that we pass through in our daily lives, but are not
reflected upon. Such practices are alienated and are therefore not truly lived.
In effect, to summarize the role of these three conceptions, Lefebvre tries to tell
us that the system of space is not just spatial practice, in the sense of its social
construction, but equally the representations of it and discourses about it, and it is also
equally its reflexive effects, promoting here, limiting there (Shields 1999: 154).
There is an evident utopianism in Lefebvres writings on space and at the basis
his conception of this spatial trilectic (Shields 1999). While all three of the aspects of his
spatial trilectic operate at the same time at various degrees of balance, and therefore at
various degrees of repression or alienation (they are not separate spaces in themselves
(Schmid 2008)), Lefebvre is clearly striving towards a decrease in such alienation through
the proliferation of moments of presence which will arise in spaces of representation. Or,
as Shields (1999: 183) states, there is a project of escaping from a mystified
consciousness; decreasing alienationso as to promote the possibility of people realising
and empowering themselves as total persons.
However, in this chapter I do not necessarily want to align myself with this
utopianism in Lefebvres conception of the everyday life of cities. I will return to this in
more detail shortly, but for now it should be made clear that I am less interested in the
more grand revolutionary moments, or instants of dramatic change and disruption to
everyday routine[s] which may arise from within the everyday playing out of life in the
city (Elden 2004b: 170), and more with the constant micro-scale little affected
modifications that permeate our everyday practices and routines (Deleuze and Parnet

79
2006). This also comes from a desire to move away from the humanism of Lefebvres
project and to move away from such a focus on unalienated authenticity. Therefore, I
am drawing on Lefebvre here more for the concepts he creates than the politics he
promotes. While some may find it problematic, my engagement with Lefebvre arises
more as a result of shared concerns (with space, temporality, the body, the city, and so
on) than from shared analyses or conclusions (Kipfer, et al. 2008). 23
However, before turning to this in more detail, I want to build on Lefebvres
discussion of the production of space by adding to this his discussion of rhythmanalysis
which may be expected to put the finishing touches to the exposition of the production
of space (Lefebvre 1991: 405). While this may be less familiar to many than his work on
space, recently, Lefebvres works on rhythmanalysis (Lefebvre 2004; Lefebvre and
Regulier 2004a; 2004b) have become increasingly discussed by geographers and other
social scientists (see Edensor and Holloway 2008; Evans and Jones 2008; Latham and
McCormack forthcoming).24 However, much of the engagement with Lefebvres
rhythmanalysis has proceeded at a relatively abstracted level. Whilst many have called for
or suggested the usefulness of rhythmanalysis in examining the city, little work has
appeared in print which engages in detail in actual, specific, everyday practices and
performances in these cities through the lens of the Rhythmanalyst.
Examples of this more abstracted work include Amin and Thrift (2002: 7) who
approach rhythmanalysis with the remit of examining a number of metaphors
highlighting the importance in the organization and vitality of urban life and,
Simonsens (2004) discussion of rhythmanalysis as a possible starting point for an
alternative understanding of the city to those expounding a view of metropolitan life as
one of increasing mobility and speed. Further, Crang (2001: 187) highlights Lefebvres
contribution to the understanding of the intersection of live time, time as represented
and urban space, within the context of his discussion of a stable, yet evental everyday
temporality. Expanding this engagement is worthwhile given that the significance of
these ideas around rhythmanalysis lies in that shifts in time were [for Lefebvre] as
significant as shifts in spatiality (Shields 1999: 95) Lefebvre did not privilege space at
the expense of time, or vice versa (Kipfer, et al. 2008: 9). Rhythmanalysis then may offer

23The line of critique pursued here and the resultant interpretation of rhythmanalysis has already appeared
in my article Chronic Everyday Life (Simpson 2008) where it is uncovered from and illustrated by
different empirical material to that in this chapter.
24 Also, outside of geography, Bordens (2001) work on Skateboarding does undertake a partial

rhythmanalysis although he does not engage Lefebvres theories around the topic in great detail.

80
a way to think about the temporal choreography of a multitude of practices in the
everyday, and the interventions and modifications certain practices make within this.

Rhythmanalysis
Lefebvres ideas on rhythm were not only outlined in his later works on rhythmanalysis
(Lefebvre 2004; Lefebvre and Regulier 2004a; 2004b), but permeate, and have their
origins in, his multi-volume work on the Critique of Everyday Life (Lefebvre 1992;
2002; 2005; and also 1984) and his work on space discussed above (Lefebvre 1991). In
this chapter I will be reading Lefebvres notion of rhythmanalysis within this context as I
feel it sheds an important light on Lefebvres broader Rhythmanalytical Project being a
part of his project of critiquing everyday life. In this Lefebvre uses rhythm as a mode of
analysis a tool of analysis rather than just an object of it (Elden 2004a: xii). Lefebvre is
therefore concerned with the usefulness of using notions of rhythm in the understanding
of the small details of everyday life (Elden 2004b) rhythms occupy space, but also
indicate how space is occupied (Lefebvre 1991) and the critique and resultant
transformation that this understanding can facilitate (returning to the utopianism
previously mentioned).
Lefebvre suggests that everyone thinks they know what the term rhythm means,
but that few actually do. Rhythm is often thought of in terms of speed, movement,
sequence etc.. For Lefebvre this is inadequate and so he attempts a clearer definition.
Provisionally, Lefebvre suggest two presuppositions around rhythm. Firstly, rhythm
presupposes [t]emporal elements that are thoroughly marked, accentuated, hence
contrasting, even opposed like strong and weak time (Lefebvre and Regulier 2004b: 78).
Secondly, it presupposes [a]n overall movement that takes with it all these elements
(Lefebvre and Regulier 2004b: 78). Given this dual aspect, rhythm, for Lefebvre, enters
into a general composition of time and therefore the related issues of repetition and
becoming rhythm is not only a repetition of the same, but also the emergence of
difference within that repetition. In other words there is always something new and
unforeseen that introduces itself into the repetitive: difference (Lefebvre 2004: 6).
Centrally to rhythmanalysis (see Meyer 2008), Lefebvre contrasts two very
different modalities of the repetitive: linear rhythms and cyclical rhythms (Lefebvre
2005: 11). Lefebvre characterizes linear rhythms as monotonous and tiring and cites
them as having come to prominence in the modern era in the daily grind, the routine
(Lefebvre 2004: 30). Cyclical rhythms are cast more favourably and are deemed to have
held sway over human life for a long time. Generally, the linear can be aligned with the

81
social and the cyclical with the natural or lived (in the authentic sense outlined above)
given that Lefebvre notes that the foundation of the cyclical lies in nature [t]he cyclical
originates in the cosmic, in nature while the linear is a modern imposition and comes
from human activity (Lefebvre 2004: 8). The negative connotation of the first and the
positive of the latter is prominent: as he states, linear repetition is exhausting and
tedious, while the return of a cycle has the appearance of an event and an advent
(Lefebvre and Regulier 2004b: 73).
Lefebvre elaborates this adventive character of the cyclical in distinguishing
between nature and the social on the level of creativity. For Lefebvre, nature creates and
does not produce (Lefebvre 1991: 70). Here a creation is taken as something that
simply surges forth, simply appearsnature does not labour (Lefebvre 1991: 70). The
natural is spontaneously emergent, not staged. Conversely, a product is taken as
something that can be reproduced exactly and is the result of repetitive acts and gestures
by an active, calculating producer. Lefebvre positions nature in opposition to anti-
nature which is killing nature through abstraction, by sign, and images, by discourse, as
also by labour and its products (Lefebvre 1991: 71). Here the same can be said for the
relation between linear and cyclical rhythms for there has been a progressive crushing of
rhythms and cycles by linear repetition (Lefebvre 2005: 130; see Lefebvre 2002: 49). For
Lefebvre the mastery of nature through such social abstractions not only seeks to
master it, but tends towards destroying it.
Further elaborating this distinction between the linear and the cyclical, Lefebvre
highlights the common conflation of rhythm with sequential movement, giving rhythm a
mechanical overtone, brushing aside the organic side of rhythmic movementreducing
them to the counting of beats, and therefore excluding the cyclical, natural rhythms
(Lefebvre 2004: 6). We can think of cyclical rhythms as the passing of days, the beating
of a heart, breathing, hunger, going to the toilet, and so on, and the linear as the social
imposition of other rhythms on top of this; the mechanization and timetabling of the
working day, the grasping of time chronometrically, and the resultant disciplining of the
natural functioning of the body (Elden 2004b). The body is central to rhythmanalysis,
both in terms of the question of the body under capital, and in terms of the coexistence
of biological and social rhythms, their point of intersection being the body (Elden
2004a). Lefebvre (2004: 67) argues: [a]t no moment have the analysis of rhythm and the
rhythmanalytical project lost sight of the body it is central to the undertaking of
rhythmanalysis in its functioning as a metronome (Lefebvre 2004).

82
 However, this view of the body does seem to be predominantly concerned with
the societys impact upon the body; as such the body itself, in a sense, appears secondary
to his project. My problem here with Lefebvres discussion of the body therefore lies in
the balance he places between his discussion of embodiment the ways in which the
body is acted upon through, for example, societal framings and the body itself the
material, fleshy, organic stuff of the body itself. For me, Lefebvre leans too much
towards embodiment and resultantly neglects the body itself under his Rhythmanalytical
Project. Therefore, while in this chapter I will be thinking in terms of embodiment and
the ways in which linear rhythms choreograph the body, in the next chapter where I will
discuss my experiences of busking, I will return to this and argue for an understanding of
the body which pays attention to the ways in which such linear and cyclical rhythms are
intercalated with and through a body and are felt therein (see Simonsen 2000).
Linear rhythms are therefore chronic. They are the rhythms of the ticking clock,
the laying out and measuring of the time of work (and therefore leisure), and produce the
almost ever-the-same at equal intervals. The cyclical relate to the cosmic, the vital and the
biological, a returning or beginning again (Lefebvre and Regulier 2004a). It is important
to emphasize these two conceptions do not stand apart: [t]he bundle of natural rhythms
wraps itself in rhythms of mental and social function (Lefebvre 2004: 8), with vital
rhythms pre-exist[ing] organized social labour (Lefebvre 2005: 129). The linear and the
cyclical exist in a dialectical relation (unity in opposition) (Lefebvre 2004: 8), their
multiplicity interpenetrating one another (Lefebvre 1991: 205). They can be measured
both quantitatively in terms of frequency, intensity and energy expended, but also in
terms of their qualitative interaction (Lefebvre 2005). There is however never a complete
dominance of the linear over the cyclical the rhetoric of Lefebvres nature/anti-nature
distinction has already softened a little; the complete control, and resultant destruction,
of nature has not been attained and this is where, in a sense, Lefebvre builds on
Foucault (1979). The rhythms of the body have not been totally suppressed by the
rhythms of the timetable, although they are broken into pieces and scattered (Lefebvre
2002: 48).
Out of this interrelation of the linear and the cyclical, a hybrid polyrhythmia is
produced, an ecological multiplicity of interrelated rhythms functioning independently of
one another, but influencing each other. If these rhythms are in harmonious (or as
Lefebvre notes normed) relation, for example the various rhythms of the body (of the
heart, of breathing etc), this produces a eurhythmia (a working ecology), but if these

83
rhythms are out of sync often as a result of their being broken and scattered a fatal
arrhythmia is produced.

So, what does rhythmanalysis add in thinking through the everyday life of the city and to
the ideas of the production of space already outlined? Perhaps most evidently it
highlights the organizational and choreographic rhythmizings taking place which expand
on Lefebvres understanding of representations of spaces as outlined above. In the
context of the street and street performance, these include the relations between
performance timetables, holidays, shop opening times, etc. and the bodies of performers
and audience members. It also highlights how our spatial practices are permeated by a
multitude of complex assemblages of rhythms which, in their polyrhythmia, are variably
eurhythmic and arrhythmic. However, as with Lefebvres discussion of space, there is a
danger that too much attention falls on the alienating aspects of a number of the social-
linear rhythms present, and that we start to lose sight of the productive, affective forces
at play (see McCormack 2005).

A Different Project
Whilst I feel Lefebvres rhythmanalysis provides an interesting starting point for the
examination of the complex temporalities of street performance and practices in public
space more generally, I am left with a lingering concern. Is Lefebvre idyllic in his
conception of the linear and the cyclical? Is there an underlying nostalgia in his
distinction between favourable natural rhythms and the mechanistic linear? Is Lefebvre
yearning for a return to nature? (Mels 2004). This is explicitly tied to the discussion of
Lefebvres humanism and utopianism in his work on space outlined previously. There is
a strong suggestion of a striving towards an un-alienated foundation or presence
(Shields 1999) in both Lefebvres writings around rhythm and space.
In this chapter I want to argue that there are more complex relations between the
linear and the cyclical than the interference Lefebvre admits (Lefebvre 2004: 15), and,
in doing so, move away from this humanist utopianism. Lefebvre instils a generalized,
negative qualitative value in the linear. At all times the linear is presented as being
monotonous, boring, restrictive, controlling, commanding, regulating etc.. Further,
although Highmore (2005) suggests rhythmanalysis is not aligned to any particular
political project, I think that it clearly is. My impression is that it is strongly influenced by
Lefebvres notion of radical critique, particularly as characterized in his 2nd critique of
everyday life one of the first instances where Lefebvre clearly articulated

84
rhythmanalysis and the general ends of his broader examination of everyday life which
constitute a particular Rhythmanalytical Project. For Lefebvre, [i]t is a question of stating
critically how people live or how badly they live, or how they do not live at all and that
this [c]ritique implies possibilities (Lefebvre 2002: 18). Radical critique is after all
aimed at attaining the radical metamorphosis of everyday life (Lefebvre 2002: 23; see
Debord 2005).
As a Rhythmanalytical Project:
Critique of everyday life studies the persistence of rhythmic timescales
within the linear time of modern industrial society. It studies the interactions
between cyclic time (natural, and in a sense, irrational, and still concrete) and
linear time (acquired, rational, and in a sense abstract and antinatural). It
examines the defects and disquiet this as yet unknown and poorly
understood interaction produces. Finally, it considers what metamorphoses
are possible in the everyday as a result of this interaction
(Lefebvre 2002: 49).

It is possible that Lefebvre here is falling into the trap of maintaining, what Foucault
(2002b; 2003) called, a juridical conception of the linear one in which power is
repressive, it is conceived of in terms of law, prohibition and sovereignty (Davidson
2003: xxi). This identifies power with a law that says no power is taken, above all, as
carrying the force of a prohibition[when in fact]It needs to be considered as a
productive networkit induces pleasure, forms knowledge, produces discourse
(Foucault 2002b: 120).25
Lefebvre then seems to broadly ally his linear rhythms with a juridical power or
a power from above (Shields 1999: 156). He does however leave room for creative
potential to emerge in the cyclical, but given that the linear is viewed in such negative,
restrictive terms as only producing a negative, repressed form of conduct as a result I
would argue Lefebvre is looking for a very narrowly defined notion of potential and that
there is a kind of potential in the linear that doesnt necessarily lie in the disquieting or

25Although the relationship between Lefebvre and Foucault remains to be properly understood (see Elden
2001), Soja (1996) does provide some background on their encounters with each other. Soja (1996: 146)
notes that although little has been written on their relationship, they were clearly aware of each others
work. Lefebvre critiqued Foucaults ambiguous politics and his failure to bridge the gap between theory
and practice. In general, this critique can be related to what Lefebvre saw as Foucaults distance from the
Marxist critique of capitalism. Lefebvre held to a Marxist critique of the state and criticized Foucault for
ignoring the state in his work on confinement (Elden 2004b) and the lack of agency in his micro-scale
account of power. It could be argued then that in Lefebvres more centralized conception of power and its
emphasis on a Marxian critique of the state, Lefebvres conception of power is too concerned with the
revolutionary as suggested above, and therefore risks the critique levied here of its juridical nature.

85
defective. 26 As Foucault (2002b: 120 [my emphasis]) states, [w]hat makes power hold
good, what makes it accepted, is simply the fact that is doesnt only weigh on us as a force
that says no. Precisely in the re-habitualization of street performance through a
discursive linearization, its being reorganized or remade to fit with the everyday life of
the city, the linear cannot be juridical or seen as solely negative; it cannot only be thought
as a production of repression. It has to also be beneficially productive in some sense and
not just prohibitive, or else it wouldnt quietly slip back into the habitual, the everyday; the
ecology wouldnt keep on working.
The problem here therefore lies in the qualifications given to the linear and the
cyclical by Lefebvre (monotonous, tiring and vital, adventive respectively). This manifests
itself as overly reductive. It shuts down the excessive nature of these rhythms and
therefore their analysis. In short, it has deadening effect (Thrift and Dewsbury 2000).
Rather, I would argue we should diagram the affective relations between and within the
linear and the cyclical in such ecologies, not just their interference. Much of the above
could also be said of the representations of spaces discussed previously if we start to
think about what these representations do slightly differently. Drawing on the work of
Deleuze, I would argue that we need to start thinking of such representations of spaces,
their temporal linearizations included, as diagrams. I feel such a diagrammatic perspective
is a useful addition here as it acknowledges that different rhythms or spacing dont just
compete or interfere, but that they constitute affective ecologies that are as much about
affecting as being affected (McCormack 2005). Breaking down such ecologies into their
distinct rhythms and spacings then offers a way to grapple with the ways in which affects
are potentially engineered.
Deleuze (2005: 71) suggests that the diagram is the operative set of asignifying
and nonrepresentative lines and zones and that the operation of the diagram, its
functionis to be suggestive. There is a germ of order in the diagram, but something
also must emerge from it it acts as a relay (Deleuze 2005: 72 & 96). The diagram is
not a invisible determinant or hidden blueprint (McCormack 2005: 124). Rather, it is
a real organisation of forces through [which] it gives the relations between these forces a
kind of spatiotemporal consistency (McCormack 2005: 124).
The example of the diagram is Foucaults (1979) discussion of the panopticon.
The panopticon is not the expression of an ideological structure but rather a diagram that

We can perhaps forgive Lefebvre a little here given that, as he acknowledges, rhythms are easier to spot
26

when they are in conflict (Lefebvre and Regulier 2004b).

86
by distributing in space, laying out and serializing in time, composing in space-time, and
so on organizes forces in a way that imposes a particular conduct on a particular
human multiplicity (Deleuze 2006b: 29). However, no one diagram dominates in a
society given that there are as many diagrams as there are social fields and every
diagram is intersocial and constantly evolving (Deleuze 2006b: 30). Something
significant which sets such an understanding of the diagram apart from Lefebvres
conception of representations of space then is that it would be wrong to think that the
diagram functions solely as a repressive, alienating, or containing device. Instead, as
Deleuze argues, the diagram is profoundly unstable or fluid, never ceasing to churn up
matter and functions in a way likely to create change (Deleuze cited in McCormack
2005: 124). As Deleuze (2006b: 37) states, there is no diagram that does not also
include, beside the points which it connects up, certain relatively free or unbound points,
points of creativity, change and resistance, and it is perhaps with these that we ought to
begin in order to understand the whole picture.
Our units of understanding in thinking diagrammatically should then be the
affects, in terms of degrees of speed and slowness, motion and rest, not their already-
qualified interaction (Hurley 1988)(see Chapter 5). One of the central aspects of thinking
in terms of affect is that affective relations are not causal or determined in advance.
There is an openness to such relations. We should be concerned with the affects within
polyrhythmic ecologies and their unqualified intensity rather than the qualified
intensity which Lefebvre imposed (Massumi 2002: 28; McCormack 2003). This presents
the linear and representations of spaces diagrammatically as field[s] of potential, not
just as restrictions (Dewsbury, et al. 2002: 439). This should not however be mistaken for
appearing as an apology for the legislation covering street performance here, simply that
we have many constituent relations, so that one and the same object can agree with us
in one respect and disagree with us in another (Deleuze 1988: 33).
With this in mind, in the next section I am going to start by setting the
performance scene in Bath and expand upon the legislative context for street performers
and buskers. This will articulate prominent aspects of the diagrammatic context for the
following discussion of the impact street performers and buskers do (or dont) make in
the everyday life of the city. This will in turn be complicated in this discussion through
the highlighting of various other routines that run through and given organization to the
everyday life of Bath.

87
 V. Street Performance and the Space-Times of the Everyday

Bath and its Performance Spaces

The City of Bath, situated approximately 13 miles south-east of Bristol, became a World
Heritage Site in 1987 and is an international cultural and heritage tourist destination
which hosts around 1 million staying visitors and 3.8 million day visitors on an annual
basis.27 Many of these visitors come as a result its various theatres, art galleries, and
museums (including the Roman Baths), the historic Bath Abbey, and recently re-opened
Thermae Bath Spa, but also as a result of Baths 400 plus shops and around 100
restaurants.
Another less prominent attraction in Bath are the buskers and street performers
spread throughout the centre of the city and who, in Bath and North East Somerset
Councils own words, are part of the Bath experience, creating an enhanced
atmosphere and providing pleasure to many people, both local residents and visitors28
and enhance the vitality of the City (Bath and North East Somerset Council 2000b).
There are a number of different performance spaces in Bath, each with different
layout and patterns of use. These can roughly be divided into two. Firstly, there are the
spaces around the Abbey and outside the Roman Baths and the Pump Rooms (Map 4.1).
Secondly, there are a number of shopping streets which most prominently include Stall
Street, Union Street, Burton Street and Milson Street (Map 4.2).
Map 4.1 shows the three main pitches situated around the Abbey, Roman Baths
and Pump Rooms. Pitch A is generally a non-musical pitch, while Pitches B and C are
used primarily by buskers. While there is no official marking of these pitches (there are
no markers embedded into the street etc.), it has become standard practice among the
performers to operate in this way. Out of the two later pitches, pitch B, which is directly
outside the entrance to the Roman Baths, tends to be more regularly performed. Pitch C,
a square enclosed by benches on all sides and lying between the side of the Abbey and
Baths, and also the Tourist Information Centre and an Ice Cream shop, acts to some
extend as an overflow pitch from pitch B. From conversation with one regular busker,
this comes primarily down to the more constant flow of people at pitch B and also that
pitch C is quite large and therefore sometimes difficult to fill for unamplified acts.

27 http://www.business-matters.biz/site.aspx?i=pg64
28 http://www.bathnes.gov.uk/BathNES/business/LicencesStreetTrading/busking.htm

88
Map 4.1: Abbey Pitches

Original map copyright Google Maps, with authors own annotations

Much of the flow through pitches A and B comes from people entering the
Roman Baths, but also as there is a tour bus stop to the North of the Abbey and also
people entering the area from the busy shopping streets, both to enter the Baths and
look at the faade of the Abbey. While there is also a flow of people and tour groups past
pitch C, particularly either heading toward or coming from the top left of the pitch by
pitch B, this is not generally as constant and such flows tend to keep moving.
Map 4.2 shows the area of the main shopping street which are regularly used for
performances. Of these, most regularly performed are the north end of Stall Street
(visible at the bottom of the map) and various points on Union Street. While there are
general patterns of location, buskers tend to perform in a variety of locations depending
on where other buskers have set up and on the location of various other stalls, street
vendors, and so on. Also regularly performed, and with more obvious regularly
performed spots, are Burton Street (where buskers tend to set up at either end) and
Milson Street (where street performers sometimes perform at its lower end where there
is a large pavement area before the street turns into New Bond Street). These streets tend
to have very high flows of people, both shopping, and also travelling between prominent
tourist attractions many move from the Abbey and Roman Baths off Stall Street, up
Union Street and Milsom Street, toward The Circus, The Cresent, the Jane Austin
Museum, and so on.

89
 As I will return to later,
these flows of pedestrians and Map 4.2: Street Pitches

tourists present a variety of linear

rhythms which enter into relation
with the rhythms of the
performances, which in turn are
affected by the linear rhythms of
the buskers code which I will
outline now.

The Control of Street

Performers in Bath
All of the areas just discussed are
covered by a voluntary code of
conduct which performers are
expected to adhere to and which
was developed in consultation
with performers (Box 4.1). This
approach of having a code of
Map copyright Google Maps
conduct for street performance
and busking is becoming increasingly common among cities and towns in the UK as a
middle ground between no provisions and the need to gain formal permission or a
license. As it currently stands, Cheltenham, Glasgow, Gloucester, Kingston Upon
Thames, Peterborough, Salisbury, Sheffield, Solihull, and Winchester all operate codes
relating to busking.29 The code in Bath has been in place since at least 1996, but possibly
since the late 1980s (Interview with Bath Environment Protection Team; Bath and North
East Somerset Council (2006a))30 and was implemented to gain an element of control
over the performers and to engender a measure of collective responsibility (Bath and
North East Somerset Council 2000b).

http://musicalbusker.co.uk/licences/
29
30It is not possible to give a more precise date for this as those interviewed during the research started
working in Bath after this was agreed and no specific record of its inception could be found.

90
 Box 4.1. Baths Code of Conduct
1) Noise (for example music and voice) should not be so loud that it can plainly
be heard at a distance of 50 metres. Busking must not be intrusive or a nuisance
to nearby premises.
2) Amplification equipment is not permitted.
3) An entertainer should not perform for longer than 1 hour in any location and
should not perform again in that location (or within 50 metres of it) for 2
hours. Note: particularly noisy entertainers (e.g. bagpipers or drummers)
should not perform for longer than 30 minutes.
4) Entertainers shall not obstruct the highway. Entertainers are also responsible
for ensuring that the highway is not obstructed by people gathering to listen or
to watch the performance. The highway includes any pedestrianised areas.
5) An entertainer should not locate within 50 metres of another entertainer who is
also performing.
6) Entertainment is only permitted between the hours of 10:00hrs and 20:00hrs.

From:
http://www.bathnes.gov.uk/BathNES/business/LicencesStreetTrading/busking.ht
m

In addition to this code:

Under the Environmental Protection Act 1990 noise in the street from
musical instruments may be a statutory nuisance and the Local Authority is
able to take legal action to abate the nuisance and prohibit or restrict its
recurrence; this may include the seizure of musical instruments and
amplification equipment.31

The code then presents a particular diagrammatic representation of the street

space for performers. There is a geometric mapping of performances onto the space.
While these are not fixed points and the council does not insist on individual pitches
(Bath and North East Somerset Council 2000b), they are fixed relative to each other:
performances are to be spaced at a certain distance (50 meters) and are to move to
another relative point 50m from their original location after a set time. This movement is
also dictated by a linear rhythmizing performances are to last no longer than an hour,
or even 30 minutes, before they make this move to another space. In addition, this linear
rhythmizing extends to a control on what time in the circadian rhythm of the day
performers are allowed to use only between 10am and 8pm. Finally, in controlling the
volume of the performance (both generally and through the restriction of particular
technologies), this dictates a certain sonic spatial representation: the sound of the
performance is mapped in a geometric manner to restrict it to a certain space.

31 http://www.bathnes.gov.uk/BathNES/business/LicencesStreetTrading/busking.htm

91
4.3. Communicating the busking code to new buskers

However, as suggested previously, while this timetable is a linear imposition, this

does not mean it is of necessity a negative imposition. Many of the buskers I
encountered throughout my time in Bath stated that it makes it fair as buskers get equal
access to the most popular performance spaces. While it is generally meant to occur
through a meeting at 10am where buskers draw for times, from my observation and
experiences of performing, it was generally worked out less formally (I return to this in
the next chapter). Further, the spatial organization of performances at 50m intervals
avoids performances interfering with each other. These positive affects are often relayed
in the way it is presented by buskers to other buskers as making things fair. This is

92
significant as it is the main actual means of its distribution (otherwise the code only
appears online)(see 4.3). While having buskers move on every hour is intended on behalf
of the Council to avoid businesses and residents getting annoyed by buskers playing for
hours on end in the same space, there is a positive affect for the buskers in this also. It
should also be noted that there are times when the linear rhythms of the timetable can be
problematic for performances, and I will return to these in the next chapter in relation to
reflecting on my own experiences of busking in Bath.
In addition to this code, there have also been a range of attempts in recent years
to change the way in which busking is controlled in Bath. Firstly, between 1999 and 2003
there were attempts by the Council to develop and implement a busking byelaw as a
result of a series of complaints from local residents and retailers (Bath and North East
Somerset Council 1999). The new byelaw was to replace an outdated byelaw from 1904
which related to busking but the language of which was deemed archaic, and, due to a
low level of fine (a maximum of only 5), thought unlikely to prove a deterrent to
offenders (Bath and North East Somerset Council 2000a) (see Box 4.2).

Box 4.2. 1904 Byelaw

No person shall sound or play upon any musical or noisy instrument, or

sing in any street or public space within 100 yards of any dwelling-house
or office to the annoyance of any inmate thereof, after being requested to
desist by such inmate, either personally or through his servant, or
through a constable; provided that this Bye-law shall not apply to
properly conducted religious services, except when the request to desist is
made on the grounds of the serious illness of any inmate of the house
(From Bath and North East Somerset Council 2000a).

Further problems perceived with this byelaw were that it did not mention
amplification. Under the statutory authority of the Environmental Protection Act 1990
the Council could undertake action against nuisance caused by musical instruments and
amplification, but not unamplified singing. Where such a nuisance caused by such
equipment had been identified, the Council was to serve an abatement notice on the
responsible person responsible and if the person failed to comply with this notice
without reasonable excuse, then the person was liable upon conviction to a fine up to a
maximum of 5000.
There was one very public occasion on which such an abatement notice was
issued due to complaints about a buskers use of amplification. This initially occurred in
1998 when a busker, Grod Gloddler (stage name), was banned from using amplification

93
following complaints by local residents and workers who argued his amplified voice and
guitar interfered with their ability to conduct their business.32 While this busker appealed
against the ban, presented petitions suggesting he was supported by the public, local
businesses, and other buskers, it was upheld.33 It was also suggested at the time that this
case being used as an example to other buskers in that this firm action may make
performers think more seriously about noise levels and amplifiers.34
Following this initial ban, over 1999 and 2000 a number of articles and letters
exchanged between Grod and those complaining appeared in the pages of the local
newspaper The Bath Chronicle.35 These variously circulated around how the issue was
not about the use of amplification, but noise levels, and how some buskers were being
allowed to use amps (either for backing tracks or to amplify instruments) while he, Grod,
was being unfairly singled out. Other issues, not necessarily directly related to Grods ban
on using an amp, such as the timing, variety, and quality of performances, were also
debated. By the end of the busking season of 2000, the issue was not resolved, but Grod
revised his act to perform unamplified (but louder than he in fact had with his amp
previously).
The new byelaw was desired so that Council Officers can deal more effectively
with noise in the streets and other public places (Bath and North East Somerset Council
2000a) it would provide a more joined-up system and was to be accompanied by a
500 fine if breeched (Box 4.3).
While this new byelaw would not directly change the code of conduct in Bath, it
was stated at the time that the code would be reviewed if the byelaw was agreed.36 This
suggests a worrying pattern in terms of the regulation of Baths public spaces. Firstly, it
could have set in motion a trend towards a generally stricter control of busking and street
performing. Further, in increasing the fine, it would put buskers in a more vulnerable
position, both those amplified and not. As one busker stated at the time: [i]t would

32 Happy Graham is left out in the cold, The Bath Chronicle, 11/12/1998.
33 The bare facts about busking, The Bath Chronicle, 14/06/1999 and Busker wins backing, The Bath
Chronicle, 26/08/1999.
34 Happy Graham is left out in the cold, The Bath Chronicle, 11/12/1998.
35 See The bare facts about busking, The Bath Chronicle, 14/06/1999, Buskers are just too loud, The

Bath Chronicle, 28/06/1999, Victory for quiet life, The Bath Chronicle, 07/09/1999, Support grows for
busking, The Bath Chronicle, 06/10/1999, Busking is not the issue, The Bath Chronicle, 14/10/1999,
Noise volume is problem, not amplifiers, The Bath Chronicle, 03/11/1999, Lift the ban on Grod
Groddler, The Bath Chronicle, 08/07/2000, Back busking and louder still, The Bath Chronicle, -
6/07/2000, Banned busker broke the code, The Bath Chronicle, 15/07/2000. The issue also appeared in
local new broadcasts. See http://www.youtube.com/watch?v=C865mnHIRtQ and
http://www.youtube.com/watch?v=KdxkUh3UQVY where Groddler has posted the clips.
36 Crackdown on noise, The Bath Chronicle, 24/07/2000.

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allow anyone to stop a busker, otherwise they [would] be arrested and fined a flat 500.
Could you perform with that hanging over your head?none of us [buskers] want it and
[it] poses a real threat to our livelihoods37 The emphasis on the person complaining
rather than the on rights of the person performing is then problematic. The byelaw states
that following any person complaining the performer would have to stop and therefore
makes no reference to the reasonable nature of this complaint and so leaves no rights for
the performer to perform in those public spaces.

Box 4.3. Model Byelaw 2000

No person in a street or other public place shall, after being

requested to desist by a constable, or by any other person annoyed or
disturbed, or by any person acting on his behalf:
(a) by shouting or singing;
(b) by playing on a musical instrument; or
(c) by operating or permitting to be operated any radio, gramophone,
amplifier, tape recorder or similar instrument;

cause or permit to be made any noise which is so loud or so

continuous or repeated to give reasonable cause for annoyance to
other persons in the neighbourbood

This byelaw shall not apply to properly conducted religious services

or to any person holding or taking part in any entertainment held
with the consent of the Council
(From Bath and North East Somerset Council 2000a).

The implementation of this byelaw was delayed due to need to revoke further
byelaws to the 1904 byelaw quoted above (Bath and North East Somerset Council 2001).
Further, revisions were made to the phrasing of the byelaw that turned out to be
problematic.38 Subsequently, the byelaw was not pursued further (Interview with Bath
Environment Protection Team).
Further to this attempt to change the way busking and street performance are
regulated in Bath, changes were suggest in 2006 to provide additional controls to deal
with the minority that cause a nuisance to the public (Bath and North East Somerset
Council 2006a). It was hoped that such changes would allow for the introduction of
quality standards to be achieved before permission to perform would be granted (Bath
and North East Somerset Council 2006a). However, the Council also stated at the time

http://www.geosites.com/leavealone7858/truthout.htm?20082
37
38The reference to properly conducted religious services was removed (Bath and North East Somerset
Council 2003), but this caused concern in relation the Human Rights Act 1998.

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that there had in fact been a success in achieving self regulation amongst the majority of
buskers through the code of conduct and that there had been no significant change in
the level or nature of complaints in recent years (Bath and North East Somerset
Council 2006a).
Interestingly, in their 2006 report on the subject, the Council note that while they
held no direct powers for dealing with non-musical performers, few complaints were
received. Where complaints were made, this often related to issues of decency or taste
and were therefore related to the Police (Bath and North East Somerset Council 2006a).

4.4. Skate Naked outside the Pump Rooms

From: http://www.skatenaked.co.uk/

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 One act that has been prominent in these complaints relating to decency, and
who have performed in Bath since the early 1990s and were present in the debates
discussed above, are the comedy acrobat duo Skate Naked (4.4). As central aspect of
Skate Nakeds act involves the duo stripping to wear nothing but thongs and includes
them, amongst other things, blowing fire balls into the air (the rational for them not
wearing clothes is that they could catch on fire), and doing a one handed handstands on
raised platforms while holding lit sparklers between their bum cheeks (again necessitating
the lack of clothing). The issue of decency really comes to a head in that this act is
generally performed outside the Pump Rooms where people pay a premium to eat and
drink there and where clients glance through the window and see two virtually naked
men mocking them.39 During the debates around 1999-2003, there were suggestions
that a flower stall be licensed on this pitch to stop such acts performing there, but,
following protests by performers, this did not end up happening.40 Therefore, such acts
still continue there.41
Returning to the specifics of the 2006 discussions, five general options were
suggested in relation to this desire for increased control of both buskers and street
performers. Firstly, one option was to not make any changes, with the Environmental
Protection Team continuing to deal with complaints which was cost effective and
generally work[ed] well the number of complaints received year on year was relatively
constant and of a similar nature. Secondly, it was suggested a permit scheme be
implemented on the Council land used by performers (pitch C from Map 4.1). However,
there were concerns that this would simply move the issue to other areas. Thirdly, it was
suggested that a permit scheme be implemented for busking on the highway, but this was
not possible due to the lack of legal powers to permit or refuse buskers to use a public
highway without a local byelaw (such as that previously discussed). The fourth option
suggested was to implement a premises license under the Licensing Act 2003 which
would allow the local authority to license the provision of regulated entertainment in
public spaces. Finally, it was suggested that an agreement could be reached with Skate

39 The bare facts about busking, The Bath Chronicle 14/07/1999.

40 Skate Naked have also been contentious in the past, but there act has been deemed legal by Halifax
police following complaints made about them at a busker festival (Daily Mail news clippings from
http://www.skatenaked.co.uk/).
41 For recent clips of parts of their 45 minute act see: http://www.youtube.com/watch?v=Z-unlpkjsm0

(where they can be seen potentially annoying people in the Pump Rooms by cooling a burnt bum on the
glass of one of its doors and joking they must think were a bit of a pain in the arse in there, or lets have it
right, actually, were an arse in their pain!) and http://www.youtube.com/watch?v=1ZDpaby297g (where
they insert sparklers between their bum cheeks and joke: Welcome to Bath, a national heritage site, or in
our case, a national hemeroid site).

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Naked around their act if it was them who were the main problem (Bath and North East
Somerset Council 2006a).
In relation to the fourth option one of the advantages suggested was that it
would allow the identification of specific areas to be set aside for busking that would not
be likely to cause offence it would allow performances to me mapped in more detail
and also that it would allow the licensing authority to control busking activities in terms
of quality. Therefore, this option was suggested to be investigated further (Bath and
North East Somerset Council 2006b), but was not implemented due to a range of issues
relating to the funding and management of its operation.
We can see in this attempted move towards a stricter control of performances
that not only would the performances be more spatially ordered and so easier to manage,
but that it would enforce quality controls. This would in effect privatize the public spaces
of the City in that performers would have to audition and receive permission to access
and use them as they desired. There are dangers that this could homogenize the type of
performances present in Bath (something that has happened in, for example, Covent
Garden with their licensed musical performers). As one busker stated: I am slightly wary
about auditions as we dont want every busker in Bath just playing Vivaldi. Im sorry but
Bath is very conservative. It is the variety I believe that makes Bath busking fairly
special.42 This would therefore also exclude more itinerant performers or performers
who would decide to occasionally perform as they could not just turn up, find out from
other performers how things worked, and then play (as currently happens).43
Problematic also is that this would tie performers to a particular pitch, and
locality in general, removing a central aspect of street performing the centrality of
spontaneity and surprise in encountering performers not seen before or not expected
in that space (Harrison-Pepper 1990: 9). It could however be argued that there could be
positive affects of such fixing in that people may become regular patrons of specific
performers they like and therefore would know where to find them, encounter them on
there regular route through town, and so on (Tanenbaum 1995: 63). There is a danger
though that everything would have to become more planned and potentially sterile in a
move to a more regulated everyday life of the city.

42http://www.bathbuskers.co.uk/opinions.php
43Conversely though, it has been argued that much of the problems come from itinerant performers rather
than those regular to Bath in that they either dont know about the codes statements around noise, timing,
and so on, or just dont bother following the code (Crackdown on noise, The Bath Chronicle,
24/07/2000). It is not possible to ascertain though if this was really the case, or if it was an attempt to shift
the blame off of Baths regular buskers who could be most affected by any changes.

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 Finally, there have been suggestions recently that the management of busking and
street performers be revised following the appointment of a City Centre Manager in Bath
under the public-private partnership Future Bath Plus.44 While no formal plans are
currently in place, from speaking to Baths City Centre Manager, there are concerns
about the current operation of the code of conduct in Bath in that it is seen to be not
generally adhered to buskers play for longer than the 1 hour slots stipulated and
amplification is often used. Potential plans to alleviate this include trying to update the
code so that buskers agree with it and therefore follow it a strong emphasis is placed
on working with buskers and street performers towards this but also raise the standards
of buskers. Part of this would be to find ways to discourage buskers who havent really
got anything to contribute and are basically verging on begging as this doesnt do well
for a heritage city (Interview with Andrew Cooper) (Here we can see that there is a
particular buzz desired in Bath given its status as a Heritage city and therefore a need to
engineer aspects of the everyday life of the city to fit with this (Thrift 2004).) Also, given
that there is some level of inconsistency in the allowance of the use of amplification,
there would need to be a more consistent approach, which might include the need to
licence the use of amplification, and potentially the setting out specific busking pitches
(Interview with Andrew Cooper).
Given that the current code is slanted primarily towards buskers, very little is
stipulated in relation to non-musical street performers. Therefore, there are also plans to
re-develop the code to include stipulations explicitly relating to non-musical street
performers. This again might relate to decency, which, as mentioned above, is one of the
key issues in relation to non-musical performers.45 There are also issues in terms of
health and safety relating to the audiences of such acts blocking the highway and
entrances to shops and other businesses which would need to be addressed (Interview
with Andrew Cooper).
Some of these suggested avenues of change are again concerning, particularly in
relation to quality control through auditions and the fixing of performances to specific
spaces as discussed above. It would appear that there is a desire for an ordered urban
space, even if not one that is entirely quiet and empty, rather than a view which

44Future lays out vision of city, The Bath Chronicle, 11/09/2008.

45 When interviewed, Andrew Cooper was in fact dealing with another complaint about Skate Naked,
having received a letter that stated: Ive just had my breakfast in the Pump Rooms only to have a great
view of some bare-arsed buffoons who presumably you have licensed [which we (the Council/Future Bath
Plus) havent]. This is inappropriate and not acceptable, so I suggest you ask them to wear trousers or go
away.

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emphasizes that these spaces are more exciting, and, even, safer when public spaces are
filled with people engaging in diverse activities (Tanenbaum 1995: 25). That said, at the
time of writing, there are not yet any formal plans to implement such changes to the
current system of control through the code of conduct.
On one point at least though, it would appear that some changes are needed.
Clarification over the use of amplification and the enforcement of this ban would appear
necessary. This in not to say that licensing or something similar should have to be gain to
allow its use, but rather that, from conversations with a number of buskers in Bath (and
from the comments in the case of Grod Groddler discussed above), it is felt there is too
much inconsistency with the enforcement of the code on this issue; some performers
regularly use amplification without any complaints being made while others are instantly
stopped from using it if they try even though they are not necessarily louder that other
acts.46 As one performer stated: Really it should be noise level (decibels) rather than
amplification [that is at issue]. My acoustic guitar is simply not heard [unamplified].47
This is echoed by a resident who stated that: Most of your captive audience [those who
live and work next to busking areas] will turn a blind eye to the use of amplification if it
is quite obviously used to give a bit of reinforcement to a delicate and nuanced delivery
which would otherwise be inaudible (Mr Classical Guitarist, take a bow). Anything else is
OTT.48 It is therefore questionable if the code needs to ban amplification, but rather
state simply that the Council will have rights to stop buskers if complaints are made
under statutory nuisance regulations and to clarify what volume/distance of being
audible is a nuisance.
Having outlined this layered legislative and everyday context for street
performers and buskers in Bath (of contemporary provisions through codes, statutory
nuisance legislation, and so on, the patterns of everyday usage of the spaces, and through
the still relevant recent previous attempts to control performances differently given the
continuity of the nature of recent complaints), and suggested some issues in its
operation, I will now turn to some of the ways in which this plays out and how space is
produced in Bath through the interrelation of these representations of space with the
spatial practices of performers and their audience, and the spaces of representation, or

46 This is especially the case with a number of full bands (including up to five members) who occasionally
set up on Union Street (both in the past and presently) and play fully amplified, with drums, and at a far
louder volume than single amplified buskers. I have in fact on a number of occasions seen various Police
Officers and Community Support Officers watch and smile at such bands.
47 http://www.bathbuskers.co.uk/opinions.php
48 http://www.bathbuskers.co.uk/opinions.php

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rather spaces of affected modification, that emerge within these interrelations. I will
focus specifically on the spatio-temporal interventions these performances make and the
socialities that emerge as a result of them. This will be divided around two themes: 1)
intervening in the everyday; and 2) not intervening in the everyday.

Intervening in the Everyday

Street performers do something to the everyday life of the city (Harrison-Pepper 1990).
They affect how the spaces and people feel, how the spaces are used, what relations
occur there, and inject some liminality into the everyday routines of these spaces and
open them up to change (Schechner 2002). For example, in the event outlined at the start
of this paper, the space was used differently, the usual order was suspended and people
were made to laugh or looked on in awe. People took time out of their everyday activities
to see what was going on. In this section I will therefore outline some of the ways in
which these interventions play out in the performance spaces of Bath.
One way in which this liminality emerges is as a result of the reduction in
distance between performer and audience that comes from performing in the street
(Mason 1992). This is both in the architectural organization of the space there is no
obvious stage, and so on but also in that there is a forced proximity in the often
crowded nature of the spaces street performers and buskers perform in (Tanenbaum
1995). While I will return to this in the next chapter in relation to the affects of this for
the performer in discussing my own experience of performing, here I want to highlight
the significance of the reduction in distance to the everyday life of the city. This
reduction in distance provides the potential for greater interaction between performer
and audience and this possibility of interaction has meant that improvising skills and the
personality of the performer become more important (Mason 1992: 11). There then has
to be a greater fluidity in the performers performance script: [h]elicopters, barking
dogs, traffic, babies, hecklers all become the stuff of outdoor performance, and the
better a performer can transform these potential disruptions into entertaining
diversionsthe more successful he [sic] will be (Harrison-Pepper 1990: 114).
While such fluidity and integration of distractions into the performance (such as
with the performers interaction with the pigeons in the opening event) might more
obviously be significant to street performers who more directly communicate to their
audience (which I will discuss shortly), this can also be the case with buskers. An
example of this can be seen in 4.5. Here, two buskers were playing on Stall Street by
some pillars (at the bottom of Map 4.2). At the time the photo was taken though, they

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had deviated from what their act usually consisted of given that a member of a school
tour (black t-shirt and blue backpack behind the busker playing a guitar) had decided to
join them and was juggling in time to their music. Rather than stop their song at its usual
point, the buskers continued on playing the song instrumentally the singer improvising
around the songs melody on a melodica. This created new spatial possibilities
(Harrison-Pepper 1990: 125).

4.5. Reduction of distance

Initially, the other members of the school group had gathered round and were
clapping in time to the music and cheering (those with matching blue backpacks in the
image). This in turn drew a lot of attention to the performance and so a large group of
other people not associated with the group also gathered and stopped to see what was
happening. Quite quickly a large semi-circular audience formed, stretching half the width
of the street. After around 5 minutes of playing together the juggler stopped, as did the
buskers. The school tour cheered and applauded and moved on, some donating, and
many of the others who had stopped donated to the buskers and went back to what they
were doing.
This was quite an unusual event. Generally, at least in Bath, few buskers generate
such substantial stationary audiences on the shopping streets (Eyers 2009). Here, a
fortunate and unplanned interaction with a passerby, and an openness to engage such a
chance encounter, benefited the buskers. In doing so it also enacted a significant
alteration in the everyday patterns of use and spatial practices of that space. For the
period of around 5 minutes the usual order of that space, both in terms of the absence of

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performances but also in terms of their usual presence, was temporarily suspended and
disrupted, with something unique taking place.
There are also other ways that buskers draw attention to themselves that do not
rely on the sort of chance encounters just discussed. As can be seen in 4.6, performers
will sometime build in something unique into their act. Rather than simply playing
popular songs or displaying substantial musical talent to draw the attention of passersby,
acts will draw attention via other means. The first example presented in 4.6 shows an
innovative version of the traditional one-man-band approach to busking rather than
play with other musicians, the fiddle player has constructed a machine that allows him to
accompany himself with guitar chords (activated by pedals operated with his feet the
right foot pedal controls the speed while the left foot pedal changes chord). Often this
draws attention before he even starts playing people stop, look at the machine being set
up, and ask questions about it. The second example shows a musician playing an unusual
instrument and dressed as a character from The Chronicles of Narnia (something that
would be broadly known across various age groups given both the books and recent
movie adaptations). While this was not necessarily the most interesting of musical acts
(the instrument in effect sounded like a mellow recorder and played quite simple tunes),
it did draw a substantial audience with people either laughing at his costume or looking
on in bemusement the costume set him apart from the other performers (Harrison-
Pepper 1990).

4.6. Drawing attention

(Caption on left image reads: I built this machine because of unreliable guitarists. It
dont smoke! It dont drink! And its never late.)

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 These changes in the way spaces are used that result from the presence of
performers are not always entirely random and in some cases are planned in various ways
so as to not only attract an audience but also to control the potentially volatile gathering
once it was created (Harrison-Pepper 1990: 125). While this is necessary due to the lack
of formalisms in the organization of the space as already discussed, this can also be
necessary given the need for performers to have a certain amount of space to perform in
(something that is especially the case with performances that use fire), and also so that
they do not inadvertently block the spaces they perform in entirely this is often one of
the main issues that is articulated against street performers as discussed previously. This
organizing of their intervention can sometimes be as simply as asking people to step
forward or back. However, performers sometimes use other means.

4.7. Mapping out the performance space

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 In 4.7 it can be seen how one performer deliberately marked out his stage in
chalk in the street at pitch A from Map 4.1 (often a rope is also used for this which leave
less of a trace in the street after the show), overlaying a further diagram onto the space.
Such a marking of the space serves to define the space as a theatrical one and to mark a
tangible boundary on the previously undefined space (Harrison-Pepper 1990: 126), and
so encourage specific behaviors. This was positioned so that it left enough space for him
to perform in but also so that the crowd would be unlikely to block the entire passage
way, and, importantly, not block the entrance to the Pump Rooms the line was drawn
so that even a crowd of 3 or 4 deep would not get in the way. The drawing out of this
stage also provides a spectacle which draws attention to the starting of a show. The act
of drawing such lines (or laying ropes) stands out from the background of everyday
activities and can provide material for the performer (joking about people walking
through their stage) and creates an anticipation among passersby as to what the
performer is going to do. This initial interest garnered, the crowd, with some input from
the performer, is then organized around this drawn out shape and regularly asked to stick
to its placement if people stand too far back or leave gaps etc..
Once such lines are drawn and crowds are built, a specific form of temporary
social relation is built in the changed use of the space. Audiences are generally organized
into a roughly semi-circular shape. Such an organization means that shoulder-to-
shoulder and across-the-space interaction is encouraged, as well as producing a central
focus of attention (Harrison-Pepper 1990: 126-127). A more specific standard
mechanism that such sociality and interaction emerges though is by the enrolment of
assistants given the closer proximity and increased opportunity for interaction
previously discussed. A passersby is selected from the crowd and asked if they want to
take part. Some refuse, but most accept. They are always introduced to the crowd by
name. Invariably the assistants are made fun of by the performer jokes are made
about their nationalities or specific traits are drawn attention to (baldness being a regular
one).
From the performance in 4.8, the performer joked about the masculinity of the
assistants, asking is this the first time you held the hand of a man in a pink tutu? and
also joked with them saying dont look up as he climbed over their heads and hovered
his crotch above them. People both laughed at the situation of these volunteers and the
jokes being made of them. They also empathized with them, being glad they were not the
ones to be selected. This kind of laughter and empathy would not necessarily normally

105
happen in such everyday spaces without the presence of such performers. There was no
malice in this laughter it brought the crowd together. These differences in behavior,
nationality, physical appearance, and so on, are negotiated directly through humor and in
doing so become less of a contentious issue and bring people together around collective
laughter (see Massey and Rose 2003; and also Macpherson 2008 on laughter more
generally).

4.8. Once drawn and returning to everyday usage

Such sociality often occurs at varying degrees and the collectivity of the crowd is
not necessarily homogenous. As Schechner (2003) usefully illustrates, there is a structure

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to the intensity of this participation. Schechner (2003: 176) discusses the interrelation of
performance and audience in terms of eruptions where there is a heated centre with
involved spectators fading into a cool rim where people come, peer in, and move on.
Those in the front rows are most involved whereas those coming and going from the
outer areas perhaps are only drawn in momentarily. That said, this variance in the
collectivity of the crowd is different to that often highlighted in the discussion of
audiences. Often this lack of unity is articulated in terms of socio-economic standing,
leading Blau (1990: 84) to state that [t]he audience is there as the aggregate of
separation. Traditional theatre environment separate out different classes some seats
are more expensive that others, and so on (Auslander 1999). However, here, in the street,
there is not necessarily any such separation. Such performances are democratic in that
they are accessible to everyone, regardless of income, race, gender, or age (Tanenbaum
1995: 19). While there may not be a case of some kind of fundamental or originary
community (Blau 1990), people of various socio-economic backgrounds do come
together and watch the performance, laugh with or at each other, relatively irrespective of
such divisions.
In addition to this temporary collectivity that can be produced by the performer
and their intentional enlisting of audience members into their act (Whyte 1988), this can
also occur through the ways in which their acts affect passersby and members of their
audience. (I will return to thinking about how performances affect their audience in
Chapter 6 in terms of attention and becoming aware of their presence). This could be
seen in the embodied reaction of a small child to the presence of a busker I witnessed.
The busker, performing at the lower end of Milsom Street, was playing up beat folk
music. Initially, the child looked on, and occasionally to his dad, apparently trying to
make sense of the situation. As he stood, his head began to nod in time to the music.
This became more and more pronounced. His dad noticed and smiled. Without looking
around him his gaze intent on the busker the boy started to bounce in time to the
music. This became more and more enthusiastic. The other people standing around
began to notice and smiled the father looked a little embarrassed, but smiled and
shrugged his shoulders. The child continued to bounce, still staring intently. He then
began to grin, and clapped in time to the music. He looked to his dad who crouched
down, clapped (quietly) along also, and bounced in time with his son. The child grinned
wider and laughed.

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 As this went on, more and more people gathered around and watched the little
boy dance. Many smiled and laughed. Some made passing comments to the dad who
smiled and chatted to the people. Eventually the busker stopped and the child stopped
bouncing. His dad finished chatting to those who had approached him and gave his son
some change to donate. The son rather nervously, and having to be accompanied by his
dad, donated and they then walked off up Milson Street.
Events such as this produce a unique sort of sociality among strangers in public
spaces (Degen, et al. 2008; Massey and Rose 2003; Ruppert 2006). If it had not been for
the presence of the busker, the sons father might not have ended up chatting to the
people that approached to comment on his son. In addition to the evident entertainment
provided by the busker to the young child, this provided the grounds for an interaction
amongst strangers that might not have otherwise occurred. Therefore, these kinds of
moments of transitory community are of great significance and call attention to the
value activities such as busking and street performing perform in facilitating moments of
contact between strangers and therefore producing a convivial public space (Tanenbaum
1995).
This affectivity can also be significant on a more individual level, as was evident
in a story that was recounted to me by a middle aged woman I spoke to outside the
entrance to the Roman Baths (pitch B from Map 4.1). Having sat down next to me the
lady asked me what I was doing and I explained my research to her. She then started to
tell me about what she thought about buskers and some of the stories shed read in the
local papers about people complaining about them. Following this, she went on to tell
me about one occasion on which she did something and didnt quite know what made
here do it. She had seen a duo performing on Union Street that she hadnt seen before
a woman singing with a pianist accompanying her and who were playing music from
when she was younger and that she really liked. She stopped briefly to listen and really
enjoyed it. However, as she was in a rush she couldnt wait long. She went over and
spoke to them briefly and was told how they were a couple travelling around busking.
She then gave the singer a 10 note more than she had ever given to a busker before
and walked on.
However, that was not the end of the encounter. She said that once she had done
all she had to do in the centre she couldnt help but still think about the buskers. She
then, without really thinking it through or knowing why, went to her building society and
withdrew some more money. She went back to find the buskers, gave them an envelope

108
with the money in, but on the condition that she took her 10 note back and that they
didnt open it until she had left. After a little convincing the buskers accepted. The
woman did not disclose the amount of money to me, but said simply that it was more
than 10. This wasnt the gesture of someone with lots of money she told me that she
there were probably a lot of things she could have done with buying with that money
(listing practical household items, appliances, etc.), but just really wanted to give it to
those buskers; something made her want to do that that she couldnt explain. Although
the buskers said they would be back in Bath the following year, the woman hadnt seen
them since.

Not Intervening in the Everyday

So far I have focused on the intervention that street performers and buskers make in the
everyday life of the city and the social interactions such interventions can produce.
However, as will be returned to in terms of my own experiences in the next chapter also,
there are also times when performers struggle to make an intervention into the spatio-
temporal patterns of the everyday, or do not make any intervention at all. In light of this,
I want to focus on the challenges presented in having to intervene into the rhythms and
patterns of the everyday life of the city. Firstly, I will discuss trying to perform at the
bottom of Milson Street and struggling to intervene in that space/make this intervention
last, and, secondly, trying (and failing) to perform outside the Roman Baths of a Saturday
afternoon in July.
A pitch is often used at the bottom of Milson Street by street performers (see
Map 4.2). On a large pavement area where the street turns into New Bond Street,
performers generally set up in front of a bench which sets the back-limit of the
performance area. While there is a road nearby, this tends to have very slow moving
traffic and doesnt present much noise or problems to performing. However, one issue
faced by performers here is that the space is prominently a transitional space. Pedestrians
tend to be moving from the tourist attractions such as the Abbey or Roman Baths, or
coming from the shopping streets of Union Street and Stall Street, and heading to further
attractions such as the Jane Austin Museum, The Circus, and The Royal Crescent (or the
reverse). From the images presented below (4.9-4.23), this means that there is a
continuous flow of people moving from right to left (or left to right) and often walking
very quickly.49

49 This can be seen in the stride-length of some passersby, such as the woman at the front right of 4.16.

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 This means that it can be difficult to gather a crowd. In 4.9 the performer a
magician set up with a table and wearing a grey hat struggles to get the attention of
passersby. Although she speaks to passersby, she struggles to get them to stop many
walk past quickly and show little interest in breaking from their plans. While this is often
the case with street magicians who dont have the same spectacular props as other street
performers (such as fire or tall giraffe unicycles50), this went on for a long time with this
magician. The magician started trying to gather a crowd at 11.48am. After 14 minutes of
trying to get people to stop, no one had even broken stride or paid any attention at all.
Every approach the magician made to anyone passing was brushed off quickly or was
simply ignored. The magician became visibly frustrated the affects of this were visibly
manifest in her body language (Thrift 2004). She slumped forward over her table (4.10),
and her requests for people to stop became almost pleading. The tone of her voice
sounded more and more desperate.
However, her luck changed. She asked a group of teenagers if they wanted to see
some magic and they stopped to watch (4.11). Unlike most of the passersby, the
teenagers had been walking down quite slowly, joking about, and generally seemed to not
be in a rush to get anywhere. With this group now watching, the magician proceeded to
do some basic card tricks. With this initial crowd now present, a few others stopped to
watch to see what was going on and what all the laughing was about. After 4 minutes a
small crowd had formed and more and more people were looking over to see what was
going on (4.12).
However, after 5 minutes of watching, this initial group left and the crowd
dwindled (4.13). With this group leaving so did others. The crowd did not totally
disappear though, and, with the magician becoming more and more animated in an
attempt to keep the attention of those still watching, more people were attracted to
watch (4.14). After another 5 minutes a large crowd had formed, partly made up of a
large school tour group (standing at the left hand side of the crowd in 4.15). However,
again this was not to last long a whole section of the crowd left as the tour group
walked on up Milsom Street (4.16). This left a big empty space at the side of the
performance and started a trend. More and more of the audience started to walk off,
again heading up Milsom Street (4.17). This left only around a quarter of the audience.
Again, however, the audience was re-built. The magician again had to shout to
passersby to try to get them to join the audience (4.18). Within a couple of minutes a few

50 A giraffe unicycle is a tall unicycle which requires a chain to connect the pedals to the wheel.

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more had been stopped by the magicians shouts (4.19). Within a further 7 minutes or so
a full audience had been attracted again. Two further minutes on and the audience
reached its peak size so far as a result of another tour group stopping (4.20). However,
the tour group again left within 4 minutes as a result of requests of those running it
(4.21), and again cause a few others to leave with them (again all heading up Milsom
Street). However, not so many left this time and the crowd rebuilt with the empty spaces
being filled (4.22) in time of the acts finale at 12.32pm. Within 2 minutes all the audience
had left (some donating) and the magician was left chatting to someone (4.23), before
starting the process over again.
One of the challenges presented by performing in such a space is that there are a
multitude of other temporalities at play and into which the performance must intervene.
(I will again return to this in terms of affective dispositions and the ways in which
audience members become aware of performances in Chapters 6 and 7). Here, most
evident were the rhythms of the various tour groups that passed by and stopped briefly.
These tours would likely be organized to fit a specific linear timetable dictating where
they would have to be and when, how long they had at each place, and so on (see
Edensor and Holloway 2008). However given that unexpected interruptions such as
the performance here do occur, such ordering is liable to breakdown as this
[ordering] can only provide a framework within which other elements intrude, aligning
themselves or striking discord with the tour rhythms, even if for a short time (Edensor
and Holloway 2008: 487-488). This meant that, while the tour members could stop for a
few minutes to look at the show, they did not have the time to watch until the end as
tourist rhythms are produced by spatio-temporal ordering that seeks to minimize [such]
external intrusions (Edensor and Holloway 2008: 487). This leaving would also draw
other tourists with less formally organized plans for their visit to return to their plans
they would likely have a list of attractions they wanted to see, potentially have tickets for
specific entry times, and so on, and, therefore, would also not want to fall behind on this
linear timetabling. While they may have been distracted from their plans, a tour group
leaving would bring it back into their mind. Further, those who were simply in Bath
shopping would also likely have a plan for their day (a list of items they want to get,
shops to go to, and so on). Seeing others not hang around would then bring to mind
their own plans and could lead them to leave.

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4.9. Struggling to get a crowd (11.50am)

4.10. Frustration of not getting a crowd (11.58am)

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4.11. First group stop (12.02pm)

4.12. Audience grows (12.06pm)

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4.13. First group leaves and audience dwindles (12.07pm)

4.14. Audience re-built (12.08)

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4.15. Full sized audience (12.12pm)

4.16. Tour group at left leave (12.13pm)

115
4.17. More leave as tour group started a trend (12.14)

4.18. Audience re-built again (12.16pm)

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4.19. Audience grown again (12.23pm)

4.20. Peak audience (12.25pm)

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4.21. But another tour group leaves at instruction of leader (12.29pm)

4.22. But audience re-grows for finale (12.32pm)

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4.23. The show ends and magician is left chatting to a patron (12.34pm)

Such variations in the attention span of the audience meant the magician had to
work far harder than in spaces, such as outside the Pump Rooms, where people tend to
linger more; such spaces are destinations in and of themselves. Further, while it was not
too destructive for this show (a substantial crowd were there for the finale), the show the
magician did before this which I caught the end of was left with a crowd of only 10-12
people at its close due to another very large tour group leaving seconds before the end of
the performance, during the finale. Therefore, the intersection of these rhythms of the
performance, the tours, and so on which make up the polyrhythmia of this space can
be conflicting, and, in their arrhythmia, destructive for the performance.
Conversely though, this could be seen to have positive affects. While the earlier
show did not succeed, the experience could have enhanced the skill of the magician in
maintaining a crowds attention, or, if not, in re-building a crowd (which she did manage
a number of times as discussed above). Performing in this challenging space could affect
her positively. This is something that could be beneficial especially when performing in
other less transitory spaces, such as the pitch outside the Pump Rooms already suggested
(pitch A on Map 4.1).

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 Moving to the second event I want to discuss here, again from late July, it is
evident that sometimes it is not possible for buskers to make an intervention into the
everyday life of the city at all. The event occurred outside the entrance to the Roman
Baths, next to Bath Abbey (pitch B on Map 4.1). Here, on a sunny Saturday afternoon,
the space was very busy and it was very difficult to move through the space. Large
groups of people were standing queuing to get into the Baths; others were standing
looking at the Abbeys faade. With this congestion of bodies in the space there was also
a very high background level of noise.

4.24. Spot the buskers (1.22pm)

When I walked onto the space, initially I didnt think anyone was performing. I
couldnt hear anyone when I stood by the Abbey, only 15 or 20 meters or so from the
usual performance pitch, and definitely couldnt see any performers. However, when I
moved to a different angle, I spotted a violin duo that I had seen performing there
regularly over the summer (4.24). It looked as though they were playing, but I still
couldnt hear anything. They were also completely obscured from the line of benches
that often form the audience for this pitch, limiting their audience. They soon realized
this and the futility of their attempts. By this time they could have only been playing for
20 minutes at most (I had passed through the middle of the space 20 minutes previously
and there had definitely been no performers there). They stopped, packed up their
equipment, and left the space looking frustrated and unhappy.

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 Once they left, the crowd of people closed in and the usual performance space
was completely covered with people (4.25). There was no way anyone could perform in
this space. There was literally not enough space to find a spot to stand, never mind be
seen or heard over the crowd of people. While I did see a couple of other buskers try to
perform there later in the day, none lasted for more than 15-20 minutes before they gave
up and left the space.

4.25. Space without buskers (1.24pm)

This does suggest then that some rhythms and patterns of use of these spaces
overpower performances and mean that they cannot proceed. Here, as it was a Saturday
and in the height of the summer tourist season, and in the middle of the day, the space
was at capacity and congested. While in the example above the magician did variably
manage to draw peoples attention from their routine and plans, here it was not possible
to do this. Too many people were intent on seeing the faade of the Abbey or entering
the Roman Baths, and so the performance was squeezed out of the space. Here, such
external intrusions to the tourists routines were minimized simply by the popularity of
the tourist attractions and business of the space (Edensor and Holloway 2008: 487).

VI. Conclusion

In this chapter I have examined some of the ways in which street performers and buskers
intervene in the everyday life of the city, and, in doing so, produce liminal spaces where
specific forms of sociality can emerge. However, I have also examined the ways in which

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any such intervention is always variously traversed by a layering of various discursive and
practical framings including performance legislation (both contemporary and past
attempts to change this that were never realized), everyday patterns of use of spaces
(including the various agendas and dispositions of passersby, the cycles of holiday
seasons, and so on) which affect, facilitate, and impede such performances and their
interventions. This has been pursued by way of a response to the recent and ongoing
critiques of non-representational theory which argue that, in its attention to practices, it
does not pay sufficient attention to social, cultural, and political contexts (Cresswell 2006)
and also in the development of the second post-phenomenological trajectory outlined in
Chapter 2 around the socio-cultural and political situatedness of practices within a
complex discursive frame.
Given that street performers and buskers do at least at times intervene in the
everyday life of the city, this can make their presence contentious in various ways and
therefore result in measures being taken to place limits on these interventions. This is
especially evident in Bath with the various attempts in recent years to tighten the controls
over street performers and buskers in light of relatively static issues (noise levels, timing,
and quality/decency of act content). This does present a complex situation and to which
there is no easy solution. It would appear that, as has been evident in the history of street
performance and busking more generally (Cohen and Greenwood 1981; Harrison-Pepper
1990), such efforts to control will continue and therefore a balance needs to be struck so
that the public spaces of the city remain public and so that buskers and street performers
(both local and visiting, regular and occasional) can continue to perform and produce
such moments of sociality. If such controls become too strict (particularly in terms of the
imposition of auditions and licensing), the very contribution that street performers and
buskers make to the vitality of the everyday life of the city could be stifled and sterilized;
if left unchecked entirely though, these conflicts will likely continue.
In light of this discussion, in the next chapter I am going to shift the perspective
and focus. Rather than think about street performance at the broad level of the street and
the everyday life of the city, I am going to focus more on the embodied experience of
performing in these streets and other spaces rather than on a stage or in a more formal
staged performance environment. While in this chapter I have discussed the sort of
sociality that can emerge in light of the presence of performers and the spatio-temporal
interventions street performers and buskers make in the everyday life of the city, in the
next chapter I want to think about how the interrelation of performer, audience, space,

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and so on, affect the embodied experience of performing. This will not forget the broader
context within which such relations occur. In discussing this I am also going to reflect on
how performing in such a legislated and everyday space affects the embodied experience
of performing; how the spaces complex assemblages of rhythms, representations of
space, restrictions on conduct, and so on, affect the experience of performing.

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 Chapter 5

Street performing

We have relearned to feel our body; we have found underneath the

objective and detached knowledge of the body that other knowledge which
we have of it in virtue of its always being with us and of the fact that we are
our body
(Merleau-Ponty 2002: 239).

[W]hen we talk about the body we talk about something entirely opposed to
the closed and the finite. With the body, we speak about something open
and infinite, about the opening of closure itself, the infinite of the finite
itselfthe body is the open
(Nancy 2008b: 122).

There is no longer a subject, but only individuating affective states of

anonymous force. Here the plan is concerned only with motions and rests,
with dynamic affective charges
(Deleuze 1988: 128).

I. Preface

May 1st51. I arrived in Bath around 11.15am. Although the forecast wasnt looking all that great, I
thought Id give it a go. I headed along Pierrepont Street and North Parade towards the Abbey and the
shopping streets. I decided against the Square outside the Abbey or the area outside the Roman Baths as
there was already someone playing there and I wasnt too sure of how things worked yet theres meant
to be a draw at 10am so I might have missed it. I headed to Burton Street and decided to set up against
a blank wall opposite The Body Shop. Straight away I noticed a few suspicious looks from the staff in

51All sections of text in italics in this chapter are taken from my research diary kept during the fieldwork
undertaken.

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there, but decided to stay. The looks continued throughout the time I played, but although unnerving,
nothing appeared to come of it. The street was relatively quiet, but there was a constant flow of people.
Although a little out of the way, I felt comfortable having the wall for a backdrop and nothing happening
behind me. I probably set up a little too close in to the wall, but this felt better for now. Im not sure how
Ill get on with the areas down by the Abbey with sitting out in the open. Although the wall helped I did
feel a little exposed for the first hour its odd not having Martin there and does feel a lot lonelier even
though there are a lot of people around. That combined with not really knowing how things work here did
make me feel unsettled Ive read about Bath, looked around, read the guidelines, etc., but it doesnt
help to really know what its going to be like. My hands were shaking a bit and were sweating as I
started.
Things didnt start too well. Half a dozen songs in, no donations. Not really any
acknowledgment at all other than a couple of glances. This was new territory for me Glasgow had
generally been successful. It was hard to know if I was loud enough. I wanted it to be that I was too quiet
because if not it could be that I wasnt very good. I was afraid to turn up much louder though given I
wasnt meant to be using an amp at all and the risk of the Body Shop people doing more than just
looking at me suspiciously. The longer I went without donations, the more anxious I felt. I started to feel
like I was looking for donations looking hopefully at everyone and looking more and more desperate all
the time. Every time someone fished in their bag for something as they passed I hoped for a donation, but
felt resentment when they pulled out a phone or a shopping list. More annoying were the couple of men
who walked by jiggling change in their pocket as they went I felt like I was being taunted! It was the
same with the people who hovered nearby. I thought they might be listening, but then someone would
appear and theyd walk away. This really wasnt going well.
Finally, after around 30 minutes of playing, someone donated. I had got so caught up in these
negative feelings that I didnt see it coming. I dont know if he had been standing watching, or was just
passing. He donated at the end of the song, and after I said thanks, he lingered and asked me about my
guitar, specifically where Id got it, what model it was etc.. The conversation only lasted for a minute or
less but it made a big difference to how I felt. It was good to talk to someone and just to have my
existence acknowledged more than anything else. I felt lifted and my mood changed. I felt more
enthusiastic and like I could go on. However, this didnt last long. It was another 20 minutes until the
next donation. It felt like nothing happened in that time. My newly found enthusiasm dissipated. After
an hour of playing, conscious of the guidelines, I decided to move on. Emptying my hat and finding 1
for that hour didnt help my enthusiasm.

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 II. Introduction

In this chapter I am interested in the experience of street performing. I am interested in

what it is like to actually go out into the street and undertake a performance. This returns
to Chapter 2s discussion of lived experience and the refiguring of this to be less
interested in the experiencing subject and more with how a subject perpetually comes to
be in or through embodied experience. I am interested in how the performing body is
affected by the environments in which it performs, how it is affected by those that
(dont) engage with the performance, how the architecture of the space and the
discursive formations and social routines discussed in the previous chapter affects the
embodied experience of performing, and so on, and how through these
experiences/relations a subject emerges and potentially finds consistency. Therefore, in
this chapter I address the first half of the second research question outlined in the
Introduction to the thesis in terms of how the spatiality of the street, and the socialities
that emerge therein, affect the embodied experience of performing.
Being interested in this felt nature of experience means I am interested in street
performance as an embodied practice to talk about such themes means I will be talking
about the body; the body entering into relation with objects, other bodies, and also the
body enrolled in other affective, (im)material relations. In using this compound
(im)material I am evoking something like a notion of the material that admits from the
very start the presence and importance of the immaterial, not as something that is
defined in opposition to the material, but as that which gives it an expressive life and
liveliness independent of the human subject (Latham and McCormack 2004: 703).
Therefore, this undermines any ontological distinction between the material and the
immaterial by taking seriously the real force of the immaterial (Latham and
McCormack 2004: 704). As such, this opens up both a concern with the material
implications of the symbolic, the discursive, and so on, but also a consideration of the
material in terms of any state. I am interested in both the material affects of immaterial
discursive formations that circulate in and around performances, and the ways in which
the immaterial atmospheres of a space affect the playing-out of performances and the
experience of performing. That is to say, Im not taking the material here to refer to the
concrete or some kind of grounded physicality, but rather as taking place with the
capacities and properties of any elementand/or any state (Anderson and Wylie 2009:
319).

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 This, as suggested in the Introduction to this thesis, is to think about the body
ecologically in that I will be thinking about the body in terms of its superorganismal
makeup (Thrift 2005: 464), or more specifically as defined ecologically, by external
movements which preside over its distributions within an exteriority (Deleuze 2004b:
269). This becomes even more complicated in that
the internal space is itself made up of multiple spaces which must be locally
integrated and connected, and that this connection, which may be achieved
in many ways, pushes the object or living being to its own limits, all in
contact with the exterior; and that this relation to the exterior, and with other
things and living beings, implies in turn connections and global integrations
which differ in kind from the preceding
(Deleuze 2004b: 269).

This chapter is then about examining the affective sensuous experiences of being
a street performer. In doing do, the chapter will unfold as follows. Firstly, I will review
work in geography that has been interested in the body, focusing specifically on debates
that have arisen in relation to work within non-representational theory on affect.
Following this, in further pursuit of the three post-phenomenological trajectories
outlined in Chapter 2, I will narrate a range of my experiences of street performing and
put these into conversation with other theorizations of the body (specifically by Deleuze,
Nancy, and Nietzsche and their rethinking of the sensuous production of the body-
subject). The chapter will conclude by looking forward to the next two chapters of the
thesis and their further development of these post-phenomenological trajectories.

III. Geographies of the Body

As McCormack (2008b) suggests, the body has become part of geographys conceptual
and methodological core (see Callard 1998; Hansen and Philo 2007; Harvey 1998;
Johnstone 1996; Longhurst 2005; McCormack 1999; Parr 2002; Simonsen 2000).
However, in her 1995 review, Longhurst suggested that (until recently) a historical
privileging of the purely conceptual over the corporeal had underlain the production of
geographical knowledge. This can be related to the Cartesian legacy of the separation of
the body from the mind and a more general predominance of dualistic thinking
(Descartes 1912; see Hass 2008: 11-25). In general, as Johnston states: Geography, like
all of the social sciences, has been built upon a particular conception of the mind and the
body which sees them as separate, apart and acting on each other (cited in Longhurst
1997: 492). This masculinist rationality assumes a knower who believes he can separate
himself from his body, emotions, values, past experiences and so on. This allows for him

128
and his thoughts (his mind) to be autonomous, transcendent and objective (Longhurst
1995: 98). This in a sense has resulted in an Othering of the body; the body had in fact
become geographys other (Johnstone 1996; Longhurst 1995).
Many geographers (among other social scientists) have, as Simonsen (2000)
highlights, sought to transcend these dualisms and examine the power-filled construction
of other bodies. In an attempt to attend to the illusory nature of the body (Dewsbury
2000), there has been a move to make the bodythe very stuff of subjectivity (Grosz
1994: ix). This is particularly evident within (what would be broadly characterized as)
feminist writings on the subject of the body. Within this there has been a growth in
discussion of the sexualized body but also it has highlighted how, more generally, the
body is central to how dominant cultures designate certain groups (elderly, homosexual,
obese, female, ethnic minorities, and so on) as other (Simonsen 2000: 8). These
subordinated groups have been defined by their bodies and according to norms that
diminish and degrade them.
In addition to this focus on embodiment, the ways in which bodies are socially
and culturally inscribed and constructed, there has also been a move toward discussing
the body52 in terms of its visceral, fleshy, affective materiality. This had previously been
lacking from the work discussed above which tended to focus on the body as maps of
meaning through which discursive power is inscribed and exercised (McCormack 2003:
494). Therefore, more recent geographical literature has begun to address this lack of
materiality in discussions of the body and examines how bodies are made and used
(Simonsen 2000: 8 [emphasis added]). Alongside some quite specific attempt to bring the
materiality of the body into geography (for example see work by Colls (2007) and
Longhurst (2005) on fat bodies), there has been a more general turn in cultural
geography to the discussion of embodied practices, being heavily influenced by non-
representational theory as suggested in the Introduction to this thesis (though see
Cresswell 2006; Nash 2000), and discussions of affect within this, something I will turn
to now.

Geographies of Affect
As Thrift (2004: 59) notes, there is no stable definition of affect. The concept has been
present in a number of different traditions and therefore has been understood in a

52 The use of the body has been problematized recently as it implies some kind of originary or
transcendental referent and the use of a body, or bodies (Nancy 2008b). This said, for grammatical clarity I
will continue to use the body, but I am not referring to any kind of definitive body.

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number of senses. Very generally though, affect can be seen to refer to the process of
transition through which a body goes; it is a transpersonal capacity which a body has to
be affected (through an affection) and to affect (as the result of modifications)
(Anderson 2006: 735). The emphasis here is on a processual logic of transitions that take
place during spatially and temporally distributed encounters in which each transition is
accompanied by a variation in the capacity (Massumi cited in Anderson 2006: 735).
Thinking through affect implies that the world is made up of billions of happy or
unhappy encounters, encounters which describe a mindful connected physicalism
consisting of multitudinous paths which intersect (Thrift 1999: 302). Put simply, an
affect is a mixture of two bodies, one body which is said to act on another, and the
other receives traces of the first (Deleuze 1978).
From this a body here has two simultaneous definitions.53 First, it is defined
kinetically as being a composition of an infinite number of particles being at varying
degrees of motion and rest, speed and slowness (longitude). Second, a body is defined
dynamically by its capacity of affecting and being affected (latitude). This constructs an
ecological map of the body, an immanent plan(e) which is always variable and is
constantly being altered, composed and recomposed, by individuals and collectives
(Deleuze 1988: 128). Deleuze (1988) discusses the modification of the body as being
conditioned by two fundamental affects: joy and sadness. Joy refers to a positive
affection, a nutrition, an increased speed and motion, increasing our capacity to act.
Sadness is a negative affection, a poisoning, a slowing down, that reduces our capacity to
act. Affects are then becomings: sometimes they weaken us in so far as they diminish
our power to act and decompose our relationships (sadness), sometimes they make us
stronger in so far as they increase our power and make us enter into a vast or superior
individual (joy) (Deleuze and Parnet 2006: 45).
This understanding of affect can be both tied to, and distinguished from, feeling.
Affects occur between objects or entities, and these interactions or affects are felt as
intensities in the body, or find corporeal expression in bodily feelings (Anderson 2006:
736), and in so being are manifest in an alteration in a bodys capacity to act. We can
understand affect as a kind of vague but intense atmosphere and feeling as that
atmosphere felt in the body (McCormack 2008b: 6). Further, and again, these can both

53 I am taking body here in its broadest sense to include mental or ideal bodies (Massumi 2004), as a
transhuman body (Thrift 2004).

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be distinguished from emotions. Of significance here is the work of Massumi (2002: 28)
who distinguishes emotion from affect in defining emotion as
a subjective content, the sociolinguistic fixing of the quality of an
experience which is from that point onward described as personal. Emotion
is qualified intensity, the conventional, consensual point of insertion of
intensity into semantically and semiotically formed progressions, into
narritavizable action-reaction circuits, into function and meaning. It is
intensity owned and recognized.

Emotion is therefore related to an already established field of discursively constituted

categories in relation to which the felt intensity of experience is articulated and therefore
conceives experience as always already meaningful (McCormack 2003: 495). This
restricts the movement of affective intensities which exist prior to such fixing and
framing by reducing them to such framings of meaning and significance.54
This emphasis on the affective has produced a number of debates (see Lorimer
2008). Therefore, I will now address two of these given their significant relation to this
chapter. These agendas relate to 1) how we understand affect, emotion, and power, and
2) to the ways in which the body is conceived as always active and agentive.

Debating Affect
This first set of debates just mentioned can be divided into two interrelated themes.55
Firstly, it has been argued that certain aspects of the language through which affect has
been talked about is suggestive of a distancing from the emotional and the personal and
instead promotes a focus on the reasonable and the public (Thien 2005). However, I
simply do not see how affect can be seen as public. Relational yes it occurs in the in-
between; it does not belong to a subject. But this does not make it public. In fact one of
the immense problems posed by trying to study affective experience is finding means
through which to convey something of this affective experience given that it occurs
outside of the realm of subjective, reflective experience. This is something I hope to
respond to in the pages of this chapter in the performative narration of some of my
experiences of performing which tries to make present something of the intensive, felt
nature of those experiences. In terms of affect being rational, again, this is simply not the
case. Affect is precisely about the pre-rational. It comes before any rationalization. I
could have pitched the experiences recounted in this chapter in terms of the emotions

54 It is important here to note that this is not a uni-directional or causal process as the three modalities
slide into and out of one another to disrupt their neat analytical distinction and so [d]iverse feedforward
and feedback loops take place to create such hybrids as affectively imbued thoughts and thought imbued
intensities (Connolly cited in Anderson 2006: 737).
55 Also see Anderson and Harrison (2006) and McCormack (2006) for responses to these critiques.

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experienced, but I do feel that this appeals to a humanistic universalist logic that suggests
that such emotional experiences mean the same thing to different people (Anderson and
Harrison 2006; McCormack 2006). To me this would be more suggestive of a
rationalization of experience than an approach that takes affect as its main focus.
Secondly, it has been argued that work on affect is inattentive to issues of power
and that it is universalistic (Tolia-Kelly 2006). While I am sympathetic to the trajectory of
Tolia-Kellys argument the development of a non-universalizing understanding of
affective capacities that pays attention to the ways in which such capacities are socialized
I cannot help but feel that there are flawed steps in her argument and that due to this it
falls foul of the approach she wishes to sidestep. Tolia-Kelly picks up on Deleuzes laying
out of a common plane of immanence and suggests that this universalizing conception
does not pay attention to the ways in which collectives are differently capable of affecting
and being affected due to their access to geopolitical power, amongst other things. To an
extent this is true, but in a very specific way. While this is a universal plane of immanence,
it is only the same for everyone in that it is different for everyone. Therefore, this pays
attention to the specificity of each encounter and does not introduce a universalistic
principle.56
This means that Deleuze pays attention to the specificity of how each individual
can affect and be affected. As such, Deleuze does not homogenize experience under the
collective capacities Tolia-Kelly suggests as this is reductive of the singularity of each
specific manifestation of those collective categories. Deleuze then pays attention to a
more radical difference; to a difference in itself which is not a difference between specific
manifestations or collectives, but rather a singularity in itself (see Deleuze 2004b).
Therefore, in this chapter I will be emphasizing the singularity of the encounters
which occurred during my time busking. This is also attempted through the narration of
specific encounters rather than presenting something more schematic and, potentially,
universalizing. This will be very much about specific encounters that arose within a
specific socialization.
The second debate I will now discuss has arisen regarding the argued prominence
of the auto-affective and overly agentive visions of the body and embodied experience
that have emerged in recent work in non-representational theory, and the resultant call

56Further, while Deleuze may not talk about such issues of geopolitical power and the like in his little book
on Spinoza, he does elsewhere explicitly discuss the ways in which a body is segmented in a multiplicity of
ways socially, culturally, politically, Oedipally which affect its capacities to affect and be affected (see
Deleuze 1978; 1995; 2006b; Deleuze and Guattari 2004a; 2004b; Deleuze and Parnet 2006).

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for there to be more attention paid to the vulnerability and passivity of the body. As
such, Harrison (2008: 423) is critical of the recent prominence of what he calls the body
in action in recent accounts of embodied experience (also see Anderson 2004; Bissell
2008). Harrison (2008: 423) calls attention to the prominence of the body being
apprehended as practically and constitutively engaged in the disclosure of the world and
in the creation and maintenance of meaning and signification. While not wanting to
underplay the significance and positive nature of such contributions, Harrison calls
attention to the potential lack of consideration being given to the ways in which the body
is susceptible and passive, and wants to think about embodiment in and through its
vulnerability, and, more specifically, to challenge the predominant notion of such
vulnerability as something which is negative and to be overcome. Instead Harrison (2008:
427) wants to think vulnerability in terms of describing the inherent and continuous
susceptibility of corporeal life to the unchosen and the unforeseen its inherent
openness to what exceeds its abilities to contain and absorb.
In light of this, though pursuing a more Deleuzian thread tham the Levinasian
one Harrison does57, in this thesis I emphasize that affects are as much about slowing
down as they are about speeding up. This is to say that there will always be a variance in
my capacity to act. While Harrison calls attention to what he deems to be the
remorseless pressure of immanence and the proliferation of becoming in the writing of
Deleuze, there are affects that slow us down as well as affects that speed us up. There is
joy and there is sadness. The coherence of bodies is threatened as well as potentially
being expanded upon. There are decompositions as much as compositions (see
Deleuze 1988: 19).58 This is to suggest that there is vulnerability included within this, but
that it is not given a central position it is not the aspect of our embodied existence, but
an aspect. There is always a relative movement a becoming-faster and a becoming-
slower. As Thrift (2007: 10 [emphasis added]) states
not everything is focused intensity. Embodiment includes tripping, falling
over, and a whole host of other such mistakes. It includes vulnerability,
passivity, suffering, even simple hunger. It includes episodes of insomnia,
weariness and exhaustion, a sense of insignificance and even sheer
indifference to the world. In other words, bodies can and do become
overwhelmed.

57 As Calarco (2008: 70) suggests, for me, [a]n ethical interruption could proceed from an encounter with
the Others kindness or vitality as much as from his or her destitution or finitude.
58 This is perhaps something that the geographical literature has not emphasized enough so far.

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While there is an ethics of speeding up and a call for what Deleuze calls a bliss of action
(Deleuze 1988: 28), this is an ethical imperative and not a more general statement about
corporeal existence which is about composition and decomposition, joy and sadness.
Therefore in this chapter, in light of this second debate, I want to think about the
ways in which the experience of street performing is traversed by a multitude of positive
and negative affective relations (as was suggested in the opening extract) relations
between myself as a performer and other performers, relations between the performer
and the space/environment, relations between performer and objects (such as coins),
and so on.
Having outlined this understanding of affect and the debates that have arisen
from them, I will now turn to my experience of street performing and attempt to draw
out some of the subjectifying affective experiences that occurred across these. In so
doing, this will continue the pursuit of the three post-phenomenological trajectories
outlined in Chapter 2. This will be focused around the challenges of getting used to
performing in the street, the experiences of the spatio-temporal patterns and routines of
such spaces, the material implications of performing outdoors, the affective experience
of receiving donations, the interactions between performer and audience, and the
relations that occur with other performers.

IV. Experience of Street Performing

Of Lines
May 1st. I walked down to Union Street to set up there. I noticed the sky was a little more clouded over,
but I decided to keep going. I set up a little way down from a few stalls selling flowers and other things,
between Clarks and Wallace and opposite Next. I picked an area clear of windows and displays, and
again, kept close to the wall. There was a bench opposite so I thought this might provide a space for a
potential audience. It felt busier here and I was more hopeful.
As I set up I noticed a few chuggers59 hovering around the area. As soon as one spotted me she
took out her phone and made a call. This was a little unsettling. I wasnt sure if they had a license to use
this space or how that worked; Id only checked up on this for busking. Again, nothing came of it. I
think I was just a little nervous which made me paranoid. I wasnt used to performing under these sort of
guidelines and wasnt sure how strictly theyd be enforced. This space was better though in terms of being

59 Chugger refers to a paid street fundraiser who acts in an overly aggressive manner in the pursuit of
signing-up donators. The term chugger is derived from charity and mugger.

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able to turn up a bit it felt more like Glasgows Buchanan Street did with being a lot wider. I felt less
like I was intruding into the shops opposite.
The moved proved to be fruitful. Shortly after starting two people donated. As the first went in
the sun came out I couldnt help smiling. This again lifted my mood. I felt that Id possibly found a
better space and that it could work better here. Shortly after these donations a school group passed. While
a few taunted, shouting sing us a song, sing us a song amongst other things, one threw in a chocolate
coin. A couple of other donations arrived, mostly from older people who hovered for a moment or two, and
said good luck son or similar things as they donated. I felt a little more comfortable now, as though I
was settling in.

5.1: Busking on Union Street

Photo by Louise Rutt

Quite soon it started to spit with rain but it didnt come to much. However, the rain soon
started again, heavier this time. I packed up my things, sheltered under my umbrella, and had something
to eat. After about 10 minutes it hadnt stopped. From where I was standing the small strip of sky that
I could see was filled with dark grey clouds so I decided to give up and head to the station.
As I walked up to the entrance to the train station the rain stopped. I looked back to see blue
skies spreading over the town centre. I almost doubled back but I didnt. I think if it had gone better I

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would have, but I just told myself that it would probably be showers on and off for the rest of the day and
so it wouldnt be worth going back.
It didnt rain again. I really wish Id gone back. Although my fingers were tired, I probably
could have done at least another hour or 2. I just didnt want to go back. I just dont think Im in the
right mind set yet. We used to stop for rain regularly in Glasgow, but not give up unless it was really
bad. Wed even shelter in a doorway, put an umbrella over the amp, and keep playing if it wasnt too
heavy. Im too used to my warm office and comfortable chair.

I am trying to explain that things, people, are made up of very varied lines,
and they do not necessarily know which line they are on or where they
should make the line which they are tracing pass; in short, there is a whole
geography in people, with rigid lines, supple lines, lines of flight, etc.
(Deleuze and Parnet 2006: 8).

On my first busk, I was tense, nervous, outside of what was comfortable to me. The
street and performing there presented a different plane of organization to that which I
had become accustomed to. Continuing the diagrammatic logic discussed in the previous
chapter, Deleuze suggests that our bodies are segmented and striated, traversed by a
multiplicity of lines dividing up the body and organizing it. This organization can be both
spatial and social (Deleuze and Guattari 2004b). In particular, Deleuze outlines three
lines: the segmentary (cut), the supple (crack) and the line of flight (rupture). These lines,
each of which are many, are immanent and caught up in one another.60 The first line, the
segmentary, operates as a molar, rigid line, for example: FamilySchoolArmy
FactoryRetirement, or JobHoliday. We are told of our progression along the line:
Now youre a boy, a teenager, a student, an adult, a pensioner all kinds of clearly
defined segments (Deleuze and Parnet 2006: 93). There are three main characteristics of
this line. First, it operates as a binary machine: class, sex, age, race, subjectivations (ours,
not ours) etc.. These binaries cut across each other and collide. Also, they operate
diachronically: if you are not A or B, therefore you are C. Second, they act as devices of
power, fixing the code and the territory of the corresponding segment (Deleuze and
Parnet 2006: 96). Third, they act as a plane of organization which concerns both forms
and their development, subjects and their formation (Deleuze and Parnet 2006: 97).
These lines mark out a series of sedimented, habitual comportments that affect the
unfolding of our everyday behavior and actions.

60 Also see Deleuze (1995); and Deleuze and Guattari (2004b).

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 The second line is also segmentary, but more supple, or molecular: [t]hey trace
out little modifications, they make detours, they sketch out rises and falls (Deleuze and
Parnet 2006: 93). These lines constitute the crossings of thresholds, but not necessarily of
the first line they are micro-becomings. Here habits shift, practices vary, and
incremental change occurs in the playing out of the everyday.
Finally, the third line
is even more strange: as if something carries us away, across our segments,
but also across our thresholds, towards a destination which is unknown, not
foreseeable, not pre-existent. This line is simple, abstract, and yet is the most
complex of all, the most tortuousthe line of flight
(Deleuze and Parnet 2006: 94).

This geoanalysis, or cartography (Guattari 1995), asks us then, for example, to watch
someone walking down the street and see what little inventions he [sic] introduces into it,
if he is not too caught up in his rigid segmentarity, what little inventions he puts there
(Deleuze and Parnet 2006: 96). More specifically, it calls for us to ask: 1) What are your
rigid lines? 2) What are your supple lines? 3) What are your lines of flight?
As was suggested in Chapter 2 in discussing the three post-phenomenological
trajectories of this thesis, our bodies are socialized into a specific comportment, both
inadvertently and coercively. On my first busk in Bath discussed above (and in section I),
and throughout my time busking, I became aware of a number of aspects of my quite
rigid segmented comportment, both in relation to my everyday life at the time, but also in
terms of my previous experiences of busking elsewhere. I did not so much have to ask
what my rigid lines, supple lines, or lines of flight were, but rather they became distinctly
evident to me in my felt experiences of performing. Simply in being there and moving in
a slightly different setting, these lines became apparent.
On my first busk I was separated off from the usual rigid lines that make up my
everyday, of being a postgraduate: working in my office at my desktaking breaks at
roughly similar times in line with what others dogoing to cafs and drinking hot
chocolate while readingtaking most weekends offworking roughly office hours, or,
more distantly (but directly relevant), the venues I used to perform in Glasgow and their
staged organization, or the partner I used to go busking with in Glasgow and the
patterns that emerged there-in. Here, by myself in Bath, I didnt feel at ease. This was
manifest in my body in my slumped shoulders and in the expression of my face (Thrift
2004). There was a different intensity to this experience, one that did not sit well with
me. I was being affected in a way that slowed me down, that negatively affected me

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being out busking in these spaces, and receiving the (lack of) reaction that I did,
decomposed my capacities as a performer (Deleuze 1988). I became paranoid about
whether people would complain about me given the, what I thought were, suspicious
looks that I received. Also, I wasnt used to receiving so little attention or donations
given that when I had busked in the past it had been quite profitable. At this point I was
not able to embrace this experience. I was finding it hard open myself to being affected
differently and allow a little more suppleness into my routine. I was caught up in my
usual routines and comforts so much of the experience jarred with me. At the first
chance, I left. I didnt hold out for the weather to improve or play around the weather. I
wanted to get back to the comfort of the familiar.
This becoming aware of these segments did not occur in an intentional way, but
more reterospectively. It was a case of ah, so thats what it was, so thats why I didnt
want to go on (see Deleuze and Guattari 2004a: 19). It wasnt until I got on the train,
took out my notebook, and began to write that I started to realize what had being going
on and potentially why I had felt and reacted the way I did.
But I need to pause a moment. I need to pause? Who is this I that is writing
and I am writing about? But why do I ask? What is more indubitable than the
givenness of the I? (Heidegger cited in Glendinning 1998: 45).
I would like to follow Nietzsche (2000c: 481) in arguing that there is no being
behind doing, effecting, becoming; the doer is merely a fiction added to the deed the
deed is everything (see Butler 1993; 1999). In narrating and discussing the experiences
present in this chapter, while they are often predicated on a reflective I that comments
on its experiences or what it was feeling, we need to take this as a product of a
grammatical implication. The I is not a subject as the legislator of experience, but
something decentred or fractured it is something other than a subject as traditionally
understood (Nancy 1991). The I here was a product of those experiences or those
feelings. As Nietzsche (1968: 268) states, that when there is thought there has to be
something that thinks is simply a formulation of our grammatical custom that adds a
doer to every deed. Rather, again from Nietzsche (1985: 62), your body and its
intelligencedoes not say I but performs I. As Safranski (2003: 28) succinctly
summarized, [l]ike every predicate, the predicate think requires a subject, which
misleads readers into concluding that because I is the subject, it is in fact the agent.
Quite the opposite applies: the act of thinking gives rise to the consciousness of an I
(see Nietzsche 2000a: 214). Therefore, while it may feel counter-intuitive, the I that is

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spoken of throughout this chapter is not the traditional self-positing egocentric I
present within much of the philosophical and geographical traditions, particular
traditional phenomenology. Rather it is this product of the body and its intelligences it
is an outcome, not a presupposition (Wylie 2005: 245). The use of I is maintained for
the moment in the extracts out of grammatical habit and in the body of the chapter for
consistency and clarify of discussion.61
Trying to answer this question returns us to the movement away from
intentionality suggested in Chapter 2. It was a case of understanding my subjectivity as
not intentional, but something more retroactive; the various dispositions that make up
my rigid comportment are not something that I came to the performance with in any
knowing way, but were rather there at a pre-personal level. I came to see this aspect of
my (then) subjectivity as residuum alongside my affective experience of performing in
that space. The street and the performance were central and I was alongside them, not
the other way round (Deleuze and Guattari 2004a: 21-22). Rather than me, the I of the
experience, being given in advance as a point of view on it, such a subject will be what
comes to the point of view, or rather what remains in the point of view (Deleuze 2006a:
21).
While these segments proved too rigid for my initial busk, some element of
suppleness did begin to emerge throughout my time busking. As I kept going back
partly because I had to for research (I was told this is when Im meant to do my
fieldwork), but also because I wanted to redeem myself given the poor start I started
to get used to the way things work and to the different routines that busking entailed.
Part of this was achieved by busking a little in Bristol which provided a setting more
similar to what I had experienced in the past and there were also generally fewer buskers
around.62 It provided an incremental step through which I could introduce a little more
suppleness into my routine. Much of this adjustment came down to getting used to the
spatio-temporal nature of street performing.

Space-Times of Street Performing

May 16th. On my first busking trip in Bristol I went to Broadmead (the central shopping area). I set up
outside Tesco/opposite the entrance to the Galleries. Straight away I felt good in the space. The wall

61 This said, in the following chapters this I will gradually be eradicated in favour of a move toward a
resonant being-with.
62 This changed in the following summer after the research was undertaken with the introduction of a

stricter system of legislation to that present in Bath, entailing permits, more formally assigned pitches, and
so on, following the opening of Cabot Circus.

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behind me was plain and I wasnt obstructing anything. Also, the street was wide so I didnt have to
worry about disturbing people if I turned my amp up a bit. In fact, there were very few entrances nearby
and there were some benches and other street furniture by which people could hover to listen should they
wish. As I set up I realized there were actually quite a few resemblances between this space and my
favorite busking spot in Glasgow. The pace of the street was also more like that which I had experienced
in the past in Glasgow people seemed to linger more given the extra space, and, as there was the
entrance to the shopping centre, people werent only walking straight up and down the street like they had
been in Bath. The space just felt better.

5.2: Busking in Broadmead

Photo by Louise Rutt

As I started to play, I turned my amp up to the volume I used to use in Glasgow which meant
that Id both be more generally audible, but also that I could use a little more dynamic range and subtlety
in my playing. I never felt I could do this in Bath the narrow streets and risk from the guidelines
stopped me short of trying it. I was too conscious of the potential problems that could arise, and were also
more likely to arise.

Performing outdoors deviates from the norms of performing in a theatre or other

specifically designed performance space in a number of ways beyond the fact that it
occurs without a roof over it (Mason 1992). The removal of the standardized aspects of
such environments can cause problems (as will be returned to later in relation to the
interaction of performers and audiences), but as Mason (1992) highlights, the key to

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street performance is adapting to, and even embracing, these challenges. We can see how
the relation between the performance and the space it takes place in is one of both
constraint and inherent unpredictability (Grosz 2001: 50).
In highlighting the different situation street performance presents, Mason (1992)
outlines key factors to be considered in assessing the suitability of a pitch. For example,
as suggested above, there is an advantage to having a plain backdrop (preferably a wall)
as this reflects sound, provides somewhere to store props, and avoids distractions behind
the performer. Further, the physical features of the area chosen are significant it helps
to be visible to a broad audience and in a space which will both frame the performance
and allow for the creation of a relatively intimate relation with the audience. However,
Mason (1992) says little about the feelings of the performer in these spaces, and the
significance, for example, of a back wall in providing a place that feels secure to perform
in as suggested above. This is something that is integral to the understanding of such
practices as was highlighted in Chapter 2 in relation to the work of Merleau-Ponty and
how our body is the medium through which we have access to space, but also, in being
such a medium, is intimately intertwined with those spaces. The citys spaces can almost
be seen as a kind of body-prosthesis (Grosz 2001: 49). The body is not so much in-the-
world, but always already of-the-world, or for-the-world. As Deleuze (2006a: 28)
states, [t]he world must be placed in the subject in order that the subject can be for the
world. This is the torsion that constitutes the fold of the world and of the soul, to
return to (and somewhat radicalize) the interworld from Merleau-Ponty discussed in
Chapter 2. While Mason (1992) focuses on the practicalities of the space for a
performance something relevant to my experiences given the option of performing
more loudly in Bristol and therefore facilitating more nuance in my playing, or the
framing that the wall I situated myself next to provided we also have to remember that
to undertake a performance is to engage in an embodied practice. We can then start to
think about the felt relationship in the folding of the performers body and the spaces
inhabited in performing.
The relative familiarity of the organization of the space in Bristol presented a
specific affective atmosphere which affected my embodied experience of performing.
This atmosphere was something distributed yet palpable and was registered in and
through my sensing body while also remaining diffused, in the air, ethereal
(McCormack 2008a: 413). Being in the wider street with the slower moving audience
made me feel more at ease I didnt have the same tension in my body or the range of

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negative (paranoid) thoughts running through my head as I had experienced in Bath.
This showed in my performance my fingers felt freer, and, feeling like I had less to
worry about, I could concentrate more on my performance. I started to get a little lost in
my playing and didnt spend my time sitting tensely looking for donations from those
who passed by. I felt like my body and its comportment, posture, and the expressions on
my face conveyed this greater ease (Thrift 2004). And I received more donations. This
could have been down to the different space, but I cant help but think my more relaxed
bodily state did contribute to the way my performance came across.
After a couple of weeks of regularly busking in Bristol, I decided it was time I
should go back and try Bath. Perhaps Id busked a little too long in Bristol, or I was still
being affected by my previous unsuccessful attempts to busk in Bath, but I was quite
nervous the negative affects of the past held a durability and so coexisted in the
actualization of the (then) present encounter (Deleuze 1991a).

June 8th. I arrived into Bath around 12.20pm and headed up toward the centre. The sun was beating
down and it looked as though it was going to be a perfect day for tourists, and should be the perfect day
for busking. This made me a little nervous I was worried that there would be buskers everywhere and
that I wouldnt get a space. I hoped I was early enough as, from what Id read online, people normally
started later on Sundays. My worry was unfounded. As I approached the Square next to the Abbey I
heard no noise. There were no buskers around at all. I was a little shocked surely this was prime time
for busking given the weather? I decided that this was my opportunity to try out the Square, but a few
nerves remained given I still wasnt sure if there was a timetable for this and that someone would appear
to claim the spot from me
I set up in the middle of the Square, facing diagonally across it to the corner where the
Roman Baths and the Abbey met. I did this as Id seen another guitarist do the same, but also because
there would be a relatively constant stream of people coming from that direction, and also because it would
mean that the sun wasnt beating down on my face (instead it would be on my neck). I felt a little
awkward initially as I set up I could feel peoples eyes watching me and I did feel a little like Id
turned up for an audition to the awaiting panel of judges.
As I started to play I realized that the space actually felt quite relaxed there wasnt the same
sort of bustle that you get with people passing by on the streets that Id experienced before (both in Bath
and elsewhere). Instead, people were sitting having lunch or relaxing in the sun. The space did seem to be
where people came to get a break from it all. There was still a flow of people through the space, but this
was nowhere near as constant. I found myself playing in a more relaxed way I was pausing between

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songs a little more, glancing around, or having a drink. My actual playing was more relaxed also I
sometimes find the tempo I play at is quicker when Im tense, so here, I was playing at a more laid back
pace. Generally, given I actually had an audience, it felt more like I could perform.
There was also a steady transition of the people on the benches, though it became hard to
remember who had been there a long time and who only briefly. This did make me wonder occasionally
about repeating songs I had about 30 minutes of material that I was looping through although I
didnt worry too much as if they heard the same song twice, it might make them make the move to
donating rather than sitting for longer than that.

To me, the Square by the Abbey presents an interesting space to perform in. The first
notable aspect of the space is that it is, in fact, a square. There is no obvious direction to
perform to as there is a roughly equal sized audience on all sides which is seated on an
arrangement on benches (7 on the long side and 6 on the shorter sides). Also, there isnt
really the option of performing from one side to the other three given the size of the
square it would be easy to be lost in the background in that case. This leaves the option
of setting up roughly in the middle of the space, which most performers, including
myself, opt for. While this does literally make the performer the centre of attention, there
is equally the problem highlighted previously of not having the security of a back wall,
not having somewhere to stash equipment, bags, cases etc., and, generally just feeling
quite exposed. That said, while at times it is easy to get surprised when someone walks
up behind, or to sit and wonder what is going on behind if people look in that direction,
in general, I didnt find it to be too intrusive to the performance. Eventually, I got used
to having people walk up from behind me and, a lot of the time, partly forgot that there
were an equal number of people often sitting out of my view as were in it.
Perhaps what marks the space as most distinct from either performing on the
shopping streets of Bath or at Broadmead in Bristol is that there is a relatively ready-
made, stationary audience in the Square. This made a huge difference to how I felt when
I performed there. It felt so much better to simply see that there were people sitting
there obviously paying some attention to me, even if I wasnt the main reason they were
there. This produced a eurhythmic relation between the rhythms of my body, my
performance, and the space which was manifest in the performance, and the more even
tempo of my playing, both within songs and across them (Lefebvre 2004).

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 *

After nearly an hours playing, I started to wonder if any other buskers would appear. I really hoped they
wouldnt as I was really enjoying myself the weather was perfect, I seemed to be being well received, and
I was enjoying playing in the space. I did wonder whether I should stop anyway given the guidelines arent
just for buskers, but also to stop people who live and work near buskers having to listen to the same
performers all day long, but I just really didnt want to.
I decided to play on, even if for just a little over an hour. About 10 minutes later, another
busker arrived and sat on one of the benches in front of me. I started to feel a little nervy at this point as
I wasnt quite sure how things worked was I meant to step aside (assuming he knew Id done an hour)
or would he approach me? After a couple of songs he did come over. He was very friendly. I asked if he
wanted to take over from me and he said it was ok, people normally did an hour. I said Id actually done
that, so didnt mind letting him have a go. He said he was actually hoping to meet another musician he
knew to busk with them, but that hed come back in 20 minutes/he didnt want to just kick me off. We
introduced ourselves, and he headed off.
By the time he appeared back, about 15minutes after hed initially left, I was really starting to
feel the heat there was no shade and very little breeze in the Square. I was actually quite glad to see
him arrive back as I thought it was time for a break, a cold drink, and some time in the shade. After
another song, I gestured to him if he wanted to take over but he declined, and just sat and listened,
occasionally checking his phone. I did feel a little nervous though with him sitting watching me, though
Im not sure why. Perhaps it was just because he obviously knew how things worked there and I didnt
want to do anything out of place.
After another couple of songs I really did want to stop I could feel my neck and upper-right
arm burning, and Id run out of anything to drink. Although the sun had been uplifting earlier, it was
now quickly sapping any energy I had left. This time he accepted and came over.

As was discussed in Chapter 4, another difference in performing in Bath, and particularly

on the pitches by the Abbey, is the presence of a timetable, or rather, a general
timetabling of performances. This is in part maintained through the imposed structure
(Lefebvre 2004: 9) of the resonance of the Abbeys bells ringing every 15 minutes and so
providing a constant reminder of the progression of each slot and the fragmentation of
the continuous circularity of time (Lefebvre 2002: 48). While it turned out from
conversations with a couple of buskers that it was rare for them to actually meet at 10am
to draw up a timetable for the day (as was meant to happen) and that no physical written
timetable was maintained, the division of the day into hourly slots was still (roughly)

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maintained. This tended to be worked out as the day went along. If you arrived at the
space and no one was there it was yours to perform. If other buskers turned up during
your hour they would ask to follow you. If more than one busker appeared it seemed to
be worked out either by the toss of a coin or by who had asked first. I quite quickly
learned that this was how things worked which relieved some of my earlier nerves.
There were times earlier in the summer when I started to perform on these
pitches that the timetable proved to be a frustration. However, this was both when things
had been going well and things had been going not so well. When I was enjoying
performing, such as in my opening attempt on the Square from the previous extract, I
wanted to play for more than an hour the cut off of the hour slot produced arrhythmic
feelings in relation with the rhythms of my body; the linear nature of the timetable did
not sit well with the more cyclical nature of my bodily rhythms (Lefebvre 2004). When I
wasnt enjoying performing, for example on occasion when I received few donations,
there was always the memory of previous good times on that pitch and the hope that
things could pick up, or that things did pick up just as I had to stop. The mechanisms of
the timetable limited this potential for change and it really did feel like an imposition.
There was something too routine about it that didnt pay attention to what was actually
going on. Continually stopping, moving, finding another pitch, and then starting again
presented a frustrating routine. It felt too mechanical and put more strain on my body
than I felt was necessary, especially when there were no other buskers to follow me. The
timetable was sometimes at odds with the unfolding of the day and the way the
performance and the audience would organically unfold. Also, on a practical level, often
it would take a bit of time to settle into a pitch, get comfortable, and then have people
listen long enough to want to donate more often than not it was a few songs in before
I received any donations. Again on donations, there were occasions on which a few
people donated to me and then sat down to listen just before my slot was about to end.
This made me want to play for them but, as the timetable said I had to stop, I couldnt.
This was especially awkward considering that I wouldnt always be followed straight away
by another busker, making my reason for leaving less obvious.
This isnt to say that I think it is ok for people to play for hours and hours on end
in the same spot, but just that there could be a little more flexibility in this aspect of the
spaces organizing lines than the system allows.
This need to find a different spot meant I tried to busk on the pitch outside the
Roman Bath the No 1 pitch, as a couple of buskers described it to me.

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 *

June 12th. I started playing around 1.35pm. I deliberately turned my amp down a little as the space was
a little tighter and as there were more obvious people that might respond if it was too loud (the doormen at
the Roman Baths and the staff at the caf opposite). This did linger in the back of my mind for a time
was I too loud or was I loud enough? I think if I didnt have the amp I wouldnt worry about this so
much.
It did start rather slowly on here. In the first few songs I only received 1 donation from a woman
who commented very nice and relaxing, which was nice. I was worried a little that things were going to
be the same here as on the shopping streets and whether I should just stick to the Square nearby as much
as possible.

5.3: Queuing for the Roman Baths behind buskers

After a little while a large school group appeared and queued to enter the Roman Baths. This
meant they were queued right behind me. They were really noisy so I turned my amp up a little and
played with more attack to try to make myself heard. As they queued for quite a while I was tempted to
stop, but, given there were quite a few people who had sat on the benches in front of me who appeared to
be listening, I persevered. The tour group queued for around 10 long minutes.
While they queued and shouted at each other and generally chattered, the rest of the space was
rather cramped I felt in the way, especially when a man walked past and banged his motorcycle helmet
into the edge of my guitar.
Eventually the school group went into the Baths and the space went back to being a little quieter
and a little more relaxed. Things also began to pick up. I received quite a few donations from people who
sat on the benches for a time. In fact, the vast majority of donations came from the benches very few

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people donated in passing. I still didnt like this space as much as the Square, but it was far, far better
than the shopping streets!

The main thing I didnt like so much about the pitch outside the Roman Baths were the
regular queues of people going into the Baths. It really did make me feel like I was in the
way, but at the same time, partly invisible (see 5.3). Having people bump into me, shout
over the top of what I was playing, and generally detract from what I was doing was very
frustrating, but there was nothing I could do about it other than stick it out and wait for
them to leave. Normally this wouldnt be too bad a thing but with only an hour slot,
having a queue behind me for 10 to 15 minutes of it wasnt a positive prospect.
Initially, I couldnt really understand why this pitch would be the considered as
the number 1 pitch. The space really did present a less appealing pitch to me there
was less of a seated audience, it was a bit noisier, and it definitely felt more exposed being
there as there were far more people walking behind me than on the Square. The space
did seem to be a lot busier though and did have a greater footfall making it more
practical when the area was quieter it was always generally busy. Although not an issue
to me, the possibility of being closer to the row of benches meant a lot of the
unamplified acts or singers would be more easily heard and mean there was a lot less
strain on their voice in not needing to project quite as much. As I busked here again and
again, I began to realize that there was a much more consistent crowd on this pitch and
also across the day. The Square was good when there were a good number of people
around, but could feel a little empty and cavernous when there werent. The space
outside the Baths almost always had a group of people sitting on the benches.
Given the popularity of this pitch, and the timetabling for the pitches by the
Abbey, this meant that it was not always possible to be performing on either of these key
pitches. While many of the other buskers appeared not to do this, I tried to go back to
the streets while waiting to get back onto the other pitches, in the hope that I would be
more successful than my initial attempts at busking on them.

June 11th. Having finished on the Courtyard, I headed up to the pitch outside the Roman Baths. The
busker who had passed me earlier was still playing there. Given he had at least another half hour of
playing there (I roughly estimated), I decided to head out to the shopping streets to try there again. I was a
little reticent given how unsuccessful my previous attempts there had been. I went to the stop on Union

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Street Id played in before and set up. Having spent effectively the last 2 hours and 40 minutes playing
on the Square by the Abbey [combining that day with the previous], it was a shock being on the street
again. I didnt like it. I felt too much like I was out of the way and was being ignored. The street was too
busy and bustling everyone was running around and it felt unlikely that I could catch their attention.
The only way really to get their attention would have been to turn up my amp, but this could cause
problems with other buskers or the people working in the shops nearby. My act just didnt suit playing
here. I was tempted to stop barely after I started it just felt like there was no point me being here.
Then, a seagull did a huge shit a few feet in front of me causing people to scatter. I couldnt have
summarized the previous 30 minutes better myself. I decided to stop.

I had always thought that one of the keys to busking was finding a space with a high
footfall by playing to as many people as possible it gave the greatest possibility for
donations. This really wasnt the case in Bath in my time busking there. Although when I
played by the Abbey there were far fewer people passing I still received many more
donations and people generally paid more attention to me. On the shopping streets like
Union Street, for me at least, there was too much background noise for my act to be
received well and people were rushing about. This appears to be the case with many
other buskers there was a general division between buskers who played by the Abbey
and buskers who played on the shopping streets. There were only a few who swapped
back and forward between the two. In general the acts that did swap back and forward
were ones which would draw greater attention to themselves through a degree of
spectacle in their act, or the acts that mainly played on the streets were louder in nature,
such as group acts which would be naturally louder.
As was mentioned previously, the streets around Bath are relatively narrow and
therefore become quite busy. I never felt especially relaxed on them as there always
seemed to be crowds of people trying to get up or down the streets. This was especially
the case the couple of times I attempted to play on Stall Street, just south of Cheap
Street. While people did busk there, for me the combination of stalls selling various
items, and the noise from their generators, the potential competition from the more
spectacular street performers outside the Pump Rooms, plus the generally cramped and
crowded conditions, made it a horrible place to play. The pitches by the Abbey were just
so much more relaxed. The rhythms of the Abbey pitches and their crowds sat in a more
eurhythmic relation with the rhythms of my body and the music that I played. These
rhythms complemented each other more or, as Lefebvre (2004: 16) would say, unite[d]

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with one another in the state of health, and so drew a better performance from me.
Also, and again suggested in the previous chapter, many of these streets act as direct
routes for tourists towards other attractions and therefore trying to distract them from
their itinerary is not always easy. They are far more like transitional spaces than spaces
where people want to linger, spend some time, and relax, as people do by the Abbey.
Another frustration of trying to move between the Abbey pitches and the street
was the variations in the temporality in performances. While by the Abbey performers
generally followed a linear timetable for performances which produces something of a
mechanical unfolding, measuring out the time for performers to work (Lefebvre and
Regulier 2004a), on the street this was a little looser and more organic (Lefebvre 2004:
6). Given there were only two specified pitches by the Abbey which were in high
demand, on the streets things were a little less refined and organized, both in terms of
spacing and timing. Performers set up in various locations and tended to perform for
longer sometimes in the same space for hours on end. This provided another difficulty
in moving between spaces and the main reason why I stopped performing on the
shopping streets other than to pass time until I could get back onto the Abbey pitches.

Come Rain, Come Shine

While there is more to performing outdoors than the performance not having a roof
over it, as was highlighted at the start of the chapter, being without a roof can also affect
the experience of performing. This can be as a literal interruption of a performance
through the onset of rain, or through the fatigue induced in the body by the weather
being very hot while the sun, at times, positively affected me while performing, there
were also times, such as on the Abbey Square mentioned above, when it decomposed my
capacity to perform (Deleuze 1988); my skin was burning, I was dehydrated, and just
generally was overheating. Conversely, there were a number of occasions when the
temperature was not quite warm enough for it to be comfortable for me to perform.
When the temperature was below around 16 degrees centigrade I found that my fingers
would get cold which would mean it hurt when I pressed down the cold, sharp strings,
but also that my hand would stiffen up meaning my fingers could not move swiftly
enough, or missed their desired placing on the guitars fretboard. The animate agency of
atmospheric conditions was very evident here (McCormack 2008a: 415).
We can return here to the discussion of Merleau-Ponty from Chapter 2 and
particularly his understanding of the corporeal schema. Merleau-Ponty suggests we have
a body-image which can be extended by the appropriation of object which can be

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subsumed into the body and later drawn on unthinkingly. This dilates our bodily being
in the world (Merleau-Ponty 2002). However, returning to the third post-
phenomenological trajectory outlined in Chapter 2, Merleau-Ponty says less about the
intensive relations that occur in this dilation. What about the sensations that radiate
through and between in the inter-relation with such objects? In Merleau-Ponty this all
appears to proceed a little too smoothly and at a rather disembodied or de-sensitized
level. As suggested above, when I took up my guitar and placed my hands on the strings
this was not a simple enrollment of the guitar into my corporeal schema. Yes, I did often
play unthinkingly and moved my hand over the guitars neck without having to think
much about it. However, in this relation, especially at times when it began to fall apart
such as when the weather was too cold for me to play, I was strongly aware that this was
a sensate relation. My fingers would sting from the impression of the string on my
fingers when it was cold. Here the guitar became less of a bodily-auxiliary (Merleau-
Ponty 2002: 177) and more of an obstacle to performing.

This morning my left hand is still tensed and

aching. My wrist and forearm are also tense
and occasionally spasm. Although its a nice
day today, theres no way I can go busking. My
hand just isnt up to it. 3 and hours of
playing yesterday has just ruined my hand and
forearm. My finger tips are still tingling as well,
although Im starting to form quite impressive
calluses on them. I think Im going to have to
take at least a day off until Ive recovered

We can suggest an alternative interpretation of such an inter-relation of the body and

objects of the world through the work of Deleuze and Guattari and their discussion of
machines (see Deleuze and Guattari 2004a; 2004b). Rather than thinking of the body as
a given totality or unity understood by or belonging to a subject, we can think of it as an
assemblage of machines. The machines that form the parts of an assemblage do not
form a seamless whole (DeLanda 2006: 4). They do not belong to an organic unity or
given subject. Rather, it is in their connection, channeling of intensive flows, and

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uncoupling that they produce a sense of subjectivity. For example, from the discussion
above, the finger-machine can connect with the string-machine on the fretboard-
machine. In making these connections these machines channel flows which constitute
the experience of intensive states of the resultant psychic body (Patton 2000: 72).
These channelings are affective. Again, taking the example above of me playing guitar in
the cold air, the flow channeled was consumed as one of sharp pain. From the
consumption of this pain a sense of the body and its machinic connections is produced
I came to myself in this connection as being in pain and as a point of accumulation of
these flows (Deleuze and Guattari 2004b: 243). This being in pain decomposed my
capacity to perform. Such a logic provides a way of thinking about the material
relatedness of the body, and its enrolment into relations with the world of objects, which
pays attention to the sensuousness of such experiences, but does so outside of any
thinking of a unified bodily being present at the outset of such relations, or one
predicated on the presence of an intentional subject, posited in advance, which enters
into those relations. Here there is not an experience of the body, but rather, the body
itself is experience (Nancy 2008b: 101); there is not a subject who experiences their
body or through their body, but a subject who emerges from bodily experience.
Further, and returning to a more explicit focus on the weather, the outdoor
setting of performances affects the opportunity to actually get out and perform. During
the time I was busking (and undertaking observations of buskers) I spent a large amount
of time on the Met Office website looking at weather forecasts and trying to plan when I
might be able to busk, and also judging when it would be worth the risk of it potentially
raining. We can return to the discussion of lines here and think about how my constant
concern with the weather came down to my usual approach to working. In doing my
PhD I am used to having to plan out my time a lot when I will write, read, go to
seminars, attend reading groups, read for these reading groups, go to meetings, and so
on. Some of this I am told to do and some of it is done by choice or out of habit. Im
used to compartmentalizing my time and working within this. As was highlighted in the
previous chapter, linear timetablings are not necessarily negative and do not necessarily
cause disquiets in their interaction with cyclical rhythms (see Lefebvre 2002). There can
be comfort in such routine (Deleuze and Guattari 2004b). This said, conversely, wanting
to have some kind of forward planning with regard to going busking was not always
practical the weather did not always fit with the plans for the rest of the week, nor did
it always follow what was forecast. Here there very much were cases when the

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persistence of rhythmic timescales within the linear time of modern industrial society
produced defects and disquiet (Lefebvre 2002: 49).

Donations
As has been implicit throughout the previous discussions, the central way in which a
street performer or a busker can gauge the way in which their performance is received is
through donations from the audience. If they are not good enough, they dont receive
donations or only receive very small ones. If they are good and people want to show
their appreciation, they receive a lot of donations or larger donations.63 In fact, the
receipt of a donation is one of the most affectively charged aspects of street performing.
This said, while donations show a positive reception of the performance and
therefore may act to positively affect the performer, the case is not always so simple. As
Serres (1995: 132) suggests, the sound of the coin is not worth the coin. There is in
fact a relative indeterminacy to the coins donated. We can think of this in terms of affect.
As mentioned previously, in developing his understanding of affect Deleuze (1988) did
not define a human being by its forms or functions, but rather, in realizing that a thing is
never separable from its world, defines it by its capacities to affect and be affected (see
Spinoza 1996). This suggests that we do not know what such a body can do in advance
(Deleuze 1992). As Deleuze (1988: 125) states you do not know beforehand what good
or bad you are capable of; you do not know beforehand what a body can do, in a given
encounter, a given arrangement, a given combination. Significant here is that we cannot
know in advance what the outcome of a specific encounter or combination will be as
we have many constituent relations, so that one and the same object can agree with us
in one respect and disagree with us in another (Deleuze 1988: 33). Each and every
donation, any composition or ecology of performer, donation, donator, and so on, can
produce a different affect; there is no direct causal link between donation and affect.
Donations can produce a positive affect, lifting the performer and enhancing their
capacity to perform (as has been mentioned previously), but also, importantly, donations
can also produce other affects which potentially negatively affect the performer, drawing
them away from that capacity.
This singularity can be drawn out along a number of more generic oppositions
and there are a number of ways in which this can be illustrated from my experiences of

63Sometimes people clap, but for most of the time this is unusual (at least for buskers). Also, if it does
occur, Ive always found the sound of one or two people clapping to be more awkward and even a little
embarrassing rather than positive.

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busking and the receipt of donations during this. Firstly, we can draw a distinction
between the receipt of a large donation and the receipt of a small donation.
Commonsense here might suggest that the large donation would produce a more positive
affect than the small donation. In some cases this was true. An example of this comes
from my time busking in Glasgow. One day, following my busking partner and I playing
a song by Gordon Lightfoot, a man came over, shook my busking partners hand and, in
doing so, transferred a ten pound note into it. As he did this he said: thats for the
Gordon Lightfoot. We were both shocked by this, but it felt amazing that someone had
enjoyed something wed played so much so as to give that size of donation. There were
also a number of similar occasions where people thanked us and gave us a five pound
note. Here the donation really seemed to relate quite closely to the level of appreciation
people wanted to show, and this increasing level of appreciation reflected in the ways in
which the donations affected us.
However, receiving such substantial donations does not always produce this
affect. During my time in Bath the largest donation I received was a one pound coin, but
there were occasions on which the receipt of a pound coin did not produce a comparable
positive affect. For example, on one occasion a man dressed in a suit and tie donated a
pound coin as I busked on Union Street. While this was the only pound coin I received
in my time on that pitch on that day the day in general did not go well in terms of
donations and therefore stood out quite strongly, it did not produce an especially
positive affect. This came down to the way in which it was donated the man threw it
into my hat in passing without stopping to pay any attention, and also was walking so
quickly that he had passed before I had the chance to thank him. This donation didnt
produce a feeling of appreciation or anything similar to that. It felt like I had been given
it because I was there, rather than because of what I had done. This donation was, at
best, indifferent or, at worst, negatively affected me in drawing attention to the small
amount of attention that people were paying attention to me at that time in that space.
Conversely, thinking about small donations, there were occasions on which
receiving a small donation produced a relatively negligible affect or even a negative affect
which drew me away from my capacity to perform. For example, there was one occasion
when I was again playing on Union Street when someone donated eleven pence. This hit
me hard. I couldnt help wondering: was that all I was worth?. I did rationalize it by
wondering if it was all he had on him, but still, it really did bring me down. There was
another occasion on the Square by the Abbey when a couple donated what appeared to

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be all the coppers they had on them. This probably amounted to twenty or thirty pence,
but it felt like they were trying to lighten their pockets rather than really wanting to show
any appreciation of what I was doing. The donation was also accompanied by a
somewhat sarcastic every little helps. On the other hand, there were occasions on which
small donations did have a positive affect. Most notably, there was an occasion on which
the first donation I received was just a handful of coppers, but given I had been having a
poor day and had been playing for around 30 minutes without donation, receiving any
donation at that point, no matter how small, was better than not receiving a donation.
The donation helped me to go on that day and wait for more, hopefully larger, donations
to arrive.
There is also another way that the relative size of the donation can be
differentiated in terms of its size in relation to the person giving the donation. In the
main, it clearly appeared that the majority of people donating could easily afford to give
what they did. The majority I encountered were either tourists or people out shopping
who will spend far more on other things that day.64 Therefore, in most cases, the
financial standing of the person donating did not come into it. However, there were
occasions where this really did affect how the donation made me feel.
This was most evident on an occasion where I received a donation from a Big
Issue seller. He came over, said what I was playing was nice and mellow, donated, and
said sorry he couldnt give more as he was a Big Issue seller. I said no, thank you, as he
walked off. I didnt quite know how to feel about it. He wouldnt have given if he really
couldnt afford it, but he still really needed the money more than me. Equally, I didnt
want to refuse the money as this could be taken as patronizing or rude. I was going to
buy a Big Issue from him when I stopped (I couldnt walk over and leave my stuff as he
headed a little up the road), but when I did he was gone.65 Therefore, it is not only the
size of the donation that is received that affected how the donation affected me, but also
the circumstances in which it was donated, who it was donated by, and also the way in
which it was donated the singularity of each donation becomes apparent as these
factors become multiplied and folded together. This can be drawn out and further
complicated in relation to the frequency of donations.

64 This is a line often employed by street performers to suggest the size of donation people might give: a
cup of coffee is what, 2? I think youve enjoyed me at least as much as youd enjoy a cup of coffee?
65 This donation contributed to my decision to donate all money received during the research to the Big

Issue Charity as discussed in Chapter 3.

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 On the occasions when donations were sparse, each occasional donation drew
more attention and, in doing so, affected me more strongly. We can return to the
distinction in experience that I drew earlier between performing on the shopping streets
in Bath and my later busks around the Abbey. In the earlier busks, at the end of the day I
could actually state the number of donations that I received given this rarely made it into
double figures. In fact, on one occasion, in one 30 minute busk on Stall Street by the
Pump Rooms, I received only one donation. However, when the donations were more
frequent when I performed by the Abbey for example, from a one hour video-clip
taken on the Abbey Square I counted sixteen donations it was easy to start to lose track
of each donation; donations would come in flurries of four or five within a minute or
two, or just take place regularly meaning I stopped noticing each donation as much. In
the times where donations were spare and few, I developed far more of an affected
relation to each specific donation each one carried a particular quality and affect. In the
times where donations were frequent and plentiful, I developed a more general relation
to the time period as a whole a less fragmented affective relation was drawn from the
constancy and totality of donations.66
Another way we can think about the affectivity of donations and how this varied
is in relation to what people said when they donated. As suggested above, some people
donated without saying anything at all. However, many of the donations were
accompanied by a thank you, or I enjoyed that, or we really enjoyed listening to that
while we had our sandwiches, thank you. This was often the case when I played on
spaces where people lingered, so their donation was often attached to their having been
sitting watching for a time. These accompaniments often heightened the affect of the
donation the words that accompanied the donation made clear the sentiment with
which the donation was made and therefore made me feel more appreciated. Again
however, there were times when the accompanying comment affected me differently.
One such event is outlined in 5.4 which illustrates the specific unfolding of the donation
and the activities of the donor prior to and after the donation.

66 This was even more the case when I busked in Glasgow. There was rarely a song that went by without a
donation or multiple donations and we could make upwards of 40 or 50 per hour. This said, this
presented a different unit of affective significance. Rather than being affected by each donation or the
donations received in one outing in total, we began to be affected by the reception of each song and the
sum of donations received during each song. We were affected negatively when a song appeared to not go
down especially well, but equally, were affected positively when one received a lot of donations. This was
also affected by what we thought about the quality of our own performance and the relative level of
donation. I will however return to this below.

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5.4: Sincere donation

On this occasion, a woman arrived sat on a bench (at the bottom right of the
images) and listened. After around 14 minutes of listening, during which time I had
received no donations, the woman stood up, walked toward me, and donated. As she
donated, she said Thats lovely, thank you. This felt good and gave me a (very
momentary) lift. As I had received few donations to this point, receiving this donation
and the message of thanks made me feel a little better. However, having gone to walk
away, she quickly followed this by saying (in a somewhat overly sincere manner) Very
relaxing, thank you very much. It was this later comment that stuck with me. It was just
a little too sincere and a little too pointed. It drew attention to the fact that I hadnt been
doing well and perhaps that this woman had noticed. I am certain she only meant well in
saying it, but I was left with a lingering feeling that things werent going well. This
therefore made me a little self-conscious, a little nervous about how things were going.
Another specific aspect of the comments that accompanied a donation was the
recognition of what I was playing. This had a more pronounced affect when I played in
Bath and Bristol than when I played in Glasgow, given that the songs I was playing in
Bath and Bristol were far less well known. In Glasgow, we regularly got comments along
the lines of Ive not heard that in ages, or I saw the Eagles play that in Glasgow in

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197, and so on. This meant that it was likely that people would have to pay far more
attention to notice what the song I was playing was in Bath and Bristol, but also that
there was generally a far lesser likelihood of someone recognizing the song. One example
of this is illustrated in 5.5, again taken from a video clip on the Square by the Abbey.

5.5: Recognition of song and clapping

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158
 Here, a man wearing light colored trousers and a burgundy colored jumper and
sun glasses arrived at the bench at the bottom right of the image and took out his lunch.
Around 5 minutes later, he clapped at the end of a song he was the only one to clap
and only gave two or three individual claps. I noticed this and nodded to him in
acknowledgment, somewhat awkwardly. Around 12 minutes later, having collected up his
lunch rubbish, he walked over and donated saying I really enjoyed your OCarrolan,
thank you. This affected me quite strongly. I had only recently started playing more
traditional music before going out busking for the research and so being complemented
on playing a specific song lifted me and increased my confidence in playing that type of
music.
In thinking about the affectivity of donations it is important to note the affects of
not receiving donations. As has been illustrated by the extracts taken from my research
diaries earlier in the chapter, as each minute passed when I didnt receive a donation, I
became more and more de-motivated. As this de-motivation proceeded, I could feel it
being manifest in my body. I could feel my posture change, I was looking to people for
donations, and, generally felt like I was giving off an air of discomfort through the
expressions I assumed though did not deliberately choose. I had a sense that this
affective disposition was being communicated through this bodily comportment to those
who were passing by (Thrift 2004), and, in doing so, potentially putting them off
donating to me and lifting me out of this slump.
In addition to this non-receipt of donations, there were many occasions of what I
could call non-donations people rummaging in their bags or pockets as they passed, or
people who stopped and hovered around, apparently listening, but then walking off as

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they had been waiting on some one (see 5.6 for an example). These non-donations
provisionally produced a positive affect they would lift my spirits in the sense that I
thought someone might donate, that someone was listening, or that someone was about
to donate. However, when this didnt materialize, the resultant slowing down in the
negative affect was more pronounced.

5.6: Taunting donation

It is important to mention something here though that might have strongly

impacted on my relationship to the donations that I received during the course of
busking for this research in Bath and Bristol (my busking in Glasgow is a somewhat
different case). As suggested in Chapter 3, given that I was busking for research the
donations I received very likely affected me differently than if I was busking for a living
or with the aim of financial gain. It is very likely that the receipt of donation, for me, was
very different to a number of the other buskers who busked in Bath and Bristol given
their different circumstances and motivations. I should note though, importantly, that
each buskers relation to their donations is also likely to differ from every other busker,
with each having different circumstances or motivations to busk. I am reticent to
generalize here given I encountered buskers who were full time, part time, did it for fun,

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to get out of the house, and so on. I do not want to universalize here given the previous
discussion of the debates on affect. It is possible that I was affected more in terms of the
reception of what I played and how that affected the quality of my performance rather
than on the basis of the financial gain made. It was perhaps my artistic pride that was
being affected rather than other important factors such as being able to pay my rent, and
so on. That said, during the time I busked in Glasgow when I was living off busking,
once I was certain that we were making enough (something that was never really an
issue for us other than being put at risk by not getting to play due to the weather), it did,
in part, come down to artistic pride.

Engaging Others
In Chapter 4 I discussed how, in street performing, there is a reduction in distance
between the performer and the audience. This occurs both on a material level there is
not the same architectural separation of performer and audience but also on a more
symbolic level street performers are not generally given the same sort of status as a
performer who performs in a more formal environment. This means, in street
performing, regular proximal engagements occur between performers and their audience.
There are numerous occasions on which I have encountered and been engaged by
members of my audience. Sometimes, as has already been suggested, this is a largely
positive occurrence. People simply say thank you, or something similar, comment on
the song youre playing or your abilities, say something about how youve made a
difference to their day. Sometimes this extends to a short conversation. People ask if you
do this professionally, ask if you play elsewhere (in venues), and so on. However, while
the majority of interactions are of this positive vein, sometimes interactions occur of a
nature that is not so desirable.
Often work on performer-audience relations has been focused on the notion of
community. For example, Herbert Blau (1990) questions the mythos of community
present in many discussions of theatre which suggests that theatre emerged organically
from collectives rites and rituals. In response to this Blau suggests that the theatre
originates from difference (Auslander 1992: 411). Blau then goes against understandings
of theatre and its audience which focus too much on the notion of theatres aim as being
to bridge the fissure between observer and observed (Kosidowski 2003: 83). In
contrast, Blau (1990: 10) suggests there is an original splitting, rather than a
community, as there is no theatre without separation. As Auslander (1999: 56) notes,
the dynamic of performanceis predicated on the distinction between performers and

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spectators. Indeed, the effort to eliminate that distinction destroys the very possibility of
performance (see Auslander 1997).
Taking this out of the theatre and into the street, such difference and original
splitting is perhaps even more evident in those negative encounters that I suggested
above. In street performing, the performer, in a sense, is actively inviting their audience
to come and engage them, given this is something relatively normal in the conduct of
everyday spaces.

May 20th. I arrived in Broadmead around 1.10pm to find the place was very busy. A lot of people were
evidently in a rush to get lunch before heading back to work. I set up at the same place as before (outside
Tesco) and, for the first 30 minutes or so, little happened people just rushed about and didnt really
pay much attention to me. Once the rush started to recede things became a little mellower. People started
to pay me a little more attention and it went back to being more like the previous days there. Again
people were nice and friendly and some stopped to chat to me.
However, around about 2pm, things took a rather odd and unsettling turn. I spotted a man
who looked rather worse for wear. He was wearing shabby clothing, a large ill-kept full beard, a large cut
over one eye that couldnt have been more than a couple of days old, and generally looked as though hed
been sleeping rough and drinking he had that look of blood-shot skin around his cheeks and nose. He
stopped dead, looked in my direction, and walked, somewhat staggeringly, straight toward me as I played
Signe (a bossa nova by Eric Clapton). Just as I finished he lent forward to put money in my hat. I
instantly felt guilty he looked like he needed the money more than me. However, rather than walk
away or step back, he looked up, and without warning, looked me in the eye and said I love you.

In the essay Shattered Love, Nancy (1991: 92) suggests that [n]othing leads us more
surely back to ourselves than love but that an I does not return to itself from love and
something of this I is lost or dislocated. While said in a very different context, namely as
part of a discussion of the impossibility of naming or attaining love or of freeing the self
from it due to its lack of completion, this statement is still poignant here. As was
established earlier in the questioning of the I, like Nancy, I want to question the status
of the self as something that we can be led back to, and especially as something we can
be present to in advance of an encounter. To put this in terms of the encounter outlined
above, the statement I love you both brought me to myself, but at the same time did
not bring me to full self-presence I was placed outside of myself in trying to make

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sense of the event that had just occurred; this I was fractured and unsettled. While, as
just suggested, interactions between performer and audience are quite common in street
performing, as should become clear, something set this encounter apart; there was a quite
visceral sense of liminality here.

I love you? This left me speechless. However, he then explained he didnt want to cause offense to me,
but that he loved what I was doing like you would love a rainbow or a sunset. This made it a little less
weird, but I still did not exactly feel comfortable. I nodded. He then proceeded to tell me a large part of
his life story the context of which I eventually figured out was that he had lived in Spain (the song
sounded a little Spanish), that he spoke numerous languages, and other points about his past. I wasnt
too worried at this point given previous experiences of busking and playing in pub venues in general Id
had drunk people doing similar things before. I simply nodded, didnt really offer much conversation, and
hoped soon he would get bored and move on. This had worked in the past.
However, he started to repeat himself. Each repetition started with the refrain: Africa now is
like when the Romans left Europe, and with each repetition of this, and his life story, he added material
that made me increasingly uncomfortable. He kept swearing, calling a selection of people cunts, but
straight after apologizing for his language and saying: I dont mean to cause offense. This was to become
another familiar refrain. The main thing that concerned me about this was that he was speaking rather
loudly and I had spotted a number of disapproving looks from people walking by.
He then moved on to discuss racism (within the context of his life experiences of living in
Rhodesia), and although not advocating racist views per se, did repeatedly use offensive language in that
vein. I was now really wondering how to get away from him or to get him away from me. I couldnt think
what to do. I could smell alcohol and, given the cut above his eye, I was concerned that if I did something
rude to do so, he might be aggravated hed clearly recently been in a fight. This wasnt helped when he
dropped in that hed been in the army and that theyd wanted him to shoot at those Caffer Cunts but
deliberately missed he didnt like racism.
At this point he was standing right in front of me and I couldnt really see people passing. I was
hoping to catch the eye of someone or to see a Community Support officer but I couldnt. I really wished I
was back in the bars I used to play in in Glasgow where there were bar staff and bouncers to deal with
this kind of thing, or with my old busking partner who was substantially larger than me so could more
easily dissuade such people from hanging around by physical presence alone, or by mutual ignoring of
them.
His cycling narration of his life story turned to making odd remarks about religion (again back
to Spain and his experiences of Catholicism there), saying he liked African regions with many Gods, but

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didnt like atheists. He also didnt like judging people based on this, but DID appear to be doing so. I
was now trying to make it clear I wanted to stop the conversation I deliberately made my responses even
more stunted and began to play my guitar a little to give him the (too) subtle hint that I wanted to play
again rather than talk to him.
He continued his cycling story, but now blurted: The thing is, everyone should masturbate, I
mean you think they dont? You think the Queen doesnt? Sorry, I dont mean to cause offense.

A central theme and tension in discussions of intersubjectivity, as highlighted in relation

to Merleau-Ponty in Chapter 2, is the relationship between being in common with the
other and the others otherness of distance. For example, to return to Merleau-Pontys
(2002) account of dialogue, Merleau-Ponty suggests that a common ground is constituted
between the self and the other, their words being entered into a shared operation of
which neither were creator. Here, a dialogue is a collaboration: there is an emphasis on
sharing, being in common, and reciprocity. There are echos of the mythos of community
suggested by Blau (1990). This could not be further from the truth in the encounter with
my other I have been outlining. There was nothing like a collaboration or a feeling of
sharing of reciprocity. This was an encounter of rupture, with the only thing being shared
being a lack of sharing or being in common.
I previously stated that I did not come to my self in our initial encounter. Neither
did I come to the self of the other in his declaration of love. In that moment he was
absolutely alien to me I in no way knew this other but rather was traversed by him and
this proclamation. As the extract above continues to show, nor did I in the further
unfolding of our encounter at no point did I feel like I had come to an understanding
or knowing of this other person that faced me, and my sense of self was rattled.
However, this is not to say that I could have known this other. It is not only a
question of who is this I that would know this other, as I have already suggested, but
also of who is this other I. If there is no self to be present to or there is no I given
prior to an encounter, this asks serious questions about how we can understand
intersubjective relations when we have to conceive this in the absence of any pre-given
subject to be relating from or in relation to. It asks the question: how can
intersubjectivity occur or be recognized when both I and the other I are perpetually
unfolding and, therefore, are in our selves other to any I that I would have or the other
would have? What happens when [t]here never remains anything of the subject, since he
is to be created on each occasion (Deleuze 2006b: 87)? Or as Grosz (2001: 91) asks:

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What does it mean to reflect upon a position, a relation, a place [here the I] related to
other places but with no place of its own: the position of the in-between?. All we are
really left with is the inter of the intersubjective.
To move on from this potential impasse of thinking about intersubjectivity and
the relation between performer and audience, as Nancy (2008b: 31) states, Ill always
know others as bodies. An other is a body because only a body is an other. It has this nose,
that skin color, this texture, that size, this fold. It is important though to emphasize that
this is distinct from the traditional way phenomenology, particularly in its Husserlian
variants, has understood the subjects relation to its body and the body of the other it is
not a case here of a subject governing a body, bestowing sense upon its body, and also
recognizing the others subjectivity empathically through a bestowal of sense upon their
body (as discussed in Chapter 2); it is not a presentification of the other by a subject.
Here bodies are always with other bodies and such bodies never stop selving (Nancy
2008b: 113). It is more about a circulation of sense in such encounters, a transimmanent
sense as Nancy calls it, which is neither transcendental and given in advance of the
experience, nor immanent and present within that which is experienced (see Chapter 7
for more on this).
Therefore, returning to this corporeal nature of such an encounter, we can return
to the machinic logic outlined previously. As the account I have provided suggests, the
encounter was initially an affective bodily connection of eye, clothing, beard, skin,
wound, nose, breath, and so on. This bodily connection resulted in the consummation
and resonance of the intensities channeled and out of which a sense of myself emerged in
being discomforted and unnerved. At the same time a sense of this other emerged, as a
person who was likely sleeping rough and was drunk, through this consummation and
resonance. There is then a becoming otherwise of each of the terms thus bounded in
this greater emphasis on creative inter-relation and the in-between (Grosz 2001: 65). A
sense of this whole other, a whole not given or final, came from the relation to these
body parts, rather than my empathic recognition of him as a pre-existent behaving other
(as was previously suggested in the discussion of Merleau-Pontys account of
intersubjectivity).
While it could be argued that this does leave open the question of the knowledge
of the presence of other subjects that has been so central to understandings of
intersubjectivity and so troubled Husserl, it does in fact infinitely defer the question the

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subject will always be coming, but yet to come; the coming never ends, it goes as it
comes, its a coming-and-going (Nancy 2008b: 65).

At this point Id come to the end of my tether and WAS going to just leave. I had come to realize I had
a man standing in front of me who 1) loved me 2) was using racist and offensive language 3) was making
religious generalizations and judgments, and 4) was now talking about masturbation. I simply, and
plainly, said Right and looked away. He again repeated: I dont mean to cause offense, and quickly
said he was going to the pasty shop just down the road and did I want anything. I declined politely, but
he continued, and after a minute or so he gave up on that, but offered me a coffee. Again, I said no
politely and he accepted. I now saw my way out. When he was in the pasty shop I was going to pack up
and effectively leg it. Before leaving he said you wont mind if I sit there (beside me) and listen will
you?, but I didnt get the chance to answer. It hopefully wasnt going to be an issue. As he left, however,
a woman Id seen listening earlier came over, put money in my hat, asked if I was a student and started
(SLOWLY) trying to remember what her son had studied.
As she muttered to her self was it Maths or Physics, no, maybe it was Chemistry, I could see
the man coming back.
He came over and stood to the side of me and the lady said to him: I hope youre going to put
something in his hat and he responded saying he had and that wed been chatting/were friends. I wasnt
his friend! She gave a rather suspicious and disapproving look and left. Rather than play on or talk
more I simply said: Sorry, Ive just realized the time I need to go meet someone. I thought this was the
best approach. I wasnt going to give any more or less detail or change from this line. I didnt want to stay
there any longer, even if he did sit there quietly. I just wouldnt feel comfortable and he would, in all
likelihood, try to chat more. As I packed up I could feel my heart pounding. I was trying to pack as
quickly as possible but not look as though I was. My hands shook a little and I fumbled to put things
away. As I did he made mumbled comments about everything having its place, sorry, I dont mean any
offense. I then said bye and he said nice talking to you friend and put out his hand. I really didnt want
to shake it, but I did - possibly the shortest and loosest hand shake of my life. I then walked off quickly
out of Broadmead, deliberately not looking back. I stopped a little up the road, out of sight, to compose
myself a little more, and sort my things a bit. I was still really unnerved; my hands still shook a little.

I dont think at any point I really felt in danger, or was in danger, during this encounter.
However, given the presence of alcohol and the nature of the conversation, I didnt want
to risk him turning on me in any way. Further, beyond the danger of any violence or

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confrontation, there was the very real, very material impact that the encounter had on my
bodily being. My palms were sweating, my heart pounding. I was struggling to form a
plan to get away, my thoughts felt like they were running at 100mph. Time seemed to
move so slowly. I think the encounter lasted around 10 to 15 minutes, but it could easily
have only been 5. The inter-corporeal encounter with this man, though not one of
physical contact, had direct material implications for my body.
While this might be an extreme example of the kind of interactions that can
occur between street performers and their audience, it was by no means the only such
extremely unnerving interaction I encountered during my time busking for this research.
I also had a woman older than my mother try to kiss me the day after this event and, a
couple of days before this, had a woman accuse me of putting myself on display and
suggesting I bet youve not even lost your virginity yet I can only assume that she was
implying I was whoring myself in playing on the streets based on her other ramblings.
Also, in the past, my previous busking partner was felt up by a middle aged woman in
Glasgow as she tried to dance with him and I had a Calvinist minister try to enroll me in
his preaching, but when I refused, very vocally renounce me as a sinner (for around 15
minutes). Nonetheless, I think these sorts of events show something about the ways in
which intersubjective relations occur in such spaces and the momentary forms of
community, or rather, lack of communion, that may occur.
As Blau (1990: 10) states, in thinking about the relation between performer and
audience [w]e are trying to understandthe possible grounds for community in a reality
of fractures of which that originary splitting is the open fissure. Or, in Nancys (1991:
28) terms, community meansthat there is no singular being without another singular
being, and that there is, therefore, what might be called, in a rather inappropriate idiom,
an originary or ontological sociality. This sociality is of bodies. Bodies with bodies; an
intercorporeity rather than intersubjectivity (Csordas 2008). However, this originary
sociality does not mean that there is a shared origin or unity in community as there is no
origin, or ground, to be shared. Rather, community can only be a being in common or
sharing of the impossibility of any common being the fissure Blau talks of. Any
communion is therefore always to come: [i]ncompletion is its principle, taking the term
incompletion in an active sense, however, as designating not insufficiency or lack, but
the activity of sharing, the dynamic, if you will, of an uninterrupted passage through
singular ruptures (Nancy 1991: 35). The I is constituted in this communion, and so
does not form the basis of it. However, the I is constituted broken in being exposed to

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arrival and departure, the singular being is traversed by the alterity of the other, which
does not stop or fix itself anywhere, neither in him, nor in me, because it is nothing
other than the coming-and-going (Nancy 1991: 98).

Being Territorial
May 21st. I arrived into Broadmead to find someone playing in the spot Id played in previously. The first
thing that entered my mind was: Hes in my spot. He was sitting in the exact same spot I had been
playing in previously. It wasnt my spot, but I just felt this attachment given I had enjoyed playing there
previously. Given the road works around Broadmead67, there wasnt anywhere else to set up. I was
irritated, though really had no good reason to be. I think what really got to me was, in my mind, he
didnt need the space he was un-amped, and really barely audible on the other side of the street. There
were loads of narrower bits further up the road he could have played in. He could have easily found
another spot but I might not.
I headed up the road I thought I could try playing outside the Arcade. However, there was
someone there too. I kept on up the road, my frustration building.
Having had a final look around, there wasnt going to be anywhere else worth playing I was
either going to be drowned out by generators, cars, buses, or just not have enough space due to all the road
works. I headed back the way I had come. I thought it might be worth asking the other buskers if they
were going to stop any time soon. I went to the violinist outside the arcade and he was very friendly. He
said he had just started and planned to play until around 4pm.
I headed back up toward the other busker. He too was friendly, but said he was going to play
until he made 20, but had only made 10 so far. He suggested other places hed tried recently, so I
headed off to try to find somewhere to play.

It is easy to become attached to certain pitches in which a performance works. When I

busked in Glasgow, we rarely played anywhere but a select two or three spots which we
liked and felt comfortable in and in which our act went down well. I found the same
happening in the short time I busked in Bristol.
Returning to the previously discussed three lines, we can make sense of this
territoriality. As mentioned earlier, when I started busking I was dominated by more rigid
lines. In going out busking, I managed to develop some suppleness I varied my routine.
However, in developing an attachment to specific pitches, to specific territories, these

67At the time substantial renovations to the Broadmead area were being undertaken preceeding the
opening of the Cabot Circus area. This meant that substantial areas were fenced off so the road surface
could be replaced.

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newly supple lines started to rigidify. In trying to stick to the same pitches, it became
evident that the segments which run through us and through which we pass
aremarked by a rigidity which reassures us (Deleuze and Parnet 2006: 103) and [t]he
more rigid the segmentarity, the more reassuring it is for us (Deleuze and Guattari
2004b: 251). I wanted to play on the pitch outside Tesco in Bristol because I knew that I
would be relatively happy there and that I was likely to do relatively well. This was the
same with specific pitches in Bath initially the top of Union Street and later the pitches
by the Abbey. However, in this reassurance, it turns us into creatures which are the
most fearful, but also the most pitiless and bitter (Deleuze and Parnet 2006: 103). As
the above diary extract shows, I felt bitter that someone else had managed to get my
pitch. I was worried about where else I could get to perform and how this would go. I
felt an irrational dislike for the busker in my pitch simply because he was in my pitch.
This was not only the case for me, but something I came across with select other
buskers also. For example, one such occasion of territoriality occurred when I was
busking on Union Street in Bath. I had initially played for an hour at the top of the Street
in the space opposite Next pictured previously (5.1). After this hour I headed down to
the other end, at least the 50m the guidelines suggest, to busk outside Currys. However,
only a couple of songs in, another busker approached me rather aggressively. I
recognized him as being a regular in Bath. He came up to me and said in an aggressive
tone: This is my spot, Ive been waiting more than an hour for you to move, I play here
everyday. I said that Id only been here 10 minutes, but he said No youve not, Ive been
waiting an hour, this is where I always play. At this point I didnt want to get into any
sort of fight and, it being early on in my fieldwork, I didnt want to make things difficult
for the future. Therefore I said, well ok then, but Ive not been here an hour. He just
stuck to the same line until Id packed up. Once Id relented and decided to move on he
did become a little less hostile, but I think this was mainly down to the fact Id given in.
This in a sense leads us full circle to my opening experience of busking and the
need to open myself up to some suppleness and be less stuck in the comfort of my
routine. Perhaps buskers arent necessarily the wandering troubadours that they are
often romantically portrayed to be. Rather, they have their own routines and patterns,
but these dont fit in with what others usually understand to be the routine, or daily
grind (Lefebvre 2004).

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 V. Conclusion

In this chapter I have discussed some of the varied affective relations that take place in
the undertaking of street performance, between performer, space, material objects, other
people, the environment, and so on. In doing so, I have further pursued the three post-
phenomenological trajectories outlined in Chapter 2. These have related to the
movement away from an overly subject-centred understanding of embodied experience
to one where the subject is something de-centred, existing as a product alongside the
experiences the body undergoes. Further, I have laid more emphasis on the ways in
which a body is socialized and therefore operates within and under a certain plan, or
plane, of organization that draws out and influences (though does not dictate) what it
does or tends towards doing. Finally, I have paid more attention to the felt nature of
these experiences, emphasizing that our embodied experiences are intimately tied to our
feeling of what happens and our being enrolled in affective relations with the
environment we inhabit, both positive and negative.
In the remaining two main chapters of this thesis I will take these themes further.
I will render sharper, and further develop, the post-phenomenological trajectories
outlined previously through engagements with the works of Husserl and Deleuze, and
Nancy, respectively. This engagement will proceed at a relatively more theoretical level,
enabling me to make more explicit the conceptions of the subject and the feeling-body
that have been operating within the discussion of the empirical material of this chapter.
More substantively, this development will proceed through a thinking of the acts of
attending that occur in relation to street performance and so addressing the second half
of the second research question outlined in the Introduction to the thesis in terms of
how the spatialities of the street affect the embodied experience of the performance
(something already touched on in Chapter 4). Firstly, this will be thought in terms of how
people become aware of street performers and their performances. This is integral to the
audiencing of street performance given its situation outside the traditional set up of
theatres/stages as outlined in this chapter and given that so much of our everyday
perceptual life is made up of a multitude of fleeting acts of attending (Casey 2007).
Secondly, it will be thought in terms of the ways in which people listen given this setting
and the potential lack of concentrated, interpretative listening given this fleeting
engagement.

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 Chapter 6

Audiencing street performance

[A] performancetakes place only in action, interaction and relation.

Performance isnt in anything, but between
(Schechner 2002: 23-24).

The first moment of noticing is indispensible; without this, nothing will

happen, nothing will endure
(Casey 2001: 2).

I. Preface

Throughout my time busking I became increasingly struck by how little attention people
paid to me and the small proportion of people who paid any attention at all. I was
worried this was down to me, that it was something to do with my act that I wasnt
very interesting, or very good but from walking around, watching others perform, I
kept seeing the same pattern; people didnt pay attention. So many people did little more
than alter their gait or hover briefly, turn their head as they pass, or just keep on
walking

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172
 II. Introduction

Given the increase in attention given to performance within geography of late (see Thrift
and Dewsbury 2000; Dewsbury, et al. 2002; Latham and Conradson 2003), there has been
a conspicuous absence within this literature of discussions of audiences. Geographers
have tended to focus more on the performers themselves (often a geographer
undertaking an ethnography), and have, as a result, neglected the audiences of those
performances (see McCormack 2002; McCormack 2005;Smith 2000). Given that a
substantial amount of the inspiration for this interest in performance has come from
Performance Studies itself (see Thrift and Dewsbury 2000; Thrift 2003a), it is surprising
that this more substantive focus has not also translated. Within Performance Studies
there has been a substantial treatment of the audience (and as I will go on to discuss
later, audiencing) (see Abercrombie and Longhurst 1998; Auslander 1999; Blau 1990;
Copeland 1990; Lee-Brown 2002; Logan 2005; Park-Fuller 2003). As the epigraph from
Schechner (2002) suggests, performance is something between, it is a relation; the
audience is of significant importance. Therefore, the remaining two chapters of this
thesis will be devoted to the study of audiences and specifically their practices of
audiencing in terms of how the spatiality of the street affects the experience of those
performances, and so addressing the second aspect of the second research question
outlined in the Introduction to this thesis.
I ended the last chapter by highlighting a shift in focus from the more empirically
oriented discussions of Chapters 4 and 5 to a more explicit theoretical emphasis of this
one and the next. I am making this shift so as to more precisely articulate the
engagement of the thesis with the post-phenomenological trajectories outlined in
Chapter 2, particularly the first and third of these.68 To reiterate, the first of these
trajectories pursues a critique of the phenomenological-intentional subject and so
develops a more ecologically distributed conception of subjectivity. In this chapter and
the next I am therefore interested in the ways in which acts of perception occur is such
an interrelational manner rather than as occurring through the initiatory act of a
preexisting subject. Further, the third trajectory pursues an increased emphasis on the
vitality of embodied experiences. In this chapter and the next I want to focus on the
centrality of affective registers of experiences and the allure or resonance that occurs in

68 I am not focusing so much on the second trajectory around the socialization of embodied experience
here as this was already engaged in some detail in Chapter 4 in relation to the works of Lefebvre and
Deleuze, and in the previous chapter. That said, the discussions presented in this chapter and the next do
still further contribute to this trajectory in relation to habit (this chapter) and disposition (Chapter 7).

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and between the body/bodies and the multi-sensory environments they are situated
within. I want to emphasize though that this is definitely not to say that this chapter and
the next will be abstracted from the theses interest in street performance. As I just
mentioned, they will think through two specific aspects of the acts of audiencing members
of the public undertake in relation to street performance becoming aware and listening.
The chapter at hand will be concerned with an examination of becoming aware
something, following the last chapter, I will argue is central to the audiencing of street
performances given the setting of the performance in the street. This chapter will
therefore unfold as follows. Firstly I discuss recent work from Performance Studies and
elsewhere, specifically in relation to audiencing, and make connections to work
undertaken in geography. I then refract this through recent work on visualicity and the
gaze/glance, and tie this to recent work in geography around the development of a post-
phenomenology in the continued development of the post-phenomenological trajectories
just mentioned. Given this scene setting, I go on to examine one potential understanding
of how we become aware via a reading of Husserls discussion of the passive and active
synthesis and specifically within this his discussion of the affection of the object. I turn
to Husserl here as his philosophy provides one of the most substantial philosophical
accounts of how attention is lived through (Steinbock 2004b). However, this account is
problematic in a number of ways. Therefore, in a post-phenomenological move,
Husserls account is critiqued in light of Deleuzes understanding of the relationship
between the passive and the active and his more general philosophies of the subject,
affect and representation.

III. Audiencing, Observation, and Spectatorship

Within Performance Studies and cognate disciplines there have been numerous studies of
audiences. Within these, attention is often paid to specific performances and the roles
that the audience play within them. For example, Park-Fuller (2003) discusses specific
Playback Theatre performances which blur the role of the performer and audience
through the literal participation of the audience within the performance and visa versa.
Further, Logan (2005) discusses the ways in the intersection of performer, place, context,
and audience generate different dynamic in three differently located performances of
Menopause and Desire.
Within such discussions, the term audiencing has increasingly emerged
as an alternative to words such as viewing or spectating that are
commonly used to indicate audience members role in the performance

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 processmany consider the later terms to be one-dimensional, connoting
passivity. Audiencing, by contrast, suggests multi-sensory, volitional actions
such as empathizing, encouraging, or resisting in addition to simple acts
of perceiving, and thus aiding our understanding of audience members as
active subjects
(Park-Fuller 2003: 307; also see Rose 2007: 22).

While I find Park-Fullers (2003) outlining of the emergence of the use of audiencing
useful, I wish to question her assertion that acts of perception are simple. While agreeing
with the understanding of the audience as influential on the performance/performer (as
discussed in Chapters 4 and 5), I want to begin to question this notion of passivity, and
the related implication of an active form of audiencing, in relation to such acts of
perception. I am therefore playing more on the processual sense of the term audiencing,
suggesting that it is something that comes about through the perpetual interrelation of
audience member, performance, performer, space etc., and a particular focus will emerge
here on how such an interrelation initially comes about. I will be focusing on this given
the lack of formalism in timing and other aspects of street performance, and so the
audience has to become aware of the performance as it is happening, rather than necessarily waiting
in advance, and by paying attention to it rather than something else.
Thinking more about this understanding of passivity/activity in audiencing, we
can turn to the work of Crary (1992) who examines some of the common terms used in
relation to audiencing. Specifically, Crary (1992) discusses the term spectator which
comes from the Latin route spectare, literally meaning to look at and carries the
connotation of a passive onlooker looking at a spectacle (such as a performance).
Further, Crary (1992) highlights the lack of attention the term spectator pays to the
situatedness of the individual audiencing. Crary (1992) therefore opts for the term
observer given its relation to the observation of rules or codes of practice. Beyond this,
Crary (1992: 6) goes on to suggest that observer pays attention to the fact that any
specific notion of the observer is an effect of an irreducibly heterogeneous system of
discursive, social, technological, and institutional relations. There is no observing subject
prior to this continually shifting field. Such a notion of the observer to me is then
sympathetic to the ecological approach being taken to street performance in this thesis
and the second post-phenomenological trajectory outlined in Chapter 2. However, I will
take a less disciplinary notion here by focusing more on the heterogeneous stimuli that
also circulate around those discursive, social, technological and institutional relations. I
will be attempting to approach an understanding of audiencing as not necessarily
intentionally active or initiated, but nonetheless not as solely passive reception, and so as a

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form of ecologically related practice of observation, not spectatorship. To me, there is a
lot more going on in the apparently passive that might first meet the eye.
Moving to work undertaken in geography, there has been a longstanding interest
in visuality among geographers (Rose 2007). Initially, much of this followed a broadly
representational image of thought and so related to the development of the
understanding of the discursive, symbolic, and imaginative dimensions of visuality (see
Cosgrove 2008; for a review see Bissell 2009). More recently, and often in light of the
work in non-representational theory outlined in the Introduction, there has been a move
to a more practice-based understanding of visuality, whereby the focus has fallen upon
how everyday practices of seeing and showing (Mitchell 2002) consist of a complex mix
of performative, relational, and multi-modal elements and so are highly varied and
complex (Degen, et al. 2008). Here there is a move from an understanding of the
observer as detached and disembodied to one that is inescapably in the world and sees
with the world (Wylie 2006; also see Latham 1999).
Within this recent work there has been a strong interest in the influence of
technologies upon practices of visuality and the way in which acts of attending are
affected by the design of spaces and mediated by specific technologies of seeing (Bissell
2009). For example, work has been undertaken on spaces of consumption, drawing on
Debords (2005) notion of the spectacle (see Crewe 2000; Gregson, et al. 2002; Williams,
et al. 2001). However, returning to the critique of the language of the spectator discussed
above, such understandings have been critiqued for the ways they present the observer as
something of a passive dope dazzled by the spectacle; there is very little sense of the
activity that observers engage in (Degen, et al. 2008). Further, there have been numerous
publications around observation (in terms of surveillance), particularly drawing on
Foucaults (1979) discussion of disciplinary technologies (see Philo 1989), but also,
inverting Foucault somewhat, in with the control of the observation itself and how
technologies discipline spectatorship by impacting upon the way people look (Adey
2007).
As suggested above, I am not explicitly interested here in the technological means
through which street performers gain and hold the attention of the public (for example
through the use of amplification).69 I would suggest again that there is a danger that the
view of the controlled spectator again presents the spectator in a somewhat docile

69I have discussed in Chapters 4 and 5 the discursive means through which performers are controlled, and,
as a result, the ways in which the audience are relatedly controlled in their observation of performances,
and also, the material influence of the performance space in the organization of audiences.

176
manner. Rather, I am interested in the more phenomenological process of becoming
aware of a performance within the multi-sensory stimulation of the city street (which will
include technological elements). I am less interested in the observer observing, than with
the perceptual ways in which that observer comes to be an observer.
One work which discusses the ways in which we become observers is Sheilds
(2003) recent work on what he calls visualicity a concern for the relation between the
visible and the invisible or the seen and the un/not-yet-seen. Of particular interest here is
Sheilds conception of the glance. Shields (2003: 9) discusses the glance as a means
through which we may become aware of something, but also as potentially draw[ing]
the future into the present scenario, scanning and sampling it for not only trends but
affordances and other virtualities which may come to be actualized in the next
moment[a glance] attempts to anticipate what is about to be. I find this
understanding problematic, and particularly the notion of the glance as almost looking
for the virtual, as being in search of it. I find this problematic both in its interpretation
of the virtual as something that can in fact be looked to70, and in the intentional
inscription it presents in the subject glancing, or rather the glance itself there is, for me,
too much emphasis on a subject acting toward the world and not enough focus on the
subject being called forth by the world in their interrelation.71 I am trying to approach the
glance, or rather a becoming aware more generally72, as something lying between the
subject and the object in their presence in an ecology, but ultimately belonging to neither.
I am interested in, in Henrys (2003) terms, an appearing of the phenomena or world
which is other than the showing of intentionality.
In an attempt to get away from this lingering intentionality, and again returning
to the first of the post-phenomenological trajectories outlined in Chapter 2, I will be

70 In making this criticism I am envoking Deleuzes understanding of the virtual as distinguished from the
possible: [t]he possible is opposed to the real; the process undergone by the possible is therefore a
realization (Deleuze 2004b: 263). Sheilds outlining here of a looking to the virtual to me envokes
something possible. Deleuze goes on: [b]y contrast, the virtual is not opposed to the real; it posses a full
reality by itself. The process it undergoes is that of actualization (Deleuze 2004b: 263; also see Deleuze
and Parnet 2006: 112-115).
71 Although I get the impression the Shields is not deliberately suggesting such an understanding of the

glance as intentional, especially in that he explicitly counter-poses it to an intentional gaze, I cant help but
feel that the way he presents this conception is suggestive of a lingering intentional subject in its scanning
the horizon within the structure of time-consciousness.
72 I am reticent to pitch this solely in terms of a glance given that the processes of becoming aware that I

am interested in this chapter may be both visual and aural. It could be said though that a sound may solicit
a glance in hearing something we look to see what it is that we are hearing, or rather, there may be a
process of aural glancing a more metaphorical type of glance whereby there is a switch in auditory
attention toward a different aural stimuli (Idhe 2007). Any potential bias towards the visual will also be
balanced and complemented in the next chapters attention to practices of listening.

177
building explicitly on Wylies (2006) post-phenomenology of the gazing subject. I will be
building on it in that, while Wylies subject is one that has come to a place in the world,
stopped, and is giving its full attention to the world, I will be focusing on how that
subject may have come to be gazing, or, for that matter, not come to be gazing (Latham
1999). I will be interested in what Wylie (2006: 519) calls the youve-been-moving-but-
now-youve-stopped-to-look which much of social scientific research perhaps too hastily
passes by given that the [g]aze and the glance might be understood as twin gestures of
vision (Shields 2003: 5)73. I will be undertaking a post-phenomenology of becoming
aware that may in turn lead to a gazing subject. This interest in the complex
microdynamics of visual practices (Bissell 2009) also brings the discussion into
proximity to recent work in affect and the multiplicity of affective relations present in
our everyday experiencing of the urban (Thrift 2004; Thrift 2007), given that affects can
be understood as contingent processes through which attention takes place
(McCormack 2007: 365).
There is then a two fold movement in this chapter. Firstly, in response to Sheilds
(2003) call for a greater attention to visualicity and with the critiques of his conception
of it laid out above in mind and also as an attempt to develop a post-phenomenology
and specifically Wylies (2006) work on the gaze I will now turn to the work of Husserl
and specifically his work on the passive and active synthesis and the affection of the
object. However, given that I want to get away from the intentional subject, as Chapter 2
made evident, this may seem as an odd move. There is only so far I can then get with
Husserl, as will become clear.74 Therefore, the post-phenomenological move will come in
a re-turn to the work of Deleuze and an outlining of his alternative understanding of the
passive and active syntheses and their interrelation, and a more specific critique of
Husserls understanding around the themes of representation, subjectivity, and affect.
This is done in an attempt to present a non-intentional and non-subject centred
understanding of becoming aware. The second movement is more empirical in nature. It
revolves around an effort to understand the ways in which people attend to street
performers and buskers within the context of the everyday, and specifically in terms of

73 For an extensive discussion of this see Casey (2007) and his discussion of the lack of attention previously
paid to the work that glancing does in relation to perception (also see Craig 2008 for a summary of this;
and Casey 2004 for a related discussion).
74 It should be made very clear that, unlike Wylies (2006) aim of connecting and reconciling Merleau-Ponty

and Deleuzes work, I am not attempting such a reconciliation between the work of Husserl and Deleuze
here. I simply do not think that would be possible.

178
their having to become aware of those performances. The chapter then revolves around
the following event an event of becoming aware:

A figure walks down a

street. Amongst the
constant stream of people,
sounds, colours, lights etc.
something is happening up
ahead that catches that
figures attention. The figure
glances over, sees nothing
of interest, and walks on.
Another figure walks down
the same street, amid the
same multitude of sensory
stimuli. They glance.
Perhaps their attention is
held. They stand and watch
a while

Photo by Alyn Griffith

IV. Passive and Active Synthesis Husserl

Keeping in mind the general introduction to Husserls phenomenological project

outlined in Chapter 2, in this chapter I approach a singular point in his writings: his
Analysis of Passive and Active Synthesis, and more specifically his discussion of the
affection of the object within this (Husserl 2001a).75 This work, or rather course, having
first taken place in 1920-21, can be seen as Husserls phenomenological investigation into
the origin of truth, and can be situated within his broader development outlined in
Chapter 2 as following his transcendental turn. Part of the significance of this text lies in
that:
[w]hat we are privy to here are extremely intricate analysis of
phenomenological matters that pertain to the structure of intentionality,
evidence, and types of modalization as they are integrated into a genetic
phenomenology of association, and as they unfold both in both passive and
active spheres of experience
(Steinbock 2001: xxxvii).

Further significance lies in the fact that, as Zahavi (2003: 142-143) suggests, it is possible
to discern a somewhat different Husserl to the one often recognized from his main

75The ideas taken up in these lectures were also returned to in the 4th meditation of his Cartesian
Meditations so this will also be drawn on in the discussion here.

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published works in works such as this one. It is this different Husserl, and specifically
his thinking of passivity, who I think may offer some potential for thinking through how
we become aware.
Husserls analysis of passive synthesis arises out of his interest in the study of
time-consciousness (see Zahavi 2003: 80-97).76 Furthermore, this interest in time-
consciousness, in the temporal styles of givenness of impression, retention, and
protention, led to the more concrete investigation into affection and affective forces
(Steinbock 2004a: 23). Steinbock (2004a) delineates several meanings of passivity within
Husserls work.77 Firstly, passivity can be seen to indicate a lawful-fundamental regularity in
the way sense is constituted, particularly as a mode of sense-genesis (Steinbock 2004a:
23 [my emphasis]). Given that active syntheses are also generative, Husserl equally refers
to this as primordial genesis or primordial constitution. Secondly, passivity relates to a
sphere of experience in which the ego is not active, where it does not creatively
participate in the constitution of sense. Therefore, this does not mean that there is no
ego present, rather, that such an ego is not yet actively participating (I will return to this
assumption of the presence of the ego later). Following from this, and thirdly, the passive
sphere can be understood as pre-reflective, and hence already delimited by activity. The
passive suggests a realm of bodily habits that were once actively acquired but
subsequently have become sedimented into a style of comportment, and yet are
accessible pre-reflectively (Steinbock 2001: xli). Fourthly, passivity relates to a sphere of
pre-givenness in distinction to givenness, and the level of experience in which object-
like formations (not objects as such) are constituted (Steinbock 2004a: 23). Finally, as I
will discuss in more detail now, passivity is the basis for activity; it makes the active levels
of experience possible: anything built by activity necessarily presupposes, as the lowest
level, a passivity that gives something beforehand; and, when we trace anything built
actively, we run into constitution by passive genesis (Husserl 1988: 78).
In terms of the general relationship between the passive and the active synthesis,
Husserls lectures show a stepping back from the active to the passive:
[t]he basic theme of this book, how higher-order achievements, e.g.,
propositions about the world that are found in higher-order achievements
themselves may be traced back to elemental achievements of primal

76 I mention this since it gives continuity given that the work of Deleuze to be discussed shortly also arises
in relation to time-consciousness (Deleuze 2004b: 90-163).
77 I am drawing significantly on Steinbocks (2004a) in this chapter given its concise presentation of a set of

ideas presented in what is a substantial and meandering text, and more generally, given Steinbocks role as
translator of the text.

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 impressions process or the heart and its affections, is a theory of the
coming to be of apperceptions
(Hart 2004: 143).

This leads to a conception of the passive as a foundation for logic and active synthesis
the passive is a seed bed for sense formation (Hart 2004: 137) and as a result, a
conception of perception as culminating in the active, in judgments etc.. There is a switch
from passive to active that equates to a switch from pre-egoic experience to egoic modes
of experience (Steinbock 2001). Husserl is attempting to provide an account of the
genesis of meaning through ascending modes of attention.78 We can say here, and this
will be to anticipate what will be the fundamental critique levied against Husserl later in
light of the work of Deleuze, that the active is something that is built, or erected, upon a
foundation of passive syntheses.
Generally, Husserl provides three conceptions of genetic experience in terms of
passive and active syntheses. Firstly, at base, there is primordial constitution as a
phenomenology of passive experience, including apperception, motivation, affection and
association. Secondly, there is genesis between the active and passive spheres of
experience, where one traces the origins of activity in passivity. Here there is something
like a turning-towards of the ego in the transition from passivity to activity, a type of
proto-activity, a bridge. This could be understood as a submission of a pre-existent ego
to the affective allure. Finally, there is genesis within the purely active sphere of
experience where the ego functions in rational acts. Here we have acts such as
examination, explication, judgement, and ultimately, the phenomenological reductions.
It is already possible to suggest that the main point of interest here is the genesis
between the passive and active spheres of experience: I am interested in the way in which
passivity is that realm in which, through fundamental laws of association, affective
forces spur an egoic attentiveness to objects, enabling acts of remembering and
expectation to constitute objects as such (Steinbock 2001: xxxviii). This, for me, is the
point in Husserls at which a becoming aware would occur. Within this, an understanding
of affection is key.
Within the relation of the passive and the active, Husserl is particularly interested
the roles of affection and attention for the constitution of sense (Steinbock 2001: xxv).

78 This can be linked to Degen et als (2008: 1910) discussion of the distinction and movement between
thin or unfocused looking whereby objects exist as part of a scene to be passed through, blurred together
into indistinct background with very little sense of form and detail and a thicker, more engaged
lookwhenour eyes zoom in [on] a desired objectpulled out from the stream of material stimuli.

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By affection, Husserl understands the allure given to consciousness, the peculiar pull
that an object given to consciousness exercises on the ego (Husserl 2001a: 196; see
Smith 2003: 127). We can understand this allure as affective rays sent to the ego. This is
not to be mistaken for a causal stimulus, but rather an enticement to be on the part of
the object, a motivational (not causal) solicitation or pull to attentiveness which is
sensed (ie. smelled, seen, heard etc.) (Steinbock 2004a: 24). The affection, in a sense, is
the prelude to the intentional turning towards of the ego given the affections awakening
of interest (Hart 2004). This pull is relaxed when the ego turns toward it attentively, and
progresses from here, striving towards self-giving intuition, disclosing more and more of
the self of the object (Husserl 2001a: 196). From this the ego therefore strives toward
an acquisition of knowledge, toward a more precise view of the object (Husserl 2001a:
196). In fact, as Husserl (2001a: 221) states, any actual formation of unity [or sense]
always presupposes affective forces or affective differentiation. It is important to
highlight then that, echoing Chapter 5s discussions of affect, affection should not be
equated to emotion; emotion is in fact a higher order constitution or genesis while
affection is passive (Hart 2004).
Thinking through this more concretely, Steinbock (2004a) outlines a number
significant features of the role of affection. Firstly, given its centrality in sense-
constitution, affection brings a more radical structure of intentionality to prominence. It
suggests that intentionality is not entirely one-sided, stemming from consciousness, and
instead highlights a more bilateral nature: the object itselfelicits an orientation and
pattern of constitution from the subject, beckoning the subject to peruse it more closely
and participate in the formation of its sense (Steinbock 2004a: 24; see Husserl 2001a:
41, 43, 52, 58).79 It is instead a dynamic co-operative structure, a constitutive duet
(Steinbock 2001: lii). As suggested above, this beckoning can be understood as an
affective allure which is sensed due to the affective rays radiating from it.80 For
example, the sound of the guitar the busker plays, it tonality or timbre may hold an
affective allure.

79 I do still however get the sense that this is a humanistic formulation with such a beckoning being for
the subject. This is something I will return to later and critiqued in relation to the work of Deleuze.
80 It is important to note a number of divergences of this understanding of allure from that recently

discussed by Thrift (2008). These number at least three. Firstly, there is less of an emphasis on the design
of allure here. Secondly, there is less of a contention to aesthetic objects it is related to objects in general.
Finally, and most significantly, Husserls conception is far more humanist in nature in its emphasis that the
affective allure is for us.

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 Secondly, prominence in Husserls account is always already an affective
prominence something can only be prominent against a less affective background.
Anything coming into relief is always in an affectively charged relief. There is always an
inexhaustible and never fully thematizable world-horizon (Zahavi 2003: 97).
Therefore, the source of all affections, [t]he primordial sourcelies and can only lie in
the primordial impression and its own greater or lesser affectivity (Husserl 2001a: 217).
This suggests three things. Firstly, there is never a pure nothing of affection, only
gradations of affection. Second, even if we do not explicitly notice something being
affective, there can still be an affective pull being exerted. Just because we do not attend
to a busker in the street doesnt mean that the music they play doesnt hold an affective
force; there is a broader affective ecology present. Finally, just because the present
affective force is no longer at its peak and therefore not intuitively available, it doesnt
mean that there is a zero of affective force. Just because we have walked past the busker
and they are barely or even no longer in ear-shot doesnt mean that the experience of the
busker doesnt retain/maintain an affective force. It is possible that even if the affection
may be slight, it can still reunite with a present sense and be reconstituted so as to exert a
new force on the perceiver (Steinbock 2004a: 25).

6.1: The Abbey faade holds a stronger allure than the busker

Third, and coming out of this, in the present, there is not just one single ray of
affective force. Instead, there are many things exerting a force at the same time, rivaling
for attention (see 6.1). These may varyingly be in affective resonance81, either with the
subject or other affections (Steinbock 2001). The rattling exhaust of a car going by might
grab our attention, then the music from a shop once the car has passed, then the

81 For a more detailed examination of the notion of resonance, through the work of Nancy, see the
following chapter.

183
colourful coat of the person who walks across in front, and so on. Again, the everyday
presents an ecology of affections.
Fourth, in experiencing this stream of varying affection, the subject holds a
prereflective preferential directedness that is selective. Some affections will be more or
less significant than others, and such rivalry can occur within the same sense or across
senses. We can think here again about a person walking down the street. Depending on
certain factors, such as how much of a rush the person is in, if they are hungry and on a
lunch break, or perhaps given their previous experiences of buskers and resultant
opinions they have acquired82, and so on, certain sensations will hold an allure. Some
things may stand out a lot the smell from a bakery if they are hungry and others very
little or not at all a person handing out fliers or a busker if they are in a rush (see 6.2).
This emergence of an affective horizon is not totally understood by the subject it
emerges throughout the process of navigating their way through the street. As they
move, the perceptual and affective field is re-cast. This is all only understood and the
affections ascertained upon reflection.

6.2: A busker vying for attention during the lunch-time rush

Finally, an entirely undifferentiated field of affective forces is only possible

following it having been present in the living present. A zero of affective force can only
take place in the retentional past that has become entirely undifferentiated everything

82 An example of this occurred on one occasion when I was busking in Broadmead in Bristol. A woman
donated to me, and commented that she didnt normally give to buskers because she was never sure what
reason they were there, and from their appearance she couldnt always tell if they were druggies or
something. She then very quickly asked, slightly joking, slightly seriously: Youre not a druggie are you?.
This then show how such prior conception played a part in her conception of her present.

184
runs together as one, all retentional ebbs and flows form one unity into it through
multifarious particular lines of unity, but in such a way that no affective pull proceeds
from this unity (Husserl 2001a: 220). This undifferentiation, and therefore dormancy, of
affective force corresponds to the zero-point of awakening, a kind of phenomenological
unconscious (Steinbock 2004a). We could perhaps think here of a point where a person
has seen the same busker so many times, that following these collective experiences and
without further encounter, no further affective force is felt.83
Having outlined these aspects of the nature of affection in Husserl, we can, as
Steinbock (2001; 2004a) outlines, understand a number of ways of becoming attentive
given an affection from Husserls writings on the passive and active, expanding on the
three basic points outlined previously. Given the aim of this chapter I will focus on four
of these: two passive, the third being transition from active to passive, and the fourth
active.84
For Husserl, an affection is fundamental for something to become prominent in
our perceptual field, whether we in fact become attentive to it or not (Steinbock 2004a).
This said, it is important to note that, although there is a level of attentiveness that
culminates in a transition from passive to active spheres of experience, there are within
those spheres varying degrees of relation between affection and attention. Active modes
of attentiveness, such as explication, are only special cases of attentiveness. Therefore, we
also have to be clear on the point that in discussing passive modes of attentiveness, it is
important to realize that a slightly different conception of attention and attentiveness is
being put into play. It is not about making the implicit explicit etc.. Here there may be no
turning towards a theme in an active sense, but there is still an attentiveness to an
affective force that isnt nothing (Steinbock 2004a).
Firstly, from Husserl, Steinbock (2004a) suggest a level of attentiveness called
dispositional orientation. Dispositional orientation relates to the subjects comportment in
relation to or by the affection. As Steinbock (2004a: 28) states:
there is an affective emergence of the perceptual field that takes on a
particular configuration only in relation to a perceiver who is solicited due to

83 This is not however to suggest that an affection in the present always yields more force than one in
retention.
84 I have not covered all of Steinbocks modes here and at times run different ones together based on the

interests of this chapter already outlined. I therefore spend a more significant amount of time on the
passive levels and the transition from passive level to active, keeping Steinbocks initial three modes in tact,
but then collect together his ideas on the active under one heading given their more obvious discreteness
and less central interest to the chapter. It is however important to emphasize the significance Husserl saw
in the active, but I will return to this.

185
 his or her presence and style of comportment, and whose contribution is to
be oriented to the affective field by virtue of implicit preferential structures.

In this sense, this constitutes the affective formation of sense-unities in the passive
awakening of being in relation to me and an awakening of me in relation to it (Steinbock
2004a). As Husserl (2001a: 201) states, [w]e are quite comfortable in characterizing such
cases of unawakened awakening as awakenings, if we characterize them as the zero-point
of awakenings, similar to the way in which the arithmetician counts zero, the negation of
number, among numbers. These can emerge as prominent in a number of different
ways, in terms of the present (uniformity), retroactivity and protentionally. In terms of
the present, we can think of this in terms of walking down a street. In walking down this
street we are faced with an expanse of paving slabs of a grayish hew. Up ahead, suddenly,
an especially clean, almost white slab distinguishes itself in its brightness. We want to
step on it. It then becomes especially affective for itself its prominence emerges as an
affective significance. However, in so doing, the slab also pairs itself with other
clean/white slabs, and then, many slabs of varying cleanliness/whiteness; they form a
kind of co-present whole (Husserl 2001a: 178-179). This opens out a potential path way
through the expanse of slabs the path way is now affectively articulated whereas before,
it was affectively unarticulated. This pathway may not emerge in the same way for
another pedestrian they may pay no attention to the clean/white slab, rather being
affected by the lines of cracks running between slabs and not stepping on them given a
common superstition.85 Secondly, thinking through this in terms of retroactive passive
awakening, we can take an example directly from Husserl (2001a: 203) that bears a strong
relation to street performance:
[a] melody sounds without exercising any considerable affective forceWe
are occupied with something else, and the melody does not affect us for
instance as a disturbance. Now comes an especially mellifluous sound, a
phrase that especially arouses sensible pleasure or even displeasure. This
particularity does not merely become affective for itself in a living manner;
rather, the entire melody is accentuated in one stroke to the extent that it is
still living within the field of the present; thus, the affection radiates back
into the rententional86 phases; it is initially at work by accentuating [the

85 There is of course the danger that such a dispositional orientation can become pathological in an
ascendance or amplification into more active spheres and therefore become manifest in terms of an
obsessive-compulsive disorder. There is however not space to go into this here, but see Spitzer and
Sigmund (1997) for a discussion of this from a phenomenological perspective.
86 Retention in Husserl does not equate to memory if memory is taken as referring to acts of recollection,

remembering, or re-staging. Rather it is the retaining in the mind as a component of the originary
presentation of a completed act of perception (Russell 2006: 135). Retention is then seen as a primary
form of memory and recollection secondary. Retention is passive and recollection is active, or enacted at
will (see Russell 2006: 135-136).

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 retentional phases] in a unitary manner, and at the same time it has an effect
on the special matters that are prominent, on the particular sounds, fostering
special affections. With this, the motivational causality is not completely and
immediately evident. The particularity of the sound has made me attentive.
And through this I became attentive to the entire melody, and
understandably, the particularities thus became alive to me.

We could think here again of a person walking down a street. While walking a busker is
heard up ahead but what they play holds no considerable affective allure on them they
are busy thinking of an upcoming engagement. However, the song being played reaches
its chorus and with this the pedestrian recognizes it as a song they like (or for that matter
dislike). With this the previously unaffective verse comes to be re-animated with the
awakening radiating back. As with Husserls example, the pedestrian comes to be
attentive to the entire song and its particularities retrospectively. Finally, thinking in
terms of protentional87 (or expectational) awakening, or the passive propagation of
affection in the protentional future (Steinbock 2004a: 30), we can understand that the
motivation for a specific futural present is prefigured by the present in that when
something is given, possibilities conforming to a style hinted by it are already sketched
out for example, the rest of the melody/song. The future does not fashion the unities
of experience in an original sense, but presupposes them and therefore allowing
something similar to be expected.
Secondly, Steinbock (2004a) suggests a level of attentiveness called passive
discernment. This is intimately related to dispositional orientation, but is distinguished by a
slightly higher awareness of affective forces. It is more than a being orientated towards or
by, and rather a distinctive discernment. We can take the example of hearing a cover
version of a song. We instantly know something is different this operates on the
passive level. This is clearly the case given that when we try to actively articulate the
difference the guitar parts different, or theyve added a piano when in fact the vocal
harmonies have changed. In this instance, there is clearly an affective detection as a level
of attention to the whole scene (in this case the song) elicited by the matter itself, but
passively. There can also be variable levels within this (Steinbock 2004a). We can think
for example of someone standing listening to a busker on a street, perhaps playing the
aforementioned cover version. The listener becomes irritated. They do not yet know
why, but put up with the annoyance until it reaches a critical point. They cannot
concentrate on the music anymore. They realize that another busker has set up a little up

87 Similarly to retention, protention is not the same as expectation in the usual sense of a discrete act, but
relates more to a sheer, continuous openness to the newa living-towards (Smith 2003: 89).

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the road and their music is in ear shot and therefore interfering with what they are trying
to listen to.
However, this can only happen at a certain point when it is made an explicit
theme by turning toward it attentively. Prior to this acknowledging attention, however,
this kind of grasping is not in play, and we remain in this passive, but powerfully
efficacious mode of discernment (Steinbock 2004a: 31). Nonetheless, this can still be
thought of in terms of the structure of intentionality; there can in some sense be an
intentionality in passivity. In the case above, there is an intentionality, an aboutness, of an
object that is as yet indeterminate. Husserl did in fact talk of such moods as involving an
intentional relatedness to an indeterminate object (Smith 2003: 74); there is a type of
intentional groping rather than intentional directedness. Moods then denote for Husserl
a type of attunement to ones environment a mood can be taken as an intentional
directedness to the world as a whole (Smith 2003).
Thirdly, we reach the point of turning-towards. Attentive turning towards for
Husserl represents the transition from passivity to activity. As suggested previously, the
turning towards is in fact a form of proto-activity, it sits between the passive and the
active as a bridge (Husserl 2001a: 168), given that intrinsic to the awakening is a
submission at the basis of an initiating egoic turning; there is a submission of the ego to
the affective field. In the turning to the ego complies with the affection in directing itself
towards it, or, the intention is awakened and the affection is fulfilled (see Husserl 2001a:
177, 198, 276). Central to this turning-toward is Husserls notion of receptivity.
Receptivity for Husserl is not a cognitive interest, but can motivate such an interest;
although receptivity is the receipt of an already given sense it is still regarded as the
lowest level of activity as it is a kind of actively self-giving intuition (Steinbock 2004a:
32). It is at this level of attentiveness that we can start to understand attention as the
process of making the marginal thematic; the turning toward is also the turning to grasp
more.
Finally, we arrive at examination, explication and judgment.88 Having turned toward
the object of affection, the subject takes cognitive interest in it, an active interest. This is
often shaped initially by examination: what is it?. This further spurs the process of
explication through delving into its content and extending beyond it to other objects.

88 As already highlighted above, I will not go on to discuss Steinbocks (2004a) further form of attention,
philosophical attentiveness, given the aims of this chapter. However, it can be noted that such an
attentiveness bears a strong relation and imperative to the phenomenological reduction outlined previously
in Chapter 2.

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With these connections an interest is guided and expanded into the unity of overarching
interests. As Steinbock (2001) suggests, examination is a special cognitive process
whereby several things are called to our attention in a unity where one explicates a
subject in its properties. However, this passing from object to object is not active but
passive; they are excitations for possible determinations but not yet the activity of a
determinative synthesis, a judging. Judgment is the determining process that actively
relates one theme to another. This lays the foundation for other determinative
judgments, be that the relation of whole and parts, the combination of parts and their
connections, and so on; judgment is the proper place for knowledge (Zahavi 2003: 33).
In the judgment, for Husserl, there is an enrichment of sense giving occasion to turn to
activities of determination that form relations. This new sense acts as an allure on the ego
and in turn the ego reacts to the allure in the attempt to realize it (Steinbock 2001). As
Husserl states [t]he most privileged case here is where affection results in attentiveness,
grasping, the acquisition of knowledge, explication (Husserl 2001a).
Although I have only given brief treatment to the active forms of synthesis, it is
important to emphasize the significance Husserl saw in them. Husserl argues that if we
were to only live passively, we would be intellectually blind to the true being of this
sphere [of norms and laws] (Husserl 2001a: 262); that the I before awakening the pre-I
that is not yet living, has already a world in its own way: [but this is] its inactual world
in which it is unliving, and for which it is not awake (Husserl cited in Smith 2003: 123).
For Husserl, we do in fact need the active, to be active, or else there will be no possibility
for a properly eidetic phenomenology (Smith 2003).
So, at this point we can return to our figure walking down a street and think
through this in light of the theory of affection and attention Husserl presents.
A figure walks down a streetThis street presents a multitude of affective
rays vying for that figures attention. This figure however holds a
prereflective preferential directedness it is lunch time and they are hungry.
Therefore the smell from the Bakers holds a strong affective allure than any
other stimuli. However, the prereflective attention to the allure also draws
attention to the sight of the tables at the side of the street where people are
eating lunch. Perhaps the figure will get lunch there. No, the Bakers holds a
stronger allure. However, something isnt right, but the figure doesnt
instantly discern what. The faade of the caf has been repainted it looked
better before. Having bought lunch the figure walks back down the road,
their prereflective directedness now changed. Something is happening up
head next to the caf it must have been happening before but it went
unnoticed, at least at the egoic level. A busker is playing. The figure
continues to walk. Suddenly, the figure recognizes the song as it reaches the
chorus its their favourite song. Its normally played on piano so they did

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 not recognize it straight away, only once they heard the vocal refrain. The
figure turns towards the busker either literally (physically) or perceptually
(mentally). Finally, the figure then stands in the street gazing at the busker,
actively and intentionally examining the performance at hand thinking
about the songs meaning, the life of the busker playing, judging their skill
and performance. But then they must go back to the office. While this
happens a stream of other figures pass by some stop, some glance, some
pay no attention at all

We have therefore come again to the problem of intentionality and the related presence
in advance of experience of the ego or subject. Although in the passive level it appears
that there is a subject not necessarily acting intentionally toward that which presents an
affective allure, there is still a subject and a latent intentionality present which will definitely
arise following the turning to the object affecting. Here, in Husserl, the ego is something
that is always already there, lying dormant to be switched on in the active attending to the
phenomenon at hand or to submit to the affective allure. Therefore, there is a problem in
the relation between the passive and the active, or rather, there is a problem that is
retroactively visible when we get to the point of activity.89 Perhaps this problem lies in
the way that the two are presented as hierarchically related: we ascend from the dark
basement of passivity to the clear light of activity.
While finding an initial potential in Husserls characterization of the passive for
developing an understanding of becoming aware, an understanding which departs from
many of the commonly held interpretations of Husserls work it its being based on work
distinct from his most commonly read texts (Zahavi 2003: 142-143), the latent
intentionality and necessary ego for this present, the idea of the passive as a pre-
egoic/pre-intentional stage, is problematic. In getting away from such a subject centred
understanding, it will therefore be necessary to attempt to provide an understanding of
the passive and the active as not hierarchically related in this way. In approaching this I
will now turn to the work of Deleuze and outline his alternative understanding of the
passive and the active, and their interrelation. I do this, as, for me, Deleuze provides one
of the most thoroughgoing analyses of passive syntheses which, while remaining
worldly (Buchanan 2008), does not suffer from the problem of an implicit intentional

89 Given that my problem with Husserl becomes evident and retroactively arises at this point, it is not
necessary to carry on to the end game of Husserls understanding of phenomenology, namely its eidetic
transcendental nature as a philosophy of essences. I will not explicitly critique this here given the shear
expansiveness of that debate, but I will return to it from the specific angle of presenting it with the
challenge of immanence in the conclusion.

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subject and valorisation of activity that Husserls conception does.90 Deleuze presents an
understanding of passivity in itself.

V. Rethinking the Passive and Active Deleuze

In turning to Deleuze I am undertaking a post-phenomenological critique relating to the

first trajectory outlined in Chapter 2. In his account the passive and active, although there
appear certain points of confluence (for example Deleuzes discussion also arises as a
critique of psychologism (Deleuze 1991b: 87)), Deleuze presents a way to re-think the
relationship between the passive and the active that it not founded on an understanding
of the intentional subject and intentional correlate of experience, something that, as I
have shown above, is central to Husserls account.
Deleuzes discussion of passivity and activity arises in the context of his tripartite
understanding of the syntheses of time and is further developed in his work with
Guattari (Deleuze and Guattari 2004a). As presented, in Difference and Repetition, the
first synthesis is that of a living present as a contraction of moments within a passing
present (in Husserlian terms, the present as rentention of the past and protention of the
future (Bogue 1989: 65)). This synthesis can be generally understood as the founding of
time. The second synthesis relates to the virtual past (taken form Bergson), and is the
foundation of time. Finally, there is the third synthesis of the eternal return. This is
oriented towards the future and the un-founding of time; a synthesis that complicates
time (Bogue 1989). It is important to emphasize here before examining the synthesis in
more detail that Deleuze emphasizes that these are all passive synthesis none are to be
confused with an active sense.
Firstly, Deleuzes discussion of the passive synthesis of the living present is
focused around the idea of expectation, and grounded specifically in Humes discussion

90 An alternative thinker to whose work on passivity I could have turned here is Levinas. Particularly in his
work Otherwise than Being, Levinas (1998: 14 & 110) discusses subjectivity repeatedly as passivity more
passive than all passivity and (equally opaquely), as more passive still than the passivity of things. In his
exposition, passivity, for Levinas (1998: 79), does not begin in consciousness, but as a pure undergoing.
Levinass (1998: 110) passivity is an absolute passivity, beneath the level of activity and passivity; it is an
immemorial passivity which inspires, holds, and binds the subject in relations which it does not and did
not choose and which lie before and beyond and of its abilities to comprehend, conceptualize, or
represent (Harrison 2008: 430). This is often also related to a patience that is not assumed actively
(Levinas 2000: 23, 139, 141). I am turning to Deleuze rather than Levinas here, however, both because
Deleuze engages the relation between the passive and active in more depth and in a more rigourous
manner (making his work more obviously suitable for a direct comparison/critique), and also because
Levinass understanding of passivity is somewhat elusive, as the outline given above would suggest. This is
not to say though that it would not be interesting to examine more closely the relation of Levinass
understanding of passivity to that of Husserl, or equally Deleuze (especially in terms of the relation of
Levinass absolute passivity to Deleuzes notion of the neutral (see Deleuze 2004c: 243-244)). This
would, however, be beyond the scope of this thesis.

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of the repetition of couples of events (AB AB AB A) where we come to expect B to
follow A (e.g. tick-tock), and in Bergsons discussion of clock chimes (AAAA) where we
expect the fourth to follow the third at 4 oclock. This discussion is presented specifically
within Deleuzes exposition of his notion of repetition. Significantly here, there is a
relation between expectancy and repetition repetition is not a property of the repeated
given that there is not causal relation between the members of the series. Therefore
repetition is something in the experiencer. There is a contraction, a passive (i.e. we do
not have to think about it) contraction of the previous occurrence in the later creating an
expectancy (see Deleuze 1991a: 51-52). Expectancy is then the property of passively
acquiring an unconscious relation to the future (Williams 2003: 87). This contraction is a
synthesis the past is synthesized (contracted) in the present as a behavior that is
orientated towards the future; it gives a directionality to time, or as Deleuze (2004b: 91)
states: [p]assive synthesis or contraction is essentially symmetrical: it goes from the past
to the future in the present, thus, from the particular to the general, thereby imparting
direction to the arrow of time. This is then not to place the past and the future as
distinct from the present, but rather the dimensions of the present itself in so far as it is
a contraction of instants. The present does not have to go outside itself in order to pass
from past to future (Deleuze 2004b: 91).
It is important to emphasize that this contraction is not a matter of reflection
and, although it is constitutive, it is not actively constituted: [i]t is not carried out by the
mind, but occurs in the mind which contemplates, prior to all memory and all reflection.
Time is subjective, but in relation to the subjectivity of a passive subject (Deleuze
2004b: 91). The passive differs from the active in that, under active remembering the
past becomes the reflexive past of representation, of reflected and reproduced
particularity. Correlatively, [under active remembering] the future also ceases to be the
immediate future of anticipation in order to become the reflexive future of prediction,
the reflected generality of the understanding (Deleuze 2004b: 92). To put it in the terms
of Deleuzes broader examination of repetition, the passive constitutes the for-itself of
repetition while the active constitutes the for-us of repetition, or, the reflected
representation of repetition.
We can think of this in terms of habit as, [i]n essence, habit is a contraction
(Deleuze 2004b: 94). Habit is a passive synthesis for:
it constitutes our habit of living, our expectation that it will continue, that
one of the two elements [AB] will appear after the other, thereby assuring
the perpetuation of our case. When we say that habit is a contraction we are

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 speaking not of an instantaneous action which combines with another to
form an element of repetition, but rather the fusion of that repetition is the
contemplating mind
(Deleuze 2004b: 94-95).

We are composed of thousands of habits, thousands of little contemplations and

[t]hese thousands of habits of which we are composedthus form the basic domain of
passive synthesis (Deleuze 2004b: 100). Following from this, passive syntheses
constitutes the systems of the self, under conditions yet to be determined, but it is the
system of a dissolved senseThe self does not undergo modifications, it is itself a
modification (Deleuze 2004b: 100). In arguing for the subject-as-modification Deleuze
dispels any illusion of understanding the subject as a conscious actor basing actions on
representations and the illusion of self-identity (Williams 2003). Instead there is a passive
self, or rather, a system of passive selves. We can return to Husserl here and draw out a
distinction. While in Husserl habits were thought to be actively acquired and
subsequently sedimented into a style of comportment, for Deleuze habits are acquired
passively through contraction in repetition.
Secondly, Deleuze (2004b) discusses the passive synthesis of the virtual past and
remembering. This synthesis presents potential dangers for Deleuzes affirmation of the
passive is not remembering predicated on the active memory of a subject? Here the
active synthesis of memory may be understood as the principle of representation: a
reproduction of the former present (actively) and a reflection of the present present.
However, as Deleuze (2004b: 103) suggest, the active synthesis of memory may well be
founded upon the (empirical) passive synthesis of habit, but on the other hand it can be
ground by another (transcendental) passive synthesis which is peculiar to memory itself.
To avoid this potential contradiction, Deleuze further explicates his understanding of
passivity in relation to a virtual past. The virtual, or pure, past is where all events, even
those that have passed without leaving trace, are stored and remembered independent of
human activity (Williams 2003). (There are less personal potential parallels here to
Husserls understanding of the phenomenological unconscious discussed above.)
Drawing on Bergson, this revolves around three understandings of passing into
memory: contemporaneity, coexistence and preexistence. Firstly, in terms of
contemporaneity, this gives us the reason for the passing of the present [e]very
present passes, in favour of a new present, because the past is contemporaneous with
itself as present (Deleuze 2004b: 103). By this we can understand that for any present
moment to pass away, it must already have a past aspect to it or be already past (Williams

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2003). Secondly, in terms of coexistence, [i]f each past is contemporaneous with the
present that it was, then all of the past coexists with the new present in relation to which
it is now past. The past is no more in this second present than it is after the first
(Deleuze 2004b: 103). We therefore reach the point where each present present is the
entire past in its most contracted state. The past is then the synthesis of all time and of
which the present and the future are only dimensions. Therefore nothing can no-longer
exist, but instead it insists or consists.
Finally, in terms of preexistence, given that the present could not become past if
unless there was something past in the present and given that every present is related to
every other present as something that passes away, the passing into archive of the
present presupposes the synthesis of all the past as the time of past elements each
present, past or future (Williams 2003: 95). This means that the passive synthesis of the
past is an a priori condition for the present to pass away; it preexists. The pure or virtual
past preexists the present it is the condition for there being experience of the past
rather than being constituted through such an experience (Williams 2003). Returning to
understanding this in terms of passivity and activity:
[t]he transcendental passive synthesis bears upon this pure past from the
triple point of view of contemporaneity, coexistence and preexistence. By
contrast, the active synthesis is the representation of the present under the
dual aspect of the reproduction of the former and the reflection of the new.
The latter synthesis is founded upon the former, and if the new present is
always endowed with a supplementary dimension, this is because it is
reflected in the element of the pure past in general, whereas it is only through
this element that we focus upon the former present as a particular
(Deleuze 2004b: 104).

At this point we can reflect on the relation between these first two syntheses. In
both cases, as Deleuze (2004b: 104) notes, the present appears as a result of a
contraction. However, in the first synthesis the present is the most contracted state of
successive elements or instants which are in themselves independent of one another. In
the second, the present designates the most contracted degree of the entire past, which
is itself like a coexisting totality. This means further that the relation of the lived present
to each is also different. As projection into the future the lived present only
presupposes a local contraction but, as passing away, presupposes a synthesis of the
past that itself brings together all past contractions (Williams 2003: 96). We do in a
sense then come to a further, temporal, development of the ecological approach being
outlined here: [e]ach present, each life, is connected to all others but to greater and
lesser degrees of contraction (Williams 2003: 97). We are no longer talking of a present

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material relatedness, but also an infinite temporal relatedness and connection; there will
necessarily be connections at the level of the pure past (Williams 2003: 98).
Finally, Deleuze discusses the passive synthesis of the eternal return and the
future.91 For Deleuze (2006c: 23), [r]eturn is the being of that which becomes. Return is the
becoming of being itself, the being which is affirmed in becoming. For Deleuze (2006c:
45) the eternal return must be thought of as a synthesis, a synthesis of becoming and
the being which is affirmed in becoming, a synthesis of double affirmation. Unlike in
the common interpretations of the eternal return as an ethical principle, the eternal
return should not be thought as the return of being or the same for [i]t is not being that
returns but rather the returning itself that constitutes being insofar as it is affirmed of
becoming and of that which passes. It is not some one thing which returns but rather
returning itself is the one thing which is affirmed of diversity or multiplicity (Deleuze
2006c: 45). The only thing that is the same is the returning; the I would only return if it
was different. In the eternal return there is no assignable origin, or rather, the origin is
difference itself; it is then the consequence of a difference which is originary, pure,
synthetic and in-itself (Deleuze 2004b: 153).
As Bogue (1989: 66) notes, Deleuze approaches this third synthesis through
Kants reflections on Descartes formulation of the Cogito whereby Kant uncovers two
Is: the thinking self (Cogito) is self-present as the thought of itself, but the self that it
knows, the object of its thought (ego sum), can only be known as an object within this
form of time. Deleuze labels this critique the revelation of the fractured-I and the
pure and empty form of time (Deleuze 2004b: 108).92 In terms of the third synthesis,
this can be thought of as time out of joint, for
time out of joint means demented time or time outside the curve which
gave it a god, liberated from its overly simple circular figure, freed from the
events which made up its content, its relation to movement overturned; in
short, time presenting itself as an empty and pure form
(Deleuze 2004b: 111).

Time itself then unfolds instead of things unfolding within it and in turn all identity of
self and world disintegrates. The third synthesis, as eternal return, is the time of ideas,

91 Deleuze initially outlined his own specific understanding of the eternal return in his book on Nietzsche
(Deleuze 2006c), an understanding that runs in distinct contrast to many of the common place
interpretations of it as an ethical principle and centering (see Ansell Pearson 2005; Kaufmann 1974; but
also see Deleuze 2006c: 63-66).
92 Also see Deleuzes (2004c: 186-192) discussion of Aion as the time of pure becoming and the eternal

truth of time: pure empty form of time, which has freed itself if its present corporeal content and has
thereby unwound it own circle, stretched itself out in a straight line (2004c: 189) compared to Chronos,
the regulated movement of vast and profound presents (2004c: 187).

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the virtual time of coexisting, perplicated problems, of differences without originwhich
continually repeats itself in the dimension of actual intensities (Bogue 1989: 66). This
presents an openness to the future. Deleuzes (and Nietzsches) model for this is the
dice-throw where there is no weighing-up of possibilities, only an affirmation of
becoming (Deleuze 2006c).
We can further understand the third synthesis in terms of three key
characteristics. Firstly, this drive towards the new presupposes that there be a cut in time
that orders it in a non-circular way; the present cuts off from the past and projects into a
completely different future. Secondly, this cut assembles times in that given all the events
of the past are cut off from all the events of the future a feeling that nothing will again
be the same presupposes that the past, how things were, will not return in any way.
Thirdly, there are two series of time given this cut. First there are forms that cannot
return given they have been cut and are therefore consigned to the past forever and
second there are forms that return with the cut and are relived with it; there are moments
that are not ready for the cut and moment that are up to it. The third synthesis then cuts,
assembles and orders (Williams 2003).
Relatedly, and thinking more explicitly about the understanding of becoming
aware being developed here, we can return to Husserl and in so doing mark a substantial
departure from him. This discussion here becomes less about an affective awakening
which presupposes the presence of a Subject to be woken, and more about a calling into
being of a subject, or rather a perpetual process of subjectification in the encountering of
affective stimuli. Rather than becoming aware, we are perpetually becoming as aware.
Further, in terms of the second synthesis particularly, while in Husserl passive memory
related to retention whereby a component of the original presentation was held in the
mind of the individual (Russell 2006), there is a more radical sense of a less personal
memory in Deleuzes account of the virtual past which contains events which left no
such trace.
On the basis of this quite abstract logic of passive and active syntheses, we can
turn (as suggested previously) to the more concrete discussion of passive synthesis in
Deleuzes work with Felix Guattari and extrapolate from this the actual processes
through which a becoming aware, or becoming as aware, occures. Again here Deleuze
and Guattari (2004a) present three passive syntheses (also see Buchanan 2008; Holland
1999: 26-35): the connective synthesis of production; the disjunctive synthesis of
recording; and the conjunctive synthesis of consummation. There are also active modes

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of these syntheses, but these are deemed illegitimate and are overcoded onto the
legitimate passive syntheses.
In the connective synthesis, a machine enters into connection with other
machines and channels their flows the productive synthesis is the production of
production, the production of an individual as if from scratch (Massumi 1992: 49).
Deleuze and Guattari (2004a) use the example of the babys mouth (mouth-machine) and
its mothers breast (breast-machine): the babys mouth attaches to the mothers beast,
channelling the flow of milk, and blocking other possible flows/connections of those
machines. It is important to note that connections are made between, what Melanie
Klein called, part-objects. These are not whole persons or organs understood as
belonging to whole persons the mothers breast is not understood as belonging to a
whole object known as mother, the face which the babys eyes scan are not connected
as being part of the same entity as the breast (Holland 1999). Further, these connections
are heterogeneous, hence Deleuze and Guattaris use of andand then they are
not to become exclusive in their connection, but inclusive: a machine connects with
another, and then another; the babys mouth and the mothers breast channelling milk,
and then to air, and then to a finger and then, and so on. As Buchanan (2008: 59) states,
the synthesis of connection snapsorgans together in a new arrangement of its own
making and its own design.
The illegitimate use looks at part-objects as part of a pre-Oedipal stage which will
be succeeded in the realisation of global or whole-objects. Rather, Deleuze and
Guattari (2004a) view partial-objects as being an-Oedipal unified subjectivity only exists
as a product of, and alongside, the process of desiring production (as will be seen shortly
in the conjunctive synthesis). In addition, another illegitimate use is to privilege one
particular partial-object over all others, turning it into a special, complete-object, in
relation to which all other partial-objects and experiences are to be understood,
specifically the phallus (Holland 1999).
Moving back to the legitimate use of this synthesis, connections can become
fixed, and [d]esiring-machines only work when they break down, and by continually
breaking down (Deleuze and Guattari 2004a: 9), which is where the next synthesis
enters.
Very generally, the disjunctive synthesis acts as a process of anti-production,
breaking the connections made in the connective synthesis, and recording the
connections made. The initial connections of the connective synthesis (andand

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then) are replaced by the desires schizophrenic nature (eitheroror). This can be
related to the openness to the future of the third synthesis of time discussed previously.
These connections are recorded on what Deleuze and Guattari call the Body without
Organs (BwO). The BwO, sometimes also referred to as the plane of consistency, is an
imaginary body-surface on which the various elementary bodies and energies are
recorded, but on which they may also be desexualised and reconnected in different
configurations. As such it embodies the creative or schizophrenic potential of desire
(Patton 2000: 72). The BwO presents a chicken-and-egg scenario the BwO does not
exist before or prior to the organism, but it is adjacent to it and continually in the process
of constructing itself (Message 2005: 34). The BwO acts as a force or continual
becoming, but the recordings on its surface stop desire from breaking away entirely.
These stratifications will be influential over future connections.93 (We can think back to
Deleuzes discussion of the pure past with the stratifications of greatest strength being
those of a most contracted state and those fainter ones being at a lesser degree of
contraction). The processes of connection and disjunction therefore overlap in a cyclical
manner. However, the illegitimate (Oedipal) use of this synthesis moves away from the
open-ended eitheroror, the nuclear family restricts the possibilities to Mommy and
Daddy, imposing an exclusive choice between the two (either/or), you must be like one
or the other, and no one else (Holland 1999). This creates a double-bind, either you
will accept the imposed differentiations, or you will fall back into the abyss of an
undifferentiatedcollapse into madness and chaos (Goodchild 1996: 87). This does not
then pay attention to difference in itself (Deleuze 2004b).
Moving to the final synthesis, there is the conjunctive synthesis of consumption
a phase of consumption involving the experience of intensive states of the resultant
psychic body (Patton 2000: 72). This consumption of the states of intensity on the BwO
produces something on the order of a subjectIt is a strange subject, however, with no
fixed identity, wandering about over the BwO, but always remaining peripheral to the
desiring-machines (Deleuze and Guattari 2004a: 17). Key here is that the subject is
produced, it emerges only as an after-effectnot as the agent of selection (Holland 1999: 33).
The subject is not active in the process of desiring-production initially (it acts as a passive
synthesis), but following the process acts in an active manner, consuming what it
previously found pleasurable/painful. Used illegitimately (or exclusively) however, the

93Importantly, the body without organs does not refer to a body-sans-organs, but in fact should be thought
of as a body-without-organ-ization a body undergoing a continual process of becoming. I will return to
this in the next chapter in more detail.

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conjunctive synthesis produces a static subject it can be used to segregate one set of
subjectivities from all others, and restrict an otherwise nomadic subjectivity to only
identify with one set: White vs. Black; Christian vs. Jew; or in the case of Oedipus,
Mommy vs. Daddy.
We can think back to our figure walking down a street in these terms. Machinic
connections occur in traversing the street. For example, the figures eye (eye-machine)
connects with the jugglers flaming club (club-machine) and channels the intensity of this
connection. The figure has not seen this before and as a result this (potentially, although
not necessarily) constitutes an intense experience, drawing their attention. This
connection is recorded. The next time the same connection is made, the flow channelled,
but perhaps this presents a lesser degree of intensity. But also, perhaps not. Perhaps the
figure becomes fixated with this connection, stopping to watch every time they see the
flaming club they walk past other performers in the hope of seeing that specific juggler
with the flaming clubs. However, the connection may be redirected in their search,
their ear connects with music coming from a shop which (music machine), in the
channelling and consummation of that flow, reminds them they had come here to buy a
CD. I will however return to this in the next section in more detail.

VI. Deleuze Against Husserl

Having outlined Deleuzes alternative understanding of passive and active syntheses and
connected this to understandings of perception, I will now outline more explicitly the
specific points of critique being levied at Husserl. These number three. Firstly, I will
critique Husserls understanding of the relation of the passive and the active, grounding
this specifically in Deleuzes understanding of representation. Secondly, I outline an
alternative conception of the subject to that of Husserl, one not based on the
transcendental ego (as just suggested above). Finally, and coming out of this, I critique
the humanism of Husserls affection with Deleuzes Nietzschean understanding of affect.
First, thinking generally, while there are active syntheses in Deleuzes accounts,
such syntheses are superimposed upon and supported by passive synthesis (Deleuze
2004b: 92). Although something similar is said by Husserl the passive being the
foundation for the active there is much more of an affirmation of the passive in
Deleuze than in Husserl with the active having the status of an imposition. This differing
starting point will prove to have significant consequences in that any action presupposes
physical passive synthesis or habits; and action presupposes the synthesis of the whole of

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the past and the present creative activity is part of that which is left behind (Williams
2003: 104-105). Or, as Deleuze (2004b: 117) states,
the third synthesispresent[s]no more than an actor, an author, an agent
destined to be effacedThe synthesis of time here constitutes a future
which affirms at once both the unconditioned character of the product in
relation to the conditions of its production, and the independence of the
work in relation to its author or actor.

This is not to say that there is an out and out denial of activity which is to be replaced by
passive inactivity. Rather, for Deleuze, priority is to be given to passivity over activity in
that any action must take into account the passivity it presupposes (Williams 2003); [t]he
passive syntheses are the very force of life, the given itself (Colebrook 2001: 20). There
is then again a greater affirmation of the passive; a starting with the passive which
Husserl is not capable of given the architecture of activity and intentionality which
permeates, and is so central to, his work.

Representation
We can think through this in relation to the many instances where Deleuze relates or
equates activity to representation. In fact, Deleuze (2004b: 174) suggests that the I
think, the central principal of the active subject, is the most general principle of
representation (see Williams 2008: 10). Deleuze suggests representational thought is a
particularly restricted form of thinking and acting, working according to fixed norms,
andis unable to acknowledge difference in itself (Marks 2005: 227). As Deleuze
(2004b: 67) states, [r]epresentation fails to capture the affirmed world of
differenceItmobilizes and moves nothing. In response, Deleuze draws on Platos
simulacra in undermining a representationalist framework. For Deleuze (2004b: 347)
[s]ystems in which different relates to different through difference itself are systems of
simulacra, and therefore
[t]o assert the primacy of simulacra is to affirm a world in which difference
rather than sameness in the primary relation. In such a world, there are no
ultimate foundations or original identities; everything assumes the status of a
simulacrum. Things are constituted by virtue of the differential relations that
they enter into, both internally and in relation to other things
(Patton cited in Marks 1998: 80).

In this sense we could understand the active subject as nothing but a simulacrum; any
notion of a completed, acting subject is nothing other than the manifestation of the
differential relations proceeding passively. Such an active subject, in its status as
representation, is therefore nothing other than mediation, and for Deleuze (2004b: 9) it

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is a question of affecting the mind outside of all representationof substituting direct
signs for mediate representations and such a direct sign is the process of passive
synthesis outlined above (see Marks 1998: 13-15). Put differently, Deleuze is less
interested in the theatre of representation populated by acting subjects and more
interested in a factory of production populated by differential machines (see Deleuze and
Guattari 2004a). However, in Husserl, [t]he I is coextensive with representation
(Deleuze 2004c: 122).94

The Subject
This leads us back to thinking more specifically about the subject. As Deleuze (2004b:
96) states
[u]nderneath the self which acts are little selves which contemplate and
which render possible both the action and the active subject. We speak of
our self only in virtue of these thousands of little witnesses which
contemplate within us: it is always a third party that says me.

There is something of a switch here from the passive as pre-intentional and active as
intentionally active in Husserl, to an understanding of the passive as an-intentional and
the active as a residuum of passive synthesis in Deleuze. In a sense, Husserl puts the cart
before the horse; the subject is the a priori transcendental ego (see Deleuze 2004c: 133).
Therefore, we cannot define a self in terms of simple receptivity, of letting
something affect it. As Deleuze (2004b: 100) states, the self is rather defined by virtue
of the contractile contemplation which constitutes the organism itself before it
constitutes the sensations. In the world of passive synthesis there is a world of selves; a
dissolves self or larval selves. This self does not undergo modifications as though it
preexists such modification but is itself a modification (Deleuze 2004b: 100). In
Deleuze, as perhaps most evident in his discussion of the process of desiring-production,
there is more of a retro-active understanding of the subject as suggested in the previous
section (and Chapter 5). The subject is a product not a pre-existing actor waiting to be
switched on (as with Husserl); the subject, or rather subjectivity, arises in the
consummation of intensive states upon the body without organs as a residual subject of
the machine (Deleuze and Guattari 2004a: 23). It is more a case of a perpetual self-

94 A similar critique of Husserls understanding of the subject and intentionality is made by Levinas.
Levinas (2006) argues that Husserl privileges representation and that Husserl bases his understanding of
intentionality on representation. He in fact states that representation, for Husserl, is at the basis of all life
(Levinas 2000: 212). In response Levinas argues for a nonintentional consciousness which is passive from
the start (Levinas 1998: 53; Levinas 2006: 105-113; also see Moran 2000: 328-329). Levinas in fact does
discuss what he calls an affectivity without intentionality in relation to a nonintentional, non-thematizing
consciousness (Levinas 2000: 17).

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realization: ah, so thats what that was!; rather than an aboutness: oo, whats that?. Or
put differently in the terms of Difference and Repetition:
the spontaneity of which I am conscious in the I think cannot be
understood as the attribute of a substantial and spontaneous being, but only
as an affection of a passive self which experiences its own thought its own
intelligence, that by which it can say I being exercised in it and upon it but
not by it95
(Deleuze 2004b: 108).96

The lingering intentional subject uncovered above has in effect been cleared out; here
modes of attending become non-intentionally constituted through the passive syntheses
of time and desiring production.
If we were to take this to the extreme, we can turn to Deleuzes account of the
singularities and events in his Logic of Sense. Already, in his conclusion to Difference
and Repetition, Deleuze (2004b: 346) states that the self in the form of a passive self is
only an event which takes place in pre-existing fields of individuation. However, in the
Logic of Sense we leave behind entirely the language of the passive and the active, and
the affirmation of one over the other, and come to surface effects and the event as
neutral. As Deleuze (2004c: 243) states, [a]lthough the ego may appearas acting, as
undergoing an action, or as a third observing party, it is neither active or passive and
does not allow itself at any moment to be fixed in place, even if this place were
reversible. Being neither active or passive, [t]hat which is beyond the active and the
passive is not pronominal, but the result the result of actions and passions, the surface
effect or the event (Deleuze 2004c: 244). Events and surface effects, as singularities, are
indifferent to subjects or objects; they are neutral. Here neutral means pre-individual
and impersonal, but does not qualify the state of an energy which would come to join a
bottomless abyssit refers to the singularities liberated from the ego through the
narcissistic wound (Deleuze 2004c: 244). Therefore, the individuality of the ego merges
with the eventeven if that which the event representsis understood as another
individual, or rather, as a series of other individuals through which the dissolved ego
passes (Deleuze 2004c: 244).97

95 Or, as Colebrook (2001: 20) suggests [t]he subject in the effect of a perception: a relation between an
absent point of view and a body that responds.
96 Also see Deleuze (1991b: 26)
97 On being neither active nor passive/this being a false alternative also see Deleuze (1991b: 112-113).

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 Affect(ion)
Finally, this critique can also be pursued in relation to the humanism of Husserls
affection compared to the anti-humanism of Deleuzes affect (see Dewsbury, et al. 2002:
439). While it was highlighted earlier that Husserls understanding of affection uncovers a
more radical understanding of intentionality in terms of a more bilateral nature than is
commonly understood, there is still a sense that the affection in the end belongs to a
subject; the word affection itself maintains this hangover and in Husserl account little
appears to happen back to that radiating affective rays. Thinking of this in terms of
affect, rather than affection, presents the relation in an anti-humanist tone; it is not
longer the relation of a subject to(ward) object but a relation that always sits between,
belonging to neither: [t]he affect goes beyond affections as a more radical becoming
(Deleuze and Guattari 1994: 173) This move from affection to affect pushes beyond the
phenomenological subject (Wylie 2006). Or, as Deleuze states with Guattari:
[p]erception will no longer reside in the relation between a subject and an
object, but rather in the movement serving as the limit of that relation, in the
period associated with the subject and object. Perception will confront its
own limit; it will be in the middle of things, throughout its own proximity, as the
presence of one hacceity in another, the prehension of one by the other or
the passage from one to the other: look only at movements
(Deleuze and Guattari 2004b: 311 [emphasis added]).

We can then understand affect as not something that turns on consciousness, or

something that turns on the ego as Husserl suggests, but rather as the cause of
consciousness itself:
consciousness appears as the continual awareness of [the] passage from
greater to lesser [perfection], or from lesser to greater [perfection], as a
witness of the variations and determinations of the conatus [degrees if power]
functioning in relation to other bodies or other ideas
(Deleuze 1988: 21).

Perceptual experience doesnt then lie in the opposition of subject and object, or
experiencer and experienced, but in a coming together that requires neither subjective
nor objective identity (Williams 2003: 77). This can be better explained by looking to
Deleuzes conception of affect specifically as it is put forward in relation to Nietzsches
will to power (something that is generally passed over in favor of his engagement with
Spinoza (see Deleuze 1988)). The anti-humanist nature of the will to power should

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amplify the anti-humanist understanding of affect that I have already discussed in
Chapter 5 in relation to Deleuzes work on Spinoza.98
Firstly, as Bogue (1989: 20) notes, it is important to note that the use of will in
will to power does not refer to a conscious agency of decision separable from the
actions that motivates (it is not in any way active) given Nietzsches condemnation of
such a grammatical imposition of an active subject (see Chapter 5). Equally, it should not
be understood as a desire for power as this is a weak and negative desire; for Nietzsche
the strong exercise power and affirm it, they do not desire it (Bogue 1989). Defining it
more positively, [t]he will to power involves a struggle to survive, to grow, to overcome
itself on the level of cells, tissues, organs, where the lower-order bodily functions are
subordinated to and harnessed by higher-order bodily processes and activities (the brain
being the highest) (Grosz 1994: 122). Although the brain is given priority here, there is
not any kind of lingering Cartesianism the body is made-up of a multiplicity of micro-
wills that fight among themselves for dominance. There are only (many) will points
that are constantly increasing or losing their power (Nietzsche 1968: 381). Therefore,
from this, Nature is construed as a multiplicity of such interrelated forces an ecology of
forces.
The will to power, as an ecology of forces, can be envisioned as the driving force
as a vision of an agonistic, dynamic plurality at the basis of Being (Safranski 2003:
289-290) and a celebration of the affirmative and creative powers of life (Foucault
2000: 389). (We can make a somewhat awkward distinction here given the competing
nature of the interrelation of forces that Grosz (1994) outlines above. Within Nietzsches
will to power there are both active and reactive forces. Rather than active synthesis being
equated to active force, in general the opposite is in fact the case. Active forces are
passive synthesis and reactive forces are active synthesis given that [c]onsciousness
inevitably views the body from its reactive perspective and misunderstands the nature of
active forces (Bogue 1989: 20).)
Given this outline of the will to power, we can start to think it in terms of affect.
As Bogue (1989) notes, Deleuze acknowledges that the will to power is manifested as a
power of affectivity, as a capacity for being affected (Deleuze 2006c: 58). A bodys
force then is, as in Spinozas conception, a function of the ways in which it can be
affected, and in turn, a bodys capacity to be affected is an expression of its power

98This is of course not to say that Deleuzes Spinozist discussion of affect is in any way humanist it is by
far the opposite. Rather, I feel that this anti-humanist stance will be further expanded upon and amplified
through an examination of Deleuzes reading of Nietzsches will to power.

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(Bogue 1989; Marks 1998). This power should here be distinguished from any notion of
pleasure as power doesnt require conscious discernment (Kaufmann 1974); there is a
parallel to the previous discussions of the relation of affect to emotion here. This said,
we can understand a joy in the possession of power, but this is a reactive form of power;
there should not be a confusion between the possession of power (manifest in a
joyfulness) and the active form of power (the affirmation and exercise of power which
constitutes an expansion in capacity to act). An active force is one that goes to the limit
of its consequences (Deleuze 2006c: 61) and reactive forces decompose; they separate
active forces from what it can do; they take away a part or almost all of its power (Deleuze
2006c: 53). (There are echoes again of Spinozas interest in finding out what a body can
do.) Reactive forces therefore cannot become active, rather, they make active forces
reactive. Put differently, we can understand an affectivity of force which is the
manifestation of the will to power, and, the more affirmative the will to power the
greater its self overcoming (Kaufmann 1974: 261) the greater the power of being
affected manifest in force. Therefore, there is a feeling of power and all affectivity derives
from this (Bogue 1989).
We can view these Nietzschean active forces in a similar way to Spinozas joyous
affects and, and equally, reactive forces are like sad affects. It is important to emphasize
though that a reactive force which decomposes a bodys active forces Deleuze uses the
example of illness may also uncover previously unknown affects which open new
possibilities for action; it can be considered from different points of view (see Deleuze
1988: 33). While a reactive form condemns me to a diminished milieu to which I can do
no more than adapt myself, from another perspective, at the same time they give us
another power, dangerous and interesting. They bring us new feelings and teach us
new ways of being affected.99 There is something admirable in the becoming-reactive of
forces, admirable and dangerous (Deleuze 2006c: 61-62). A point where this
Nietzschean understanding of the will to power (employed to think through affect)
differs from a Spinozist understanding of affect then is in its emphasis on the
competitive nature of forces in their relations and the differing perspectives on the active
and reactive nature of forces.
In the notes that make up the Will to Power Nietzsche provides an outline of
the competitive inter-relation of forces (Nietzsche 1968: 332-341). As Nietzsche (1968:
340) states,

99 Deleuze also suggest this in his work on Spinoza in terms of illness (Deleuze 1988: 33)

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 [m]y idea is that every specific body strives to become master over all space
and to extend its force ( its will to power:) and to thrust back all that resists
its extension. But it continually encounters similar efforts on the part of
other bodies and ends by coming to an arrangement (union) with those of
them that are sufficiently related to it: thus they then conspire together for
power. And the process goes on.

This again is not an intentional striving in terms of consciousness but a pre-person will
or vital force. Within this striving and struggling the factions in struggle emerge with
different quanta of power (Nietzsche 1968: 337) and in this
no things remain but only dynamic quanta, in relation of tension to all other
dynamic quanta: their essence lies in their relation to all other quanta, in their
affect upon the same. The will to power not a being, not a becoming, but a
pathos [occasion, event] the most elemental fact from which a becoming
and affecting first emerge
(Nietzsche 1968: 339 [translation modified]).100

We therefore have a somewhat different picture from Spinozas conception of

affect with its ethics of joy. Although there is an affirmation of an increase in power, this
power potentially comes at a cost the detriment of other powers. This comes down to
a struggle: [s]truggle outside oneself, toward other bodies, but also within as the
unstoppable conflict among its organic components. Before being in itself, the body is
always against, even with respect to itselfThis is because in its continual instability the
body is nothing but the always provisional result of the conflict of forces that constitute
it (Esposito 2008: 84 [emphasis in original]). In a positive affect in an increase in
power there may be a related negative affect elsewhere; there is perhaps a greater
acknowledgement of negative affects. Capacities to affect and be affected are potentially
not equal; some affects can over-power others the body is a material site of conflict
(Esposito 2008: 84). Further, while active forces are affirmed, there is also a suggestion
of the expansive potential of reactive, apparently negative, reactive forces. There is then a
movement from an ethics of joy to an ethics of power and force. This therefore suggests
another way to understand the affective differentiation that Husserl discussed above in
terms of competition.

Returning to our figure walking down a street, the above holds significant consequences.
Most generally, the way in which the relation of the passive and active is understood is
substantially different. There is a movement from a subject which pre-exists experience

100 The translation has been modified in line with an alternate translation offered by Kaufmann whereby
effecting was replaced with affecting (see Kaufmann 1974: 264).

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to one which emerges in the midst of things; a subject does not submit or turn-to that
which presents an affective allure (either conceived literally as a turning of the head, or a
switching of attention from one object to another), rather, a subject emerges in the
consummation of affective intensity, and specifically, out of a range of competing
affective forces. Intentionality, the about-ness of experience, is decentered. The visual is
no longer subordinated to this; it is free of any intentional gaze (Deleuze 2006b: 90). In
its place, the complex affective nature of everyday experience is foregrounded, which
present the subject in a more retroactive light; a subject individuated in the encounter
with a multitude of things as aware.

VII. Conclusion

In short, the critique of Husserl here is that while uncovering the passive as a sphere of
activity not dominated by an intentional aboutness a positive movement away from
overly intentional accounts of experience and one which is in contrast to many of the
commonly held conceptions of Husserls work the intentional subject sneaks back into
his account. We can perhaps say with Deleuze and Guattari (1994: 46) that the mole of
the transcendent is present within immanence itself (see Agamben 1999), and is present
as a result of starting with the active and working back to the passive. Husserl cannot
adequately conceive passivity given this trajectory. Even though Zahavi (2003: 142-143)
suggests Husserls work was not dominated solely by an interest in active subjectivity,
Husserl was not capable of getting outside of that intention correlate or of conceiving
passivity on the basis of passivity itself. Passivity in Husserl is not pure passivity, a
passivity from the start, but passivity as a correlate of action (Levinas 2006: 110-111).
Husserls phenomenology then holds an incapacity to think intensive becomings
(Guattari 1995: 64). This was not however the case for Deleuze. Deleuze conceives
passivity in itself, as pure passivity, and was not hampered by such a central
understanding of activity or of passivity as a correlate of action.
The differing relation of passive to active in each of Husserl and Deleuzes work
then comes from the general trajectory of each of their philosophical projects. While
Husserls project of articulating a transcendental phenomenology an ascending from
the depths of the passive to the clear and eidetic heights of phenomenological
activity/active consciousness (see Wylie 2002); an uncovering of essences for Deleuze
it is a matter of geological excavation in a world where any ascending proceeds by
illusory ladders grounded on nothing but illusions themselves simulacra laid upon
simulacra. For Deleuze, rather, the task of thought is that of extending back from any

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of its given terms and oppositions to the pre-active genesis that contracts what it
contemplates from a multiplicity (Colebrook 2001: 26). We can almost see them
standing back to back.
Therefore, we can venture the point that while in Husserl the passive self is not
yet living, passivity in Deleuze is in fact life itself (Colebrook 2001). Or this could be
taken even further. Returning to the indifference of his Logic of Sense that lies beyond
the passive and active, Deleuze distinguishes between organic life and nonorganic life
(also see Deleuze 2005: 31-33). This is a distinction between a personal or organismal life
and something more indeterminate a life. For Deleuze, as he discusses in Immanence:
a Life, [t]he life of the individual has given way to an impersonal and yet singular
lifeA life is everywhere, in every moment which a living subject traverses and which is
measured by the objects that have been experienced, an immanent life carrying along the
events or singularities that are merely actualized in subjects and objects (Deleuze 2006d:
386-387).
This is then about Deleuzes empiricism, or as he calls it, transcendental
empiricism and relatedly, the two thinkers differing relation to Kant (see Agamben
1999; Mullarkey 2006).101 As suggested in Chapter 2, especially in his later work, Husserl
was strongly influenced by Kant and appeals to the transcendental realm of essences and
the transcendental ego as their absolute source (Moran 2000). For Deleuze, this appeal
to a realm outside of immanence was precisely Kants mistake (see Deleuze 2006d). In
contrast, Deleuzes empiricism is founded on searching for the real conditions of actual
experience rather than a search for the abstract conditions of possible experience (Baugh
1992; 2005). Husserl repeats this mistake (Russell 2006: 25; see Husserl 1983: 14-15).
Putting this in terms of representation, it is not about possible experience as capable of
representation, but real experience as subrepresentative (Bogue 1989). Rather than an
uncovering of the a priori conditions for knowledge such as the transcendentalism found
in Kant which presupposes the subject as that which synthesizes and unifies diverse
experience, Deleuzes empiricism in transcendental in that it is an attempt to deduce the
conditions of the possibility of conscious experience without conceiving such conditions
in terms of abstract a prioris.102 Instead, such conditions are conceived as contingent

101 Although Deleuze wrote a book on Kant (see Deleuze 1984), this book was different from his other
works in the history of philosophy. As he saw Kant as an enemy, it was intended to show the workings of
Kants system, and did not constitute an appreciation, or an act of philosophical buggery, as Deleuzes
other monographs are (Deleuze 1995).
102 It is important to note there are differences between Kant and Husserl. As Russell (Russell 2006: 49)

notes, Husserls phenomenology echoes Kant and his conception of subjectivity as a synthesizing activity

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tendencies beyond the reach of empirical consciousness (Stagoll 2005: 283). Deleuze
affirms the a posteriori; he affirms that the empirical is prior to the conceptual (Baugh
1992; see Dewsbury 2000: 489) so as to not subordinate nomadic distributions to
categories and representation (Deleuze 2004b: 356). For Deleuze (2006d: 385) then
[t]he transcendent is not the transcendental. The transcendental is a-subjective and pre-
reflexive; it does not refer to any object nor belong to a subject and is therefore
distinguished from experience. It does not however constitute an outside; the
transcendental field is a place of pure immanence, and not immanent to anything other
than itself (Deleuze 2006d).103 As Williams (2008) notes, this comes down to the status of
certain prepositions in the work on Kant and Deleuze Deleuze wants to distance
himself from Kants reference of the transcendental to transcendence, and instead think
in terms of all things being in the transcendental, a thinking of immanence.
Deleuze therefore does not presuppose a subject who experiences. Instead, as
suggested already, Deleuze finds that the I only ever refers to contingent effects of
interactions between events, responses, memory functions, social forces, chance
happenings, belief systems, economic systems, and so on that together make up a life
(Stagoll 2005: 283). Deleuze (1991b), in the terms of his work on Hume, wants to
uncover how the mind constructs itself from the flux of the given (Marks 1998), or, how
something like a subject may be individuated (Boundas 2005a; Deleuze 2004b: 307-308).
This is to affirm the exteriority of relations (Deleuze 1991b: 66); relations are not thought
of as internal, as related to something essential within that which is related, but rather as
effects of the activities of individuals who are different yet nevertheless interacting
(Hayden 1995: 286). In this, experience is immanent to itself and not to an individualized
subject and in that way transcendent. As Mullarkey (2006: 14) states, returning again to
the discussion of lived experience in Chapter 2, the question is not how the subject
gains its experience but how experience gives us a subject. This presents a superior
empiricism, a philosophical experimentalism, which would install a plane of pure
immanence as the transcendental field (Deleuze 2006d: 384-389); a field without fixed,

and investigates the specific kinds of synthetic acts that occur in perception, judgement, imagination,
remembrance, inference, encountering other people, and so on. However, what Husserl preserves from
Kant is not so much the interest in the putative knowledge that the subject is said to possess in advance
concerning natureas the interest in the acts of objective experience that Kant began to thematize.
Husserl then has even grander ambitions than Kant. While Kant had discovered in transcendental
subjectivity the a priori form of the worldHusserl locates in it the origins of the world in its fullest sense (Russell
2006: 55).
103 There are parallels to the work of Jean Luc Nancy here and his discussion of trans-immanence (see

Nancy 1997; 2003). These will be discussed in the next chapter.

209
transcendental elements and which would not be immanent to anything prior, either
subjective or objective (Rajchman 2000: 17). It is rather impersonal and pre-individual
(Bogue 1989) and within which we are always already in (Williams 2008).
Returning to Husserl, taking Deleuzes empiricism as a post-phenomenological
critique, transcendental empiricism is:
not concerned with determining the essence and intrinsic relation of each
thing [as in transcendental phenomenology], but with describing how new
relations can be actively created between things in order to produce change
in and between the wholes these relationships form. Relations are to be
thought of in accordance with what Deleuze refers to as the fundamental
principle of empiricism, the principle of difference, instead of a
transcendental principle of essential and absolute identity
(Hayden 1995: 287-288).

Or, to put it another way, [t]he concern of transcendental empiricism is not with objects
or creatures, but with creatings (Hallward 2006: 75); it is about discovering the
conditions under which something new might be produced (Marks 1998; see Dewsbury
2000: 490). Or again in terms of phenomenology, weve arrived at the point where, as
Deleuze and Guattari (1994: 7) state, Universals explain nothing but must themselves be
explained (see Marks 1998: 20-22) as Deleuze does not seek universal phenomena
through a process of reduction he seeks universal conditions on the ground of the
sensations of individuals (Williams 2003: 110). This is then a more worldly understanding
focused on the particularity of experience rather than the universal forms of all
experience as being based in the transcendental ego and from which experiences are
personalized (Lea 2009, forthcoming).
Finally, given this reading of Husserl and Deleuze, we can return to our figure
audiencing and understand thus:
A figure walks down a streetThis street presents a multitude of affective
relations that lie between figure and street. The figure holds a pre-reflexive
comportment arising from contractile contemplations constituting thousands
of tiny habits their gate for example. The affects lying between figure and
street are also accompanied by an ecology of intensive affects operating
intensively at the molecular level and out of this interplay a subject is
individuated as feeling hungry. This in turn means the smell from the Baker
holds a stronger quanta of force than the other affective relations present.
Having bought lunch and eaten it an affective relations which (literally)
nourishes and increases the figures power the figure comes to itself as
subject that enjoyed the pasty. However, this nourishment, again at the
molecular level, also affects a lethargy the figure again comes to itself as a
subject that is tired and doesnt want to go to work. This iterative process
continues in the perpetual consummation of the intensive forces of these
affective relations. In its lethargic walk back to the office the figure notices

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something up ahead through the minutiae of unconscious, passive,
perceptions present in that ecology entering into differential relation, these
are passively synthesized as the experience of a busker on the street. The
busker positively affects the figure, again acting as a nourishment; the figure
again comes to itself as subject in the liking of the song. There is perhaps
also an affective remembrance that occurs here in the passive recollection of
a previous encounter with that song, or that performer that holds a bearing
on the present encounter. However, this nourishment equally negatively
affects the figure in their realization, again as subject of this affect, that they
still do not want to go to work. Nonetheless, the walk back to the
officeWhile this happens, a stream of other figures walk by each figures
affective relations occur as a singularity given the multiplicity of affective
relations present in the ecology of the street.

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 Chapter 7

Falling on Deaf Ears

Is it even possible to listen better?

(Nietzsche 2000b: 613).

[I]t is imperative to listen to music, because music makes the strings of our
inner life resonate. Even if the result is not complete self-realization, at least
we can still feel our essence in the resonance
(Safranski 2003: 40).

I. Preface

(Note: In this chapter I am going to leave Bath and Bristol, for quite a while at least.
After all, arent buskers meant to wander? For this final chapter I am going to move
further a field, to Washington.)
At 7.51am on the 12th of January 2007 the Washington Post undertook an
experiment in LEnfant Plaza Metro Station, Washington.104 The experiment entailed
one of the finest classical musicians in the world, playing some of the most elegant
music every written on one of the most valuable violins ever made (a Stradivarius worth
approximately 2 million). The Posts experiment was focused on context, perception,
and priorities in everyday life, and undertaken in an attempt to address the question: In
a banal setting at an inconvenient time, would beauty transcend?.

104See Pearls Before Breakfast by Gene Weingarten at http://www.washingtonpost.com. The article also
contains video footage of the experiment from which the still below are taken.

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 Dressed in an understated T-shirt, jeans and a baseball cap, Joshua Bell was the
busker in question. In the Metro Station, Bell situated himself at the top of the
escalators; nearby were a shoeshine stand and a busy kiosk selling newspapers, magazines
and lottery tickets. He played six classical pieces, over 43 minutes, with 1097 people
passing by; the majority were on their way to their government jobs. Bell started with
Bachs Chanconne. It is generally considered as one of the most difficult violin pieces to
master. Three minutes in and 63 people had passed. None stopped. Then, shortly after,
one turned their head to look as they passed. Another donated (see 7.1).

7.1: First donation

7.2: Stopped to listen (leaning against a pillar to right of yellow sing)

Six minutes in a man stopped and leant against the wall to listen he was the first
to do so (see 7.2). The paper later found out that this lone listener was on the final leg of

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his commute to work. He heard Bell as he ascended the escalator, the journey taking over
a minute. As he was three minutes early for work, and had an uninteresting schedule for
that day, he stopped to listen. This listener wasnt a classical music fan; he later told the
paper that he prefers classic rock. Nonetheless, something resonated in him.
Interestingly, in musicological terms, he arrived at a point where the piece being played
shifts from a darker sounding minor key into an exalting major one. However, this
listener stated he doesnt understand music theory, major or minor keys, but that the
sound being played made him feel at peace. For the first time in his life he stopped to
listen to a street musician and donated.
In the time Bell played, seven people stopped to listen for at least a minute and
twenty-seven people donated earning Bell $32. It would appear then that things didnt go
too well for Bell his usual fee is around 200 times that hourly rate. It would appear that
his music fell on around 1000 pairs of deaf ears. This has lead one commentator
Richard Morrison at The Times105 to suggest that this was a telling experiment. For
him, the results suggest that most people have no recognition factor whatsoever,
something further hindered by many passers-bys lugoles being wired to ipods.
Morrison goes further, suggesting that western civilization is now so dumbed down
that only around 20 people in 1000 have the perception to recognise that a sublime
musical experience is being performed brilliantly in front of their noses. For Morrison,
those traversing the Metro Station just didnt understand.
In this chapter I want to think this event differently as I believe it sheds light on
the ways in which we traditionally think about the experience of music and more
specifically on a trend in recent accounts of music in geography. I therefore want to take
this event, and particularly the first person who stopped to listen discussed above, as a
lens into a thinking about practices of listening; I want this event to circulate in the
background of the chapter and occasionally become explicitly manifest.

II. Introduction

In this chapter I am going to continue the previous chapters discussion the embodied
acts of audiencing members of the public undertake in relation to street performance
given its situation in the spatialities of the street by thinking about practices of listening.
While in the last dozen years or so there has been an increasing interest in music in
geography (see Anderson, et al. 2005; Kong 1995; Leyshon, et al. 1995; Smith 1994; 1997),

105Morrisons article is available at www.timesonline.co.uk with the little Virtuoso violin recital falls on
deaf ears in DC. It originally appeared in the 17/04/2007 edition.

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within this little has been written specifically on listening, or rather, on the practice of
listening. Music has obviously been listened to but this has been masked by a focus on
other themes.106 There are a few exceptions to this For example, Smith (2000) discusses a
number of conceptions of listening: listening as passive reception, but also, through the
work of Barthes (1986) as an act of decipherment; listening as a performance in itself that
partially gives meaning to the music. Further, Back (2003: 274) discusses what he calls
deep listening, which involves practices of dialogue and procedures for investigation,
transposition and interpretation. The focus of these discussions has tended toward a
cultural politics of interpretation and meaning. Here I am taking interpretation to refer to
those acts of conscious thought, and, more specifically, deliberate reflection or
decipherment that construct an understanding of their object (Schusterman 2000). One
way we can draw out this distinction is through the work of Nancy. Nancy (2007b)
distinguishes between hearing and listening. Hearing, from the French entendre,
denotes understanding, and is distinguished from listening, the French ecoute, which does
not hold such connotations of understanding/comprehension. Listening is then not
necessarily tied to interpretation. It therefore appears geographers have been more
interested in hearing that listening.
Given this starting point, I want to de-centre the role of interpretation in recent
academic accounts of listening and in doing so approach an understanding of listening
that is not predicated on the pursuit of meaning or the act of interpretation. This is not
to devalue this work that has already been done on hearing. Rather, I would suggest that
there are also other important approaches to be taken I want to ask if the starting point
for such a discussion is not given in advance and may in fact be optional (Calarco 2005).
To echo Schusterman (2000), I want to suggest that we can have a sense of an experience
without necessarily having to think about it at all and definitely without having to
intentionally interpret that experience. This would certainly not mean that we would
abandon meaning, signification, and interpretation, but rather, entails an attempt to
develop an understanding that would allow us to relate to the world in a way that is
more complex than interpretation alone (Gumbrecht 2004: 54 [emphasis added]). This is
especially pertinent in the context of this thesis, as was highlighted in the discussion of
the previous chapter and Chapter 5, given the distracted environments in which listening

106Geographers have rather focused their discussions on musics role in identity construction (see Busteed
1998; Cohen 1995; Gibson 1998; Kong 1996; Valentine 1995), globalisation and the music industry (see
Gibson and Connell 2003; Gibson and Davidson 2004; Leyshon 2001; Power and Hallencreutz 2002), and
the performance of music (see Anderson 2005; Morton 2005; Smith 2000; Wood, et al. 2007).

216
takes place. We can return to the epigraph from Nietzsche (2000b) perhaps it is not a
case of asking if we can listen better, but rather of asking is it even possible for us to listen
at all?
In approaching listening, rather than hearing, this chapter develops the
understanding of the non-representational processes present in practices of listening. As
suggested in previous chapters, within non-representational theory understandings of
affect are central. As was suggested in Chapter 4, the centrality of affect comes, at least in
part, from its attention to the not-already-qualified registers of experience present within
everyday practices; that action is not pre-judged (Massumi 2002; McCormack 2003). One
geographer who has perhaps approached listening in terms of the non-representational is
Ben Anderson (2005) in his work on practices of judgement of recorded music in
everyday life. Rather than focusing on interpretation and the implication of meaning,
Anderson (2005) discusses the feeling of a judgement through an affective, visceral
understanding of the spontaneous judgements made of music, always being a bodily
occurrence entangle in a network of affective imperatives. While he moves in the right
direction, for me, Anderson (2005) doesnt go far enough. Starting with this visceral
relation between listener and music, I want to think about the subjectification occurring
in this relation rather than the acts of judgment that proceed from it I want to linger a
while at this point of contact between sound and a body listening. In pursuit of this,
following Rajchman (2000: 75-76), this chapter proposes the substitution of the figure of
the judge (or a concern with practices of judgement) with that of an experimenter who
starts to move in a world and in relation to a self that are never given or conditioned but
are rather in the making.
The focus here will fall on the body listening to music, but also, more so, on the
sound itself. Work in geography has begun to attend to the sound of music. For example
Revill (2000) has discussed the ways in which the sonic properties of music inform moral
geographies of landscape, nations and citizenship. However, Revills (2000) work is tied
to a cultural politics of identity similar to that of Smith (2000) and Back (2003). This
means sound is at times reduced to the discursive and, in this reduction, the materiality
of sound is not fully attended to music/sound is viewed too much as a form of
representation to be interpreted. Similarly, Wood et al. (2007), in focusing on how
identities are made and how music is understood in their attention to the practices of
listening and musicking, do not attend to the subjectifying material relations present in
such encounters with sound. As will be explained later through Nancy (2007b), the

217
sound itself is precisely sounds materiality, its body, is timbre and about the resonance
these produce. I am then less interested in the judgements made of the sound of music,
with it being good or bad, suitable or unsuitable, or with the ways in which identities are
made in practices of listening, but rather want to thinking about the ways in which the
subject listening is constituted in its relations to, or with (for reasons that will become
clear), this materiality of the sound itself.
This non-representational account of practise of listening (not hearing) suggests a
different understanding of the interrelation of music and the subject. I want to approach
a finite thinking of the subjectification occurring through sound when a body listens; a
thinking that consists in a labour of thinking singularly about singular beings and
resists the urge to think in terms of generalities or universals that reduce the plurality of
singular ones to a common ground (Hutchings 2005: 167). This then contributes to the
development of the first post-phenomenological trajectory around intentionality and the
subject outlined in Chapter 2. Previously, a small amount of work has been done in
phenomenology around sound and listening. Prominent here is Idhes (2007) discussion
of listening and voice. Much of this discussion based on the notion of intentionality as
Husserl discussed (see Chapters 2 and 6) for Idhe (2007: 23) listening is always a
listening to. In distinction to this I want to develop the understanding of a
perception-with107 (Rose and Wylie 2006). For Rose and Wylie (2006: 478 [emphasis
removed]) perception-with refers to the creative tension of self and world and pays
attention to the materialities and sensibilities with which we see. In this chapter I
explore the aural nature of such a perception-with in attending to the materialities and
sensibilities with which we listen, through an attention to Nancys ontology of being-with
and his finite thinking of the singular plural. This places such a tension of self and world
at the heart of being; any idea of an existential analytic of presence becomes a co-existential
analytic of coming to presence, of the presenting present (Nancy 2000: 96). An attention to
this perception-with, as singular occurrence, de-centres the intentional correlate of
experience present within much of phenomenological work, including that discussed
above. In response, it calls for a more radical conception of difference as the basis for
subjectivity to that which has permeated certain discussions of affective relations. We can
return to the other epigraph from Safranski (2003) it is not so much about feeling our

107 While an appeal to this understanding of perception-with may appear precisely as an appeal to a
common ground, this is not the case given any perception-with, in terms of Nancys ontology, is a
singular occurrence, or rather a singularly-plural occurrence. This logic will be return to in section 2 in
discussing Nancys ontology of being-with.

218
essence in the resonance, as feeling something like a self. Further, and in relation to the
opening event, this also suggests a turning away from an understanding of music as
holding some kind of transcendent value a value that is held outside of experience.
Instead, it pushes us away from discussions of value; it pays attention to the singularity of
sound itself by looking at what sound does each time it is encountered.
In pursuit of these aims, I will work through and advocate Nancys recent
discussion of listening and his broader overtly post-phenomenological project of thinking
being as being-with. Firstly, I outline Nancys thinking of ontology as being-with.
Following this, I outline and critically engage Nancys recent discussion of listening. In
doing so, I pay particular attention to three central themes from Nancys broader
philosophical oeuvre which are of significance to geographical understanding of practice:
sense, the subject and the body. In concluding I argue, returning to the lens of the
opening event, for an understanding of listening based on resonance rather than meaning
which is both founded on a non-representational sensibility and affirmation of the
singularly multiple, and on a post-phenomenological understanding of the ecological
relatedness of the body-subject as resonant and to come.

III. The Being-with of Being-there

Nancys work has only recently started to become popular among geographers with his
work on community being the most prominent point of interest (Nancy 1991; also see
Popke 2003; Rose 1997a; Welch and Panelli 2007). That said, his reflections on ontology
as being-with have also recently been taken up by Bingham (2006). Before turning to his
work on the subject of listening, it is necessary to provide a brief discussion of Nancys
ontological thinking as this sets the scene for his discussion of listening, which will in
turn further explicate his ontology.
Central to Nancys project is his thinking of ontology as singular-plural
coexistence. As Nancys (2000: xv) project is nothing less than an attempt to redo the
whole of first philosophy by giving the singular plural of Being as its proper
foundation. In this, Nancy is undertaking a substantial re-reading of Heideggers Being
and Time (Heidegger 1962), and in particular, his positing of dasien (being-there) as
primary in relation to mitsein (being-with) (also see Nancy 2008a). Nancy (2000: 27)
criticizes Heidegger for placing dasein in advance of mitsein on the grounds that Dasein
has already revealed itself as being-with and reveals itself as such before any other
explication. Although Heidegger does introduce mitsein as co-originary with dasein, this
comes after his extensive elaboration of dasein. Nancy asks why Heidegger took so long

219
to elaborate the with, suggesting it is only an adjustment of dasein (Devisch 2000).
Nancy reverses Heideggers order of ontological exposition (Nancy 2000: 31), placing
the with back into the heart of being. For Nancy (2000: 4) there is no being which is not
already being-with: Existence is with: otherwise nothing exists; this is the minimal
ontological premise (Nancy 2000: 27). As such, being there is always already a necessary
being with as there is no isolated, given I that is without others. This makes Nancys
ontology into a social ontology (Nancy 1991: 28; Devisch 2000).
It is important to note that Nancys refiguring of ontology as being-with is not
suggestive of an essential pre-existing essence of Being. When Nancy talks about Being,
he is talking of a spacing, an opening of a world, not a thinking of Being as gathering or
oneness such as that to be found in Heidegger. Rather for Nancy, existence is to be
thought in terms of ek-sistence, as always outside of itself, as a dispersal (James 2006).
This moves away from an affirmation of subject-political identity toward a more radical
being-outside of oneself; it affirms the impossibility of any subject that would maintain
itself within an intimacy or immanence with itself, people, nation, polis, and so forth
(James 2006: 102). This is not to say that people do not cohere in the experience of
worlding, but rather affirms that this worlding does not constitute a stable ground upon
which people can rest-assured in safe belonging or cling to ones own understanding of a
self or people and so on.
In this spacing,
the singular-plural constitutes the essence of Being, a constitution that
undoes or dislocates every single substantial essence of Being itself. This is
not just a way of speaking, because there is no prior substance that would be
dissolved. Being does not pre-exist its singular plural. To be more precise,
Being absolutely does not pre-exist; nothing pre-exists; only what exists
exists
(Nancy 2000: 28-29).

Following from this conception of the world as endless passage (Devisch 2002: 388),
as always worlding, Being cannot be pre-supposed. Existence is rather only the being of
what exists; it is not an existence that has a previous or subjacent existence by which it
exists. There is no outside of being (Nancy 2007a). Nancy rejects any onto-theological
notion of there being (an)other world(s) wherein God amounts to another world placed
next to this world and is therefore outside of the world. Therefore, for Nancy, this world
is always the world, the only world (Raffoul and Pettigrew 2007). As it is always plural, Being
cannot be assumed to be the singular that the name suggests. Therefore, it follows that
not only must being-with-one-another not be understood from the presupposition of

220
being-one, but on the contrary, being-one (Being as such, complete Being) can only be
understood by starting from being-with-one-another (Nancy 2000: 56).
This rethinking of ontology already has a number of significant implications.
Nancy suggests three; what is at stake in light of this is no longer thinking:
- beginning from the one, or from the other,
- beginning from their togetherness, understood now as the One, now as the
Other,
- but thinking, absolutely and without reserve, beginning from the with,
as proper existence of one whose Being is nothing other than with-one-another
(Nancy 2000: 34).

Thinking ontology as singular-plural entails that the world has no origin other than this
singular multiplicity of origins; it always appears according to local turns of events
(Nancy 2000: 9). The unity of the world then, its uniqueness, its totality consists in a
combination of this reticulated multiplicity, which produces no result (Nancy 2000: 9).

IV. Listening: Sense, Subject, Body

Having provided an introduction to Nancys ontological thinking, I want to now focus

specifically on what he has to say around the topic of listening. Nancys work on listening
circulates around six themes: three relate to his broader philosophical project in general,
and the remaining three are relatively specific to listening. These are: sense, the subject,
and the body (which structure the sub-sections of this chapter), and, resonance, timbre,
and rhythm (which permeate throughout) respectively.
Nancys work on listening is guided by the question: Is listening something of
which philosophy is capable? and the related suggestion, returning to the distinction
between listening and hearing, that hasnt philosophy superimposed upon listening,
beforehand and of necessity, or else substituted for listening, something else that might
be more on the order of understanding? (Nancy 2007b: 1). Nancy suggests that the
philosopher hears (understands) but doesnt listen. One such philosopher, it could be
argued, is Roland Barthes (Barthes 1986). In his short writings around music and
listening already briefly discussed previously in the context of Susan Smiths (2000)
work Barthes works with an inversion of Nancys distinction between listening and
hearing.108 For Barthes, hearing (Nancys listening) is a physiological phenomena and

108Although it is not made clear in the translation if it is Barthes who distinguishes thus, or if it is rather
the work of his translators, having consulted the original French of the text it would appear that Barthes
refers to hearing as entendre and listening as ecoute (Barthes 1995). This is rather odd given the connotations
of understanding of entendre and the meaning Barthes applies as physiological rather than interpretive.

221
listening (Nancys hearing) is a psychological act. Barthes in fact devalues the significance
of hearing, the physiological, suggesting it is something shared with animals, something
primitive, whereas listening, the interpretation of a sign, is what makes us human and
does not function so simply. It is a form of hermeneutics, a decoding, aiming at making
available to consciousness the underside of meaning (Barthes 1986: 249). Beyond this
hermeneutics, listening is also active; it speaks. Meaning within this type of listening
circulates and is non-directional from source to receiver. Therefore, Barthes underplays
the significance of the physiological form of hearing (Nancys listening), as a bodily
experience, and also the sound itself that the body listens to, focusing rather on the
interpretative role of the subject and the circulating meanings of the sound it hears.
Barthes is too representational.
I am turning to Nancys philosophy here then as, for me, it poses significant
questions for social science in terms of how it approaches the study of listening,
particularly in terms of the way we understand the subject that listens and especially the
sound itself that is listened to, in a way that is attentive to the sorts of listening that
occurs in relation to street performance such as that suggested in the opening event. This
in turn contributes both to the theses attempts to re-conceive the experiencing subject,
specifically in terms of a decentring, and further to emphasize the sensuousness and
vitality of embodied experience across a range of senses.
Non-representationally, Nancy is asking the question of the possibility of being
able to listen without necessarily trying to understand; listening rather than interpreting
or finding meaning. This suggests a different understanding of music and listening to that
taken in much of the geographical-social scientific literature; it lays more emphasis on
sensation rather than signification. We can return to the snobbery of Morrison here and
already argue that what is important in music is not only the cultural value or capital that
is deemed to be held within it and by those who perform it, but also thatthe significance
of music lies in what it does to us. This in a sense justifies my interest in street
performance and busking while it is often deemed as a low form/level of art, it
nonetheless holds an affective potency.109 This decentring of meaning suggests a being
attentive to the sound itself which outweighs formenlarges it; gives it an amplitude, a

Nonetheless, I have stuck with the usage and valuation of the terms given by both above, even though this
may make thing a little confusing for the reader.
109 Albeit admittedly not necessarily for positive affects, although, as suggested in the last chapter, this may

not necessarily be a bad thing.

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density, and a vibration or an undulation110 whose outline never does anything but
approach (Nancy 2007b: 2). This could be put another way connected to the previous
chapters engagement with Deleuze. Nancy is in effect arguing for an engagement with
the molecular matter of sound over its molar functional structure (Deleuze and Guattari
2004b: 49-50), or as Nancy (1997: 10) states, with that which is not for it a content but
its body. Nancy is in a sense trying to lay out a plane of consistency which music will
inhabit at varying speeds and intensities, rather than a plane of organization that will
structure and organize the music.
This suggests an analysis of music and sound, and a listening more generally, that
would not take traditional musicological themes as its focus but rather focus on the
material relations present in our encounters with sound. In not being constrained by
musicological endeavours such as approaching music-as-text, this listening does not
contain the experience in any restrictive, organizing way. Rather, it disposes a self to be
open to being affected in various ways. This is not to say that people will not, or worse,
should not, interpret or find meaning, but rather that this is not always necessarily the
case there are times when we refrain from interpretation and it is therefore not a
necessity (Schusterman 2000) and that there is something of significance in such un-
interpreted experiences.
In this attentiveness to the sound itself, there is also an attention to the pre-
individual, pre-personal experience of sound when we listen; Nancy is less concerned
with constituted subjects than with selves that are perpetually differing and to come.
Nancy lays greater emphasis on the material, resonant, relations present when a body
listens and the sensuousness of such a relation between body and sound through which a
self may emerge.

Being all ears and Sense

Nancy wants us to be all ears, to be listening with all our being, immersed entirely in
listening, formed by it in our being-with sound; an ontological aurality, akin to the ontological
sociality suggested by Nancy in his discussion of community (see Nancy 1991: 28). This
asks, what is at stake when we truly listen, when we try to capture sonority rather than

110We could suggest a parallel here between this understanding of undulation and Deleuzes discussion of
the body without organs with its waves of variable amplitude defining particular organizations of such a
body in his work on Francis Bacon (see Deleuze 2005: 34) and also Deleuzes discussion of surface
mixtures in The Logic of Sense whereby surfaces forms both in terms of forming a minimum surface
area with maximum volume, or conversely, as an expansive surface through processes of stretching,
fragmenting, crushing etc. (see Deleuze 2004c: 141-143); Nancy is still talking about a surface here, but one
that is not necessarily smooth. This becomes clearer in Nancys (1997) understanding of sense as trans-
immanent which will be discussed shortly.

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the message? Nancy (2007b) distinguishes between listening to someone giving a speech
we want to understand and listening to music. In the first case (not thinking about
notions of timbre, the tone of the voice, and so on), there is a listener that strains
towards a present sense beyond sound (Nancy 2007b: 6). It is a hearing which
understands sense and therefore strains towards a possible meaning. In the second case,
listening to music, it is from sound itself that sense is offered (Nancy 2007b: 6). Here
sense is the rebound of sound, a rebound that is coextensive with the whole
folding/unfolding of presence and the present that makes or opens the presence as
such (Nancy 2007b: 30). We could ask questions about the lyrical content of such music
here, but I would suggest that there is also a sense in the sound of those lyrics, in their
tone, timbre, and so on, which can be made sense of without them being interpreted.
Such an understanding of sense is significant to geography, and warrants further
exposition, in that it suggests that there is a sense before sense is articulated or voiced;
bodies make sense before we make sense in words in the folding/unfolding of their
presence with other bodies. The passage of sense is embodied; it is constituted in the
materiality of corporeal existence (James 2006: 106).
Nancy has written at length on sense. Very generally, sense for Nancy
depends on relating to itself as to another or to some other. To have sense,
or to make sense, to be sensed, is to be to oneself insofar as the other affects
this ipseity [selfhood] in such a way that this affection is neither reduced to
nor retained in the ipseity itself. On the contrary, if the affection of sense is
reabsorbed, sense itself also disappears
(Nancy 2003: 6).

This understanding of sense, the sense of sense here, is that it is in fact always this sense.
It is not a universal sense, not an essential sense, but a singular multiplicity of sense
(Devisch 2000); a sense each time. There is in some sense a performativity to sense. As
Nancy (2003: 93) states, sense, essentially, has to repeat itself. This is not the direct
repetition of an identical, but by opening in itself (as itself) the possibility of relating to
itself in the referral of one sign to another (Nancy 2003: 93). It is in this referral that
sense is recognized as sense. As Nancy (2003: 9) states, it is not sense in general,
therefore, nor is it sense once and for all; there is no outside referent for sense to be
transcendent. Sense is the relation as such, and nothing else (Nancy 1997: 118). As
suggest above, this relation is a material relation: [t]he passage of senseis the opening
of a spatial world as meaningful or intelligible, but is also the contact or touch of
something concrete and material (James 2006: 106).

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 Nancy (1997) talks of this relation in terms of a being-toward (see James 2006:
103). It is important that it be made clear here that this toward should not be understood
as a directionality of the subject, as a lingering phenomenological intentionality, for this
would contradict Nancys understanding of the subject and being as being-with (I will
return to this). Rather, the toward should be understood in terms of its temporal sense
we are always moving toward, or are in approach to, sense. Sense is not to be
understood as an accomplished work, finished, closed, absolved of all rapport (Nancy
1997: 28). Rather, sense is the property of finitude qua existence of the essence. Sense
is: that existence should be without essence, that is should be toward that which it
essentially is not, its own existence (Nancy 1997: 32). It is the movement of being-toward,
or being as a coming into presence or again as transivity, as passage to presence and
therewith as passage of presence (Nancy 1997: 12); that ungraspable excessthe
excess of being in relation to being itself (Nancy cited in James 2007: 74). The coming
of sense is infinite, it does not get finished with coming but it is also finite in that it is
offered up in the instant (Nancy 1997: 35).
In senses incessant arrival and finitude, for Nancy:
There is nothing but a world lacking exteriority, a world through which
sense circulates in the exposure of singular beings. Sense is neither
transcendent (an exterior reserve pregnant with meaning) nor immanent (a
pregnant reserve of meaning within the world), but transimmanent, that is,
coextensive with the world in its plural singularities
(Hutchings 2005: 168; see Nancy 1997: 54).

Hutchings (2005: 168) goes on: Roughly speaking [as transimmanent], sense passes
along without issuing from within it or from outside it; it slides through social relations
without substantializing them. It makes them meaning full without giving them a
reducible meaning. From this, the meaning of the world does not occur as a reference
to something external to the world (Nancy 2007a: 43; see Nancy 1997: 8; Raffoul and
Pettigrew 2007: 6), but we can distinguish sense from meaning in that sense is not the
message or the signified, but it is that something like the transmission of a message
should be possible (Nancy 1997: 118 [emphasis removed]).
Sense therefore arises as an event of sense there is always a coming to be of
sense, a coming that is always in the with of Being. This notion of sense as an event of
sense cannot but highlight the proximity of Nancys thought here to that of Deleuze.
Deleuze talks of sense as event, where The event is sense itself, insofar as it is
disengaged or distinguished from the states of affairs which produce it and in which it is
actualized (Deleuze 2004c: 242).

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 Reflecting in more detail on the relation of Nancys conception of sense to
Deleuzes, there appears to be a certain similarity in exposition. Deleuze (2004c) suggests
an understanding of sense as something that does not exist outside of the proposition
which expresses it. Therefore, we cannot say that sense exists, but rather that it inheres
or subsists (Deleuze 2004c: 24). Deleuze (2004c: 25 [emphasis in original]) goes on to
suggest:
Sense is both the expressible or the expressed of the proposition, and the attribute of the
state of affairs. It turns one side toward things and one side toward
propositions. But it does not merge with the proposition which expresses it
any more than with the state of affairs or the quality which the proposition
denotes. It is exactly the boundary between propositions and things. It is this
aliquid at once extra-Being and inherence, that is, this minimum of being
which befits inherence. It is in this sense that it is an event: on the condition
that the event is not confused with its spatio-temporal realization in a state of affairsthe
event is sense itself.

Nancys understanding of sense as transimmanent appears rather similar to Deleuzes

exposition as suggested in the above. Further, Nancy (1997: 180 (note 35)) indeed
directly engages Deleuzes account of sense, suggesting that s a Deleuzian sense of sense
could be articulated in his terms. There is a resonance in their re-articulation of sense as
the being-toward of being itself and the insistence of its perpetual differentiation and
appearance in this temporal unfolding.
This connection aside, returning to his work on listening, Nancy suggests that
sense must resound for his project revolves arounda fundamental resonance, evena
resonance as a foundation, as a first or last profundity of sense itself (or of truth)
(Nancy 2007b: 6).111 Listening therefore aims at, or is aroused by, a mixing together and
resonance of sense and sound, each with the other or through the other. Meaning is
therefore resonant; its sense is found in resonance. This listening-to sonority is always
on the edge of meaning. Meaning, for Nancy (2007a: 54), is always in praxis; it is
never established as a given but has to be enacted (see Nancy 1997: 9; Raffoul and
Pettigrew 2007: 10). More than this, the world is a space in which a certain tonality
resonates; our sharing of a world comes in the sharing of resonance (Nancy 2007a: 42).

111We could perhaps think of Serres discussion of Noise in Genesis here and his understanding of noise
as multiplicity and a lack of sense; as non-sense in distinction to an ordered sense, as unitary. Further, again
echoing Nancys transimmanent sense, Serres (1995: 109-110) discusses turbulence which
mixes and associates the one and the multiple, systematic gathering together and
distribution. System appears there is distribution, and disappears there, distribution appears
there in the system and disappears thereTurbulence is a mix of foreseeable regions and
chaotic regions, a mix of concepts in the classical, unitary sense of the term, and of pure
multiplicity.

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This is not just the resonance of sound, but a resonance of sense itself it is a being
familiar with that is the access to and sharing of a world. Nancy (2007a) gives examples
of the hospital world or Debussys world, but we could equally think of Bacons world
(see Deleuze 2005), or various sub-cultural worlds that access to comes in a sharing of
sense/resonance.

The Subject of Listening

What then does this logic do in terms of an understanding of a subject that listens?
Listening is not only always on the edge of meaning, but always on the edge of, or in
approach to, a self. Nancy (2007b) that in speaking we are always already listening to
ourselves; that in making ourselves audible we are always already returning to ourselves
as an echo. The outside is then already in me and visa versa; we are opened from without
and within; folded. We can think of the baby who is born with its first cry, its subjectivity
being:
the sudden expansion of an echo chamber, a vault where what tears him
[sic] away and what summons him resound at once, setting in vibration a
column of air, of flesh, which sounds at its aperturesSomeone who comes
to himself [sic] by hearing himself [sic] cry
(Nancy 2007b: 17-18).

Sound resounds in an external space in its actual sounding. Returning to our ontological
aurality our originary immersion in sound and from which there is no outside; there is
no singular being without, or rather outwith, sound this resounding returns to the self
sounding and places itself, the sounding self, outside itself (see Devisch 2000: 248-249).
There is a doubling, a return, a folding of sound and self, echoing somewhat the work of
Merleau-Ponty discussed in Chapter 2 (see Merleau-Ponty 1968).
Here we can return to Nancys re-reading of Heidegger and the argument for the
prioritization of mitsein over dasein mentioned above. If Being cannot be anything but
being-with-one-another, circulating in the with and as the with of this singular plural
coexistence (Nancy 2000: 3), then this suggests a coexistence of sound and self. This
should not be mistaken for a static, given self; listening is always a being to, but to an
always becoming:
To be listening is thus to enter into tension and to be on the look out for a
relation to self: not, it should be emphasized, a relationship to me (the
supposedly given subject), or to the self of the other (the speaker, the
musician, also supposedly given, with his subjectivity), but to the relationship in
self, so to speak, as it forms a self or a to itself in general, and if something
like that ever does reach the end of its formation
(Nancy 2007b: 12).

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We can think of this constitution of the self as rhythmic. Rhythm for Nancy is the time
of timethe stroke of a present that presents it by separating it from itself and in this it
folds and unfolds a self (Nancy 2007b: 17). This leads to a notion of the self as
formed in the rhythmic reployment/deployment of an enveloping between inside and
outsideforming a hollow; the body as echo chamber (Nancy 2007b: 38). In turn, this
also leads us to a conception of rhythm not only as scansion the imposition of form
onto the continuously unfolding but also as an impulse the continued revival of the
pursuit.112
This presents a novel conception of the subject, the self being the resonance of a
return (Nancy 2007b: 12). This ties in generally with Nancys various writings around
the subject in which Nancy rejects Heideggers notion of a self-sufficient subject, a
notion in which the individual is precisely that: individual (a single undivided entity
whose relations to others or to a community are secondary). Instead, Nancy argues that,
given now that mitsein is the being of dasein, the self is constituted only within relations
to other and the surrounding world (Devisch 2000: 241).
This rhythmic relation could also be thought of as syncopated, with syncopation
describing a movement of presentation and withdrawala syncopated beat in which
consciousness, the I think of transcendental unity of apperception, occurs only in the
rupturing of self-identity (James 2006: 46). Therefore, the subject is not to be seen as a
stable ground, but as a temporal unfolding it differs from itself; differentiates itself
from itself (Nancy 1993).113 This means the self is something to which we cannot be
present; it is not a presence to a present being, but a present being that is coming and
passing, extending and penetrating. This is not a present as an instant, but a present as
waves on a swellit is a time that opens up, that is hollowed out, that is enlarged or
ramified, that envelops or separates, that becomes or is turned into a loop, that stretches
out or contracts, and so on (Nancy 2007b: 13).114 We can understand the subject as
becoming more evident in those intensive waves of sensation; that we become more
aware of our self in such experiences, although this is never fully realized like a wave

112 For a further discussion of this rhythmic constitution of the subject see Abraham (1995) whom Nancy
(2007b) also draws upon.
113 This can be related to the Deleuzian understanding of the subject in the previous chapter whereby the

subject was nothing but a differential modification perpetually emerging in the unfolding of experience.
114 It should be clear here then that Nancys examination of listening and its attention to the processes of

subjectification present in our being-with sound should not be understood as a process of excavation it is
resolutely not an attempt to get at the subject or capture the subject. Given Nancys understanding of
the subject, any excavation is bound to fail in advance the subject would be gone (if it was every really
there!) before we ever managed to excavate the groundless ground which it never fully inhabited.

228
on a beach, it breaks as it reaches anything like its full formation; it is in a perpetual
process of formation and dissolution.
Given this understanding of the subject as always presencing as coming to and
moving from presence it is not necessarily clear how Nancy accounts for the ways in
which a subject is already disposed to experience in a certain sense. How does resonance
vary depending on the state of the situation? Thinking these states in terms of our
listener discussed in the prelude, it could be argued that he was in some sense disposed
to listen, to resonate. Given that he had three spare minutes (something not all the
commuters would have had) and the prospect of an uninteresting day at work
something holding a weaker affective allure or a lower level of affective force the
resonance produced with the music Bell played was able to dilate his body or affect him
more strongly.
Looking to Nancys broader corpus, it is perhaps possible to discern a Nancian
understanding of such a disposition. Given Nancys understanding of the world as in
praxis, as not being in any way essential or given prior to the with (Nancy 2007a), this
suggests that there is no natural or originary disposition which therefore implies a
variously constituted disposition arising potentially from our being as being-with-one
another. As we are always already with, a with that is singularly multiple, or rather, a with
that is at once singular, but one among many singular relations, we will always already be
disposed in a certain sense (Nancy 2000). Or, as James (2006: 106) states [t]he
suggestion is that our embodied existence implies an orientation of the body that, prior
to any assumption of subjectivity or inscription within the symbolic dimension of
language, presupposes sense and articulates the passage of sense as the spacing of space
and the disclosure of a shared meaningful world (2006 page 106). Nancys thinking of
the singular plural and being as being-with does suggest an ecological logic in which we
are always already enrolled in a multiplicity of relations. However, the necessity for a
finite thinking within this logic of ecological disposition should not be forgotten such
dispositions will always occur as singular occurrences and therefore need to be thought,
and re-thought, each time. Such a disposition should not be taken as a starting point for
the description of an encounter but as that which the description moves towards.

Sonorous Presence, the Body, and Resonant Subjects

The subject of listening in Nancy is then a product of the sonorous present:
The sonorous present in the result of space-time: it spreads through space,
or rather it opens a space that is its own, the very spreading out of its
resonance, it expansion and its reverberation. This space is immediately

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 omni-dimensional and transversate through all spaces: the expansion of
sound through obstacles, its property of penetration and ubiquity, has always
been noted
(Nancy 2007b: 13).

Nancys understanding of listening here as both spatial and temporal is significant. As

Idhe (2007: 57-71) notes, previously there has been a tendency to lay far stronger
emphasis on the perceptual significance of sound in terms of temporality rather than its
significance in spatial perception spatial significance was previously only really
attributed to the function of echoes or echolation, and their use by bats in the
perception of their spatial surroundings. In suggesting that sound opens a space, Nancy
is, in a sense, re-inscribing this spatio-perceptual significance. In listening the self takes
place in the sonorous present. Listening enters into that spatiality, and at the same time is
penetrated it opens up a self, both from in the self and around the self: it opens me
inside me as well as outside, and it is through such a double, quadruple, or sextuple
opening that a self can take place (Nancy 2007b: 14). Or, as Nancy (2007a: 99-100)
notes, the self cannot be given prior to this relation itself, since it is the relation that
makes the self (self means relation to self [and sound/the sonorous present] and there is
no case in which there is a subject of self). This is then
nothing other than a form or function of referral: a self is made of a
relationship to self, or a presence to self, which is nothing other than the
mutual referral between a perceptible individuation and an intelligible
identity (not just the individual in the current sense of the word, but in him
the singular occurrence of a state, a tension, or precisely, a sense)
(Nancy 2007b: 8).

Nancy wants to emphasize the re of resonance given the referral in this relation is
infinite in its redeployment and occurs prior to any logic of a subject (James 2006).
To be listening is then always to be doubled, folded, a return; to be outside and
inside, opened from without and from within. But from without and within what? A
body. From without and within a body. For Nancy, the body is the pivot of the world,
and existence cannot be thought outside of, or in abstraction from, bodily finitude
(James 2006: 131); the body itself is experience (Nancy 1993: 200) and One could say
the finitude of sense. (Nancy 1993: 204). Specifically, as noted by James (2006), Nancy
wants to be attentive to the point of contact between the limit of sense and signification
on one hand, and the actual fleshy materiality of the body on the other through his re-
thinking of existential phenomenology and fundamental ontology. Such an
understanding of the body of the body is significant for geography in its emphasis of the

230
singularity of experience that any coming to presence is at the same time a passing
from presence.
The body for Nancy isnt the body. Rather, it is about bodies. Bodies with bodies.
Transhuman bodies with bodies. As Nancy states:
The ontology of being-with is an ontology of bodies, of everybody, whether
they be inanimate, animate, sentient, speaking, thinking, having weight, and
so on. Above all else, body really means what is outside, insofar as it is
outside, next to, against, nearby, with a(n) (other) body, from body to body,
in the dis-position. Not only does a body go from one self to an other, it is
as itself from the very first; it goes from itself to itself; whether made of stone,
wood, plastic, or flesh, a body is the sharing of a departure from self, the
departure towards self, the nearby-to-self without which the self would not
even be on its own
(Nancy 2000: 84).

The body of sound is folded through the body of listening, and we can only ever be
listening: animal bodies, in general the human body, in particular are not
constructed to interrupt at their leisure the sonorous arrival The ears dont have
eyelids [even if they do have ipods] (Nancy 2007b: 14). As Idhe (2007) notes, the air
that surrounds and permeates us finds its life in sound, and that even the silent realms
which we cannot register are in fact realms of sound and noise. It is interesting here that
in this Nancy is suggesting a rather different notion of relation than that which often
permeates geographical accounts. Rather than a topological understanding of discrete
unites relating to one another (here the source of sound and the body listening), Nancy
pays attention to the middle of this relation to the materiality of the (immaterial)
sonorous that lies between and within us (see Irigaray 1999).
Given this immersion in the sonorous, questions arise about the broader space-
times of listening. Returning to the lens of the opening event, we could argue that
although many didnt stop, this is not to say that they did not listen. Rather, they
resonated in different ways which did not exert a strong enough allure or force to make
them stop (see Chapter 6), or that they simply were disposed differently (given, for
example, being late for work, stressed about a meeting, and so on), to make them stop, as
already discussed. We can ask: is stopping to listen is so crucial? I think Nancys writings
on sonorous presence and bodies being-with bodies suggest not. As Nancy (2008b:
124) states, the body consists in being exposed. Therefore, there is significance in the
traces of resonance of those encounters that may be left in the body both in terms of
those who stopped and those who didnt. Stopping is not the only mode of showing that
a body has been affected. As discussed in the prelude, during the experiment, one of the

231
first things to happen was that someone altered their gait and turned their head does
this mean they listened? Further, a number of children strained to stop as their parents
rushed them through the metro station were they listening? Those who queued at the
kiosk didnt look or pay attention but were they then listening? To each I would answer
yes. Not coming to self-presence in this engagement does not mean there has not been
an affect as any substantial presence can be only a negation of presence as of the self, of
presence in itself as to itself (Nancy 2008b: 140). In entering that space they were
immersed in the sonorous present of that space, in addition to being enrolled in a
multiplicity of other relations with other bodies, and therefore in some way will have
resonated even if that resonance was indifferent, or not pronounced enough to draw
them in, or only affected them later. Ultimately, this questions whether this event truly
did fall on a thousand pairs of deaf ears, or, whether it rather resonated with a thousand
bodies in a plurality of singular ways.
In this taking place of the self in listening, a self always listening and therefore
always perpetually taking place, resonance again is key. The sense of the self in bound in
the resonance of sound and a body. A body is a resonance chamber housing the subject
resonating115, before any distinction of functions is made (Nancy 2007b); before a body is
organized. It is therefore a body-potency, not a body-instrument (Nancy 2007b: 78
[note 10]; also see Deleuze and Guattari 2004a). We listen with our whole bodies, not
just out ears; the ear is at best the focal organ of listening.116 As Idhe (2007: 45) notes
Sound permeates and penetrates my bodily being (see Serres 1995: 7; Connor 1999).
There are strong echoes here of what I have earlier discussed as affect. Nancy does in
fact talk of the interwoven nature of the non-musical codification of affects (love, desire,
passion, joy, and so on) and an order of musical mimesis (the sonorous emission as such)
in his work on listening (see Nancy 2007b: 38). Nancys understanding of resonance in
particular could perhaps be understood in terms of affect. We can then ask
Isnt the space of the listening bodyjusta hollow column over which a
skin is stretched, but also from which the opening of a mouth can resume
and revive resonance? A blow from outside, clamour from within, this
sonorous, sonorized body undertakes a simultaneous listening to a self and
to a world that are both in resonance. It becomes distressed (tightens) and it

115 Also see Ingold (2000: 251).

116 This does bear significance for an understanding of the experience of those with hearing difficulties
while the ear, the focal organ may not function fully, this is not to say that they do not in some sense
listening they can feel the resonance of bass frequencies in their stomachs etc. (see Idhe 2007: 44-45). As
Serres (1995: 60) states No one is deaf, in a strict sense; at least intropathetic noise is perceived nonstop,
my body burns enough to give it off at all times. Hearing is an open receiver that does not go to sleep.
For a broader discussion of deafness as bodily listening see Ingold (2000: 274-276).

232
 rejoices (dilates). It listens to itself becoming distressed and rejoicing. It
enjoys and is distressed at this very listening where the distant resounds in
the closest
(Nancy 2007b: 42-43).117

The tightening and dilation of the body can be directly understood in Deleuzian terms of
sad and joyful affects (see Chapter 5) a sound that tightens (distresses) negatively
affects us and a sound that dilates (rejoices) positively affects us (see Deleuze 1988),
though the outcome of such affects remains to be seen.118 The emphasis laid here on
resonance is at the same time then an emphasis of the Deleuzian intensive; of those
intensive pre-individual forces that constitute or individuate the self as an extended
being (Boundas 2005b; Colebrook 2002: 38-39; Deleuze 2004b: 307). Deleuze (2005: 39)
suggests that music strips bodies ofthe materiality of their presence: it disembodies
bodies. However, this disembodiment is at the same time a realization and coming to
our-selves as embodied beings as music traverses our bodies in profound ways
(Deleuze 2005: 39). This in turn is echoed by Nancy, as already suggested, in his
discussion of ek-stasis in sounding and consequently listening to ourselves we come to
our selves and bodies in being outside of ourselves in extension; in listening we become
embodied, we become aware of ourselves as being a body, in the resonance of sound and
body.
Further, here we can think of timbre as perhaps the most significant affective
element of sound. The OED defines timbre as the quality of a musical sound or voice
as distinct from its pitch or intensity and as a distinct quality or character. When
Nancy talks of timbre, he is referring to the very resonance of the sonorous it is the
reality of music or sonorous matter that spreads and resounds in space (Nancy
2007b: 40). Therefore, timbre is the resonance of sound; the sound itself. It then forms
sonorous sense as sense comes in resonance. This lively understanding of the sonic is

117 Or as Serres (cited in Connor 1999) echos:

At the beginning, the whole body or organism raises up a sculpture or statue of tense skin,
vibrating amid voluminous sound, open-closed like a box (or drum), capturing that by which
it is captured. We hear by means of the skin and feet. We hear with the cranial box, the
abdomen and the thorax. We hear by means of the muscles, nerves and tendons. Our body-
box, stretched with strings, veils itself within a global tympanum. We live amid sounds and
cries, amid waves rather than spaces the organism moulds and indents itself. I am a house of
sound, hearing and voice at once, black box and sounding-board, hammer and anvil, a
grotto of echoes, a musicassette, the ears pavilion, a question mark, wandering in the space
of messages filled or stripped of senseI am the resonance and the tone, I am together the
mingling of the tone and its resonance.
118 For a discussion of the dilation of surfaces in general see Deleuze (2004c: 141-143). For a discussion of

dilation and contraction in terms of affect, sensation and forces exerted on the body in particular, see
Deleuze (2005: 28-29 & 41-42).

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in contrast to other discussions which present sound as lively. While Nancy suggest an
understanding of sound, through such conceptions of timbre and resonance, as having a
sensuous liveliness sound does things to bodies at a visceral level discussions such as
Idhe (2007) present sound in a less affective fashion. Though Idhe (2007) does
acknowledge the significance of sound in it showing liveliness through its ability to
show movement etc. to me he does not give the same sense of the felt dimensions of
sound in this discussion of liveliness; the sound does appear to become a little sterile.
Sound shows movement and penetrates bodies, but it doesnt seem to do much to these
bodies.
There is no intentionality here for it is before any relation to object that listening
opens up in timbre; timbre resounds in it rather than for it. In this, timbre also in a sense
acts as the communication of the incommunicable in that timbre is communication itself:
it is that things by which a subject makes an echo (Nancy 2007b: 41). Here Nancy is
not thinking about communication as a transmission, but instead as a sharing. Timbre is
non-representational in that it is above all the unity of a diversity that its unity does not
reabsorb. That is also why it does not yield to measurement or notion as do other music
values (Nancy 2007b: 41). Timbre, unlike pitch, intensity, and other musical terms, is
not directly measurable. Such a quality presents a block of becoming at the level of
expressionthat continually escape[s] from the coordinates or punctual systems
functioning as musical codes at a given moment (Deleuze and Guattari 2004b: 329).
Instead it is referred to qualitatively through metaphor; through colour, touch, or even
smell.119 Timbre then resounds with all perceptible registers while outweighing them.
Such a body-subject for Nancy is not to be confused with the intentional,
phenomenological subject though as just suggested. It is instead a question of
going back from the phenomenological subject, an intentional line of sight,
to a resonant subject, an intensive spacing of a rebound that does not end in
any return to self without immediately re-launching, as an echo, a call to that
same self. While the subject of the target is always already given, posed in
itself to its point of view, the subject of listening is always still yet to come,
spaced, transversed, and called by itself, sounded by itself
(Nancy 2007b: 21).

119 Although parallels could perhaps be drawn here between Nancys understanding of timbre and Barthes
of the grain of the voice, Barthes himself suggest that the grain, is for him, something different from
timbre: The grain of the voice is not or not only its timbre; the signifying it affords cannot be better
defined than by the friction between music and something else, which is the language (and not the message
at all) (Barthes 1986: 273).

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This suggests a disagreement with Idhes (2007: 22) phenomenological work on listening
and sound. Listening is not always a listening to, but rather a listening with. This post-
phenomenology of the subject perhaps even evacuates the subject entirely, given there is
no subject at all except as that place of resonance in infinite tension and redeployment.
There is an absence of ground and only resonance without reason (Nancy 2007a: 47)
where Souls and individuals resonate with another but cannot know each other
(Williams 2003: 208). Nancys work on listening then is less about the phenomenological
examination of sound in terms of a getting to the sound itself, to its essence, but about
realizing the excessive experiential potential of sound and examining the intensive
processes that occur in such experience. Like Deleuzes transcendental empiricism (as
discussed in the previous chapter), it is less about transcendence and more about the
creative processes present in such encounters; not what it is, but how it (perpetually)
comes to be, and the challenge of a finite thinking this presents

V. Conclusion

So, in light of this discussion of Nancys philosophy, and returning to Washington, what
can we then say about our lone stationary listener and his experience of Joshua Bell?
Firstly, we can perhaps start to re-inscribe the significance of the proper name Joshua
Bell. The proper names under which we define and capture music (classical, rock, jazz;
virtuoso, amateur etc.) are not then of sole importance they are decentred and what is
also important is how the actual sound molecules themselves resonate in the body of
the listener. The performer is still obviously important; they generate the music it is
their flesh on the key, the string etc. and it is their breath that dictates the precise
phrasing. We should not also underestimate the affective power the connection of their
name to that sound holds; it is not to install a tabula rasa. However, this is not the be all
and end all. No matter how much we are told it is good, spectacular, beautiful, it should
not be forgotten that it is our resonance with this sound that counts. The cultural
snobbery at play in the commentary of Richard Morrison is key here. The discussion
presented here takes our attention away from thinking in terms of objective beauty or
value. However, this is not to suggest that all music should be given the same value.
Rather it poses questions around listening on different terms. It instead asks questions
around what music will do to us. This is a question we cannot know the answer to in
advance and we should therefore not foreclose this potential. It is an affirmation of
singularity, of unique conjunctions of forces, in each (multiple) occurrence (Baugh
1992: 144). We need to ask whether they [here music and sound] agree or disagree with

235
us, that is, whether they bring forces to us [a dilation], or whether they return us tothe
poverty of organization [a contraction] (Deleuze 1997: 135).
There is then, in a parallel movement, a necessary unmaking of the musicologist
here, as Nancy (2007b: 63) suggests:
If someone listens to music without knowing anything about it as we say
of those who have no knowledge of musicology without being capable of
interpreting it, is it actually possible that he is actually listening to it, rather
than being reduced to hearing [entendre] it?.

In short, it is not necessarily about what we can read in the music, what meaning we can
discern, but about the sound of the music itself (see Bogue 2003: 13). It is about listening
to it; to its materiality, rhythm and timbre, and how this resonates in us and perpetually
makes and un-makes us. This is in a sense exemplified in our listener who didnt know
music theory, didnt know who Joshua Bell was, didnt really like classical music, but
none the less found himself briefly in his resonance with the notes being played in his
listening within the spatialities of the underground. This listening may make us feel at
peace like our lone listener, but it may equally disturb or unsettle us; it may make us feel
like dancing or it may make us feel like falling asleep. Further, as with many of the
listeners to the opening event, it may have little noticeable impact at all. I feel Nancy
offers a particularly insightful route into, and conceptual means with which we can begin
to sketch, such events of listening and therefore a means to do geographies of music (see
Wood, et al. 2007).
More generally, what does this imply for the study of listening in geography?
Most specifically, this discussion aims to develop the understanding of the non-
representational processes present in practices of listening through Nancys project of a
finite thinking of the singular plural. In an attempt to expand on geographys engagement
with practices of listening, I am arguing, through Nancy, for an engagement with the
ongoing processes of subjectification that are perpetually occurring in our being-with
sound, which itself is an argument for an engagement with that sound itself. Given this is
an engagement with the non-representational, as just suggested, this is likely to be little
more than sketchy. This said, are not such processes and subjects little more than
silhouettes that are both imprecise and singularizedsketches of affects (Nancy 2000:
7)? As Nancy (2003: 5) states, a finite thinking is a thinking thatis only ever able to
think to the extent that it also touches on its own limit and its own singularity. Thinking
back to the opening event, it is about tracing the plurality relations present in such an
event of listening, a plurality that is foregrounded in that listenings situation outwith the

236
traditional environments or circumstances in which listening might occur. Tracing the
relations between the listeners body and the sound encountered and the dilations or
contractions produced therein. Between those bodies and other aspects of their
environment such as its feel or architecture, and so on. This will, however, always
exceed our enumeration. For me, the challenge of the non-representational is precisely a
call for such a finite thinking. This therefore contributes to work being done around the
understanding of the non-representational in its decentring of the role of interpretation
and focus on the practical aspects of listening and more so in its affirmation of the
singularly multiple over the general. It is at this point, one
becomes most aware of the essence of singularityit is, each time, the
punctuality of a with that establishes a certain origin of meaning and
connects it to an infinity of other possible origins. Therefore, it is, at one and
the same time, infra-/intraindividual and transindividual, always the two
together. The individual is an intersection of singularities, the discrete
exposition of their simultaneity, an exposition that is both discrete and
transitory
(Nancy 2000: 85).

To conclude, this returns us to the post-phenomenological and particularly the first

trajectory from Chapter 2. Nancys critical engagement with phenomenology offers an
original understanding of the subject distinct from the humanist subject of traditional
identity politics and the intentional correlate of experience present in much of
phenomenological work. In their place, Nancy suggests a post-humanist subject that is
always already implicated in the with of its being, and in this, perpetually spaced and to
come; an always emergent subject. It is a subject that is found, and re-found, in bodily
resonance with ambient environments; in affective relations on difference and the pre-
individual. The post-humanism of this understanding highlights the significance of our
coexistence in material relations, specifically with sound as discussed here. Nancy (2007a:
42) then pays attention to the singular-plurality of our being-with sound by which we
have a world, or rather, by which worlding occurs given that a world is a space in which
a certain tonality resonates. The subject here is the relation itself it is the being-with. This
relatedness is ecological and so material it a subject that is with rather than for or to the
world.

237
238
 Chapter 8

Conclusion

I. Introduction

In this thesis I set out to examine the complex geographies of street performance and
particularly the multitude of ways in which this practice is embedded within, and
therefore shaped by, the specific spaces in which it takes place. This has been pursued at
a variety of scales, from the broad scale of the everyday life of the city to the specific
embodied experiences of the performer and audience members, but at all times through
an ecological approach which pays attention to this complex relatedness. Such
relatedness has been shown to occur both within and across these various scales and so,
for example, the discourses organizing the everyday life of the city can be felt in and
between the bodies of the performer and audience members and so affect their actions,
and equally a fleeting gesture or passing comment can affect a variety of unforeseen
changes in the organization of the everyday life of a space.
More specifically, in the introduction to this thesis I set out three interrelated
questions. These were:
1) What happens when the street space is transformed into a performance place and
how is this affected by both the performances everyday and legislative context?
2) How do the spatialities of the street, and the socialities that emerge therein, affect
the embodied experience of performing and the performance?

239
 3) How can the subject-centred nature of much of phenomenological thought be
supplanted while still emphasizing the centrality of embodied experience, and the
situatedness of the body, to understandings of practice?
In concluding this thesis I will return to each of these in turn now and summarize where
the thesis has got to with each. From this, I will also outline specific limitations of the
research presented here and how it could be augmented, both by research relating to
street performance but also by research within other empirical contexts.

II. From Street Space to Performance Place

In relation to the first research question, the thesis has shown that street performance
holds the potential to produce both convivial and conflictual socialities in the
transformation of the everyday spaces of the city into performances places. This is
achieved both in bringing people together in fleeting collective encounters, and through
the transgression of boundaries and social norms. Equally, at times this doesnt happen,
or is impeded by the spatio-temporal patterns of the street. As a result, street
performance appears to elicit attempts to harness this potential for commercial ends, but
also to guard against the disruption of this and broader social routines, through the
engineering of the affects of performance via the impositions placed on the nature of
performances and their spatio-temporal situation (see Thrift 2004).
More specifically, in Chapter 4 it was shown how, in Bath, performances are
traversed by a complex (im)material ecology of discourses and routines which impact
upon the playing out of performances in the context of the everyday, both positively and
negatively. The palimpsest nature of this setting was drawn out through an engagement
with, and a diagrammatic refiguring of, the work of Lefebvre (1991; 2004) on how the
space-times of the city are produced through, and affected by, a complex and dynamic
interaction of representations, routines, and interventions, which, in response to critiques
of recent discussion of practices in geography (Cresswell 2006), attends to the
situatedness of practices within a specific context. This was particularly foregrounded by
the ecological approach taken in this thesis which pays attention to both the material
relatedness of the body in practice, and also to the immaterial aspects that traverse such
spaces and experiences.
It is clear from this discussion that the status of street performance within the
everyday life of the city is complex and by no means secure. This is especially evident in
Bath given regular attempts in the recent past to tighten the ways in which street
performances are controlled, and also in the current plans to review this, the tones of

240
which appear to be leaning towards a tighter form of control and the discouraging of
certain practices and performers. There is then a delicate balance to be maintained to
allow performances to continue, but without it becoming more of a form of
commissioned performance. While I dont want to suggest something like a notion of
real street performance (see Goss 1996), it is clear that if performances are strictly
controlled through, for example, licensing, timetabling, and other means which fix the
space-time of the performance and tie the performer to a specific locality (and so
excluding other itinerant performers), something of the variety and informality of the
performance is lost and so is the potential for such performances to produce fleeting
liminal spaces of sociality or conviviality in the everyday. It is arguable whether spaces
such as Covent Garden actually constitute spaces of street performance, and rather
simply present a form of commissioned performance employed to attract more people to
the area. As one Convent Garden performer told me in the past, if you want to see real
street performers [in London], go to the South Bank (where there is no legislation)
(Simpson 2006). However, the specific point at which this line is crossed is by no means
clear.
On the basis of this, there are a number of areas in which this research could be
pursued further. Firstly, as was acknowledged in Chapter 3, there has been a relatively
small input from other performers in this study. Therefore, in terms of further examining
the affects the legislative and everyday context of performance has on these
performances, it would be potentially fruitful to pursue this further in discussion with
performers. However, given the disparate nature of this grouping of performers it is not
easy to undertake such enrollment. Both in this study, and in my past experience of
studying street performers for my Masters dissertation, I found it difficult to enroll
performers into the study and talk to them in any length or depth. This is partly caused
by the difficulty in soliciting participants as an overt research other than by approaching
them in the street after a performance, and so when they are still busy and may be
looking to move onto a further performance. Also, if pursued more as a participant, such
as in this thesis, the lack of conversation that occurs between performers on a day-to-day
basis made it very difficult to build any kind of interpersonal relation from which further
and more detailed conversations could occur.
In addition, while this study has been set primarily in Bath, it is clear that issues
relating to the control of performances by local councils and, more generally, the nature
of the overall performance scene and its spaces, will vary from location to location.

241
During the time of this study prominent examples of this have emerged, including the
banning of bag pipers on the Royal Mile in Edinburgh, and a series of debates around
the use of the centre of Oxford by buskers and the argued need for a stricter policing of
this. Therefore, research into this variance could further uncover the ways in which the
street spaces of the city are transformed into performance places, and particularly
examine the ways in which this is affected by the performances everyday and legislative
context given that many of these sites explicitly draw on precedents set in others in terms
of how they respond to street performers and in determining the sort of performance
places that they want to actively encourage or engineer.
Beyond studying street performance specifically, and highlighting their broader
significance, the thematics discussed here could be pursued in relation to a research
project related to the impact artistic performance has upon the everyday life of the city
more generally (Pinder 2005a), and specifically how it is possible that such performances
enact a form of critique of this. It is possible that the examination of the performances of
a variety of street theatre groups would throw this into sharper relief. Again intersecting
with the work of Lefebvre and his Critique of Everyday Life (Lefebvre 1992; 2002;
2005), I believe it could prove productive to examine the actual interventions such
theatre groups make (through ethnographic observation and participation), but also what
the explicit rationale of these interventions are (even if these are not aimed towards
specific causes or articulated political projects), to show the ways in which these groups
open up possibilities for something different to emerge in the everyday life of the city
and how they potentially make people ask questions of what they routinely do.

III. Experiencing (in) the Street

In relation to the second research question, the thesis has shown that the experience of
street performing and of street performances is significantly affected by the practices
situation in the street and the spatio-temporal implications of this. This is the case in
relation to the performer, but also for the audience and the ways in which they attend to
the performance. For example, given this situation in the street, there is no obvious
demarcation of a stage and so the performer can be quite exposed the audience may be
present on more than one side and so they can approach the performer as they like with
little impediment to this. Further, performances are not necessarily defined temporally in
advance, though there may be some restrictions placed on this in terms of duration, and
therefore the audience may not be aware of the performance in advance of its actual
taking place.

242
 More specifically, in Chapter 5 it was shown how the socialities of the street, and
the experience of performing therein, emerge from and are traversed by a multitude of
singular affective relations between the performer, the (im)materiality of the street space,
members of the audience, donations, the broader environmental conditions, and so on.
Although not always registered consciously in the performers body, such affects produce
singular modes of association specific to each encounter. Importantly, and responding to
critiques of work focusing on affect (Harrison 2008), these relations were both positive
and negative they both increased my, the performers, capacity to act, but equally, at
times, diminished them. There was a relative movement of speeding up and slowing
down (Deleuze 1988). Given the ecological approach taken, it was also shown how these
affects do not occur in some kind of a-social or blank space, but rather occur as part of a
complex of variably rigid, variably flexible dispositions or comportments whereby the
affects of body are organized into a particular cartography, again further attending to the
situatedness of practices without reducing the practice to this situation (see Cresswell
2006).
Further, in Chapter 6 the significance of fleeting acts of attending, understood
here as singular affective relations, were discussed given that street performance occurs
outside of the traditional formalisms of a staged theatre environment in that both the
timing and situation of performances is not necessarily worked out in advance.
Inhabitants of the city tourists, commuters, shoppers, and so on have to therefore
become part of the audience through a complex affective process of becoming aware,
which takes place within the context of their daily routine, pre-planned activities, and so
on. As was also touched on in Chapters 4 and 5, this becoming aware often doesnt
necessarily occur, with street performance acting in competition with the other spatial
routines and patterns of the city affects competing with affects.
Finally, in Chapter 7 this situation outside of the more traditional staged theatre
environment, and the resultant limited amount of attention that is paid to street
performance, was thought about in terms of the sound the performance produces and
the acts of listening urban inhabitants undertake. Rather than the more commonly
assumed acts of attentive listening, or rather hearing, that are often focused on in terms
of the attending to musical performance, this chapter outlined an understanding of a
more bodily form of listening that related to the urban inhabitants singular subjectifying
being-with sound and the resonant affectivity occurring in this. The spatiality of listening
here is defined by a bodys immersion in associations of affective resonance and so

243
socialities emerge in the perpetual coming to presence and moving from presence of
such a body immersed in sound. This was again foregrounded by the ecological approach
taken and its attention to the material implications of the immaterial constituent aspects
of the bodys embeddedness within an ecology of relations.
There are a few areas where this research could be expanded upon. Firstly, given
the time constraints of the study, the period of ethnography here was related to one
summer. Therefore there are a number of ways in which the embodied experience of
performing may vary over a longer duration the nature of the affective relations
discussed in this thesis may change, for example in terms of the relation to the
performance spaces, the impact members of the audience have on the performer, the
affects of donations, and so on. Also, the actual street setting for the performance may
change over time as was the case, following the completion of this research, in
Broadmead in Bristol with the implementation of permits, guidelines and specific
busking spots as could the make-up of performers performing there, so that the
dynamism of the experience of that space would be further highlighted. Further, and as
was mentioned above, this thesis has focused on my own experiences of performing in
the street and has not drawn on the experiences of other performers in examining this.
This may be facilitated by a longer duration of ethnographic participation, but I am still
skeptical that this would be a fruitful approach to uncovering such themes given the
issues already discussed above.
Also, in further pursuit of an understanding of practices of audiencing and
listening, given the necessary conceptual development undertaken here, it would be
interesting to pursue this more through explicitly empirical research. One means of doing
this would echo the example discussed in Chapter 7 whereby the video recording of the
events that occurred was complemented with the later discussions with those
experiencing the performance on what they felt, or, importantly, did not feel in their
encounter with that performance.120 The video could be explicitly used in these
conversations to elicit responses.
In addition, and again moving the discussion beyond a specific interest in street
performance, while Chapter 5 discussed the undertaking of artistic performances and the
experience of this, little has been said about the ways in which the skills necessary for
undertaking such performances are acquired and how this can be conceptualized. This is

120This was not logistically possibly in this study given the necessary number of research staff to pursue
such an approach one person to perform (or a volunteer performer), one person to film, and a number
of people stopping passersby to try to talk to them.

244
something geography more generally has neglected (although see Lea 2009). Studying the
acquisition of artistic skills may also prove to move the emphasis on the training of the
body more generally away from notions of disciplining and docility that have emerged
from the influence of the work of Michel Foucault in geography (Foucault 1979; Philo
1989), and focus more on the excessive and expressive nature of bodies. Therefore, one
potential research project which will stick with certain thematics of this thesis lies in a
collaborative research project with circus skills trainers and practitioners at a number of
circus schools in the UK, specifically Circomedia in Bristol and The Circus Space in
London. It is possible that the examination of how people are trained to clown, for
example, will insert a liveliness into the docile trained bodies which have previously
populated geographical texts.

IV. Post-phenomenology a Sketch

In relation to the final research question, this thesis has begun to sketch the outline of
one specific post-phenomenological geography by way of a line traced from the work of
Husserl (2001a; 2001b) to the work of Merleau-Ponty (1968; 2002), and beyond both of
these in light of various post-structural writers. This has been pursed along three specific
trajectories relating to the way we understand subjectivity, the social-cultural-political
situatedness of the body, and also in terms of the sensuousness of bodily relations. These
trajectories have also been framed by an ecological approach to the study of practices
which guides these post-phenomenological trajectories and emphasizes the complex
relatedness of the body in practices and the context of these practices.
More specifically, in relation to the first trajectory which sought to move beyond
certain notions of subjectivity whereby the subject is taken as present in advance of
experience and therefore as that which governs experience through internal
representational thought (Rose 2006: 546), Chapter 5 pursued an understanding of the
subject on the basis of a transposition of the operations of subjectivity from the
individuals head to a particular relation between self and world (Rose 2006: 546). Here,
in light of Nietzsches (1985; 2000a; 2000c) questioning of the status of the I as simply a
grammatical imposition, the subject, or rather, subjectivity, was understood as being a
product of an ongoing and multiple process of subjectification and therefore as
individuated in the intensive experience the body undergoes in its engagement with the
world (Guattari 1995).
This was further pursued in Chapters 6 and 7. Firstly, in Chapter 6, and through
an explicit engagement with the work of Husserl (2001a) and his understanding of

245
passive and active synthesis, the thesis proposed an understanding of the subject as not
something lying dormant and waiting to be awoken in its encountering of affective rays
emanating from an object or stimuli, but rather as a system of larval selves and therefore
not as that which undergoes modifications through the receipt of such affective rays, but
as that which is a modification a residual subject emergent in the consummation of pre-
individual affective intensities (Deleuze 2004b; Deleuze and Guattari 2004a). In Chapter
7, this was further developed in terms of Nancys (2007b) conception of the subject as a
resonant presencing, as that which rather than intending the experience of sound, is
always already with sound in its bodily being-with. In this presencing the subject is not
there in advance of experience, nor in fact does it ever come to be there, rather it is an
incessant coming-and-going (Nancy 1991: 98), and therefore in a perpetual process of
formation and dissolution.
In collectively articulating the discussions of Chapters 5-7 in terms of their
intensive understanding of the production of subjectivity and the significance of the co-
existential nature of being, it becomes clear how complex the subject really is it is
produced at the molecular level both through auto-affective intensive process and
through the encountering of that which is other than itself. This then highlights the
necessity of an ecological conception of subjectivity rather than one in which the subject
is situated as independent from the world it exists in, and, therefore, instead of taking its
place in advance of experience, the subject appears as an event in a dissipative process
of production (Tuinen 2007: 290).
In relation to the second trajectory, on the basis of the general outlining of the
performance scene in Chapter 4 and the summary of this given above, Chapter 5 focused
both on the situation of the performer within the performance space, but also in the
ways in which the body is socialized into a specific comportment through the impact of
specific discursive formations which dictate what the body does when it performs,
what it performs with, etc. but also through the routine playing out of the everyday.
Developing the diagrammatic understanding of the production of space-time outlined in
Chapter 4, Chapter 5 outlined the complex cartographies which striate the performing
body and the variable degrees to which these are rigid, or open to some movement. This
allows for an understanding of the experiential field as not simply a largely happy place
but rather as a socially, culturally, and politically situated field (Hass 2008: 93), but equally
not one where behaviour is entirely dictated by this field. Further, Chapters 6 and 7
attended to this in both discussing the ways in which affective experience is always

246
already situated within a specific disposition or comportment, although not one
intentionally assumed, which is affected by the bodys always already having entered into
a variety of affective relations.
This was in turn attended to in light of the ecological perspective outlined in the
Introduction to the thesis and its focusing on both the material and immaterial elements
of the ecology, the immaterial here being such discursive formations which have material
impacts upon the performing body and the playing out of performances, and also in the
way that the ecology also works temporally, extending to the past relations the body has
entered into.
Finally, in relation to the third trajectory, Chapter 5 approached an understanding
of embodied experience as inherently affective, with the body being an intensive ecology
of singular affective relations.121 This was again further pursued in Chapters 6 and 7.
Chapter 6 discussed a move from affection to affect, whereby the discussion became less
about the subject that receives the affective experience and the affection as being for that
subject, and rather about the affect lying between the body and that which it enters into
relation with. There is here more a coming together than a one for the other. Further,
Chapter 7 developed an understanding of the affectivity of sound and the resonance it
produces in its relation with the body listening, drawing out an understanding of timbre
as being the resonance of the sonorous. Again, this was facilitated by the ecological
approach and its attention to the intensive, and therefore to the visceral ecology that is
affected in the undertaking of practices.
There are a number of directions in which these theoretical developments can be
pursued further. Firstly, and most evidently, the thesis has focused on one particular
phenomenological lineage tracing from Husserl through to Merleau-Ponty. While the
works of Heidegger and Levinas did appear in passing, as other work developing a post-
phenomenology in geography has shown (Harrison 2007b; Harrison 2008; Paterson
2004; Popke 2003), their works offer a variety of lines to explore which will both
contribute to the trajectories of this thesis, but also open up others. That said, the works
of Husserl and Merleau-Ponty have by no means been exhausted here. For example,
while understandings of intersubjectivity were approached in Chapter 5, this was by no
means exhaustive, especially given Husserl wrote three volumes on the topic which still

121I should note here that while this thesis has primarily being interested in the way in which affects are felt
in an organic body it that of the performer or the audience such affects do not need such an organic
body for their playing out. I would argue inorganic bodies can affect and be affected by other bodies, both
organic and non-organic, without the necessary presence of an organic (especially human) body (see
Harman 2005; Meillassoux 2008).

247
remain untranslated into English (see Zahavi 2003). A substantial post-phenomenology
of intersubjectivity still remains to be written.
In addition, there are also a number of more contemporary phenomenologists
whose work geography has yet to attend to. For example, the works of the Christian
phenomenologist Jean-Luc Marion around saturated phenomena and the ability of their
givenness to exceed intentionality, and also of Michel Henry around affect and the
creation of a purely immanent phenomenology without intentionality, open up potential
ways for thinking about embodiment, the body, and subjectivity differently (see Henry
2003; Mullarkey 2006). Even more so, the work of Nancy discussed here in terms of
sound and listening, for me, more broadly holds the potential to move substantially
beyond the subject-centered nature of previous phenomenological thought and lead to a
radical conception of experience in terms of our being-with the world and others,
through his rethinking of phenomenologys existential analytic in terms of a co-existential
analytic of coming to presence. Therefore, I will give the last word to Nancy and his call
for
an ontology of the between, of the swerve or exposition by which
something like a subject can emerge. A subject that would henceforth have
two fundamental characteristics: that of not being substance and that of
being exposed to other subjectsA world of subjects can only be a world of
internal expansion along this double line of ex-position, and thus a common
and insubstantial world, common by virtue of its insubstantiality in other
words common by the ontological impossibility of a common substance (no
more common to all subjects than common to the subject and to itself). This
impossibility alone opens the possibility, the chance, and the risk of being in
the world
(Nancy 2008b: 143-144),

that
man [sic] begins again by passing infinitely beyond man [sic]
(Nancy 2008b: 170),

and how
[e]ven in solitude, I am made of the whole world as it takes with me or as
me a new singular point of sensitivity
(Nancy 2009).

248
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