Natasha Lushetich


If the phrase ‘the performance of time’ sounds slightly odd, the suggested action being both vaguely possible and, quite likely, impossible, it is because time is most often conceptualised as a flowing substance, an organising principle, or a container in which events occur. In all of these cases, time is thought to have an existence independent of the human observer. As an externally observable phenomenon it can either be ‘perceived’ by the human subject or it can be ignored. On this static, substantialist view, time cannot be performed but is a measure of performance, that in which performance occurs. Adopting a ‘processualist’ approach, this essay reflects on musical, cinematic and performative intermedia in which time is an expressive activity arguing that instead of occurring in time, objects, events, and activities produce time in their occurrence.