Natasha Lushetich


Participation afforded by the 1960s happenings is very different from inter-action afforded by the Fluxus work, most notably the Fluxkit (a performative score in the form of objects). Although both practices sought to dethrone the sacrosanct object-hood of the art object by exploding the ordinary object’s event-hood, and welcoming the participant’s concrete engagement, happenings adhered largely to the teleological structuring characteristic of the parts/whole logic, while the Fluxkits functioned interexpressively.

For Nishida, interexpression is a dialectic mutual negation and affirmation of self and other, subject and object. It is rooted in inter-action, a relational paradigm derived from the (Zen) Buddhist notion of co-dependent origination which posits that every existent co-originates interdependently with other existents, since coming into being is always related to other, external causes. This is why no existent can be said to originate independently. What this further means is that the individual polarities of human experience, such as self and other, subject and object, internal and external, are neither permanent nor definite but are interdependently created in every new inter-action. This is at the same time the reason why inter-action is conceptualised as a positing act which cannot be presupposed, only produced, and which, as such, ‘hovers’ between being and non-being.

→ Performance Research: On Philosophy and Participation