notes on performance

forthcoming

I wanted to return to the theater to create a space of ritual and the sacred, for both physical and spiritual healing, where audience and actors alike would participate in a form of pilgrimage. With an extraordinary ensemble we would undergo a metaphorical death—an ongoing process of shedding the self and reawakening, - to what, exactly, that’s what the book, Notes on Performance is about. Performance would function as a means to question and express the intricate nature of selfhood, agency, and collective existence in an increasingly fragmented and atemporal world.

Notes on Performance (2024, unpublished manuscript) is a collectively oriented study of performance as a mode of thinking, making, and living. Rather than documenting the work of a single artist, the book assembles a distributed field of practices—scores, notations, reflections, and procedural texts—that invite performance to be understood as an ongoing, shared inquiry.

Emerging at the intersection of performance studies, philosophy, and artistic practice, the project treats “performance” not as an object of analysis but as an epistemic condition—one that moves through pedagogy, embodiment, language, and technological mediation. The materials gathered here function less as documentation than as prompts: they are designed to be reactivated, reinterpreted, and taken up by others.

The book develops a central proposition: that identity is not a fixed essence but a situated and contingent performance, shaped by systems of attention, conditioning, and digital circulation. Within this framework, the contemporary self appears as both embodied and distributed—at once present and transacted across networks of surveillance, mediation, and exchange. The texts and scores collected here explore how such conditions might be inhabited, resisted, or reconfigured through performative practice.

Organized as a non-linear sequence of essays, instructions, and visual materials, the book traces a series of encounters across different geographic and cultural contexts—from the Mediterranean and the Levant to East and South Asia. These are not presented as personal travel narratives, but as sites of situated investigation, where distinct cosmologies, histories, and living systems shape the conditions of performance. Works such as Everything is Everything and There is Nothing ElseLuxor: Can I Pass My Own Turing Test, and The Quantum Sutras of Shiva, Shakti and the UFOs emerge from these contexts as provisional “plateaus”—temporary configurations of thought and action.

Visually and structurally, the book operates as an open system: a constellation of archival images, performance documentation, and technical notations arranged without a fixed hierarchy. Readers are invited not simply to interpret the material, but to enter into it—to treat the book as a set of procedures for thinking and acting otherwise.

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