"The artist encouraged the 'beholder' to take up a position within an arrangement, giving it life, complementing the work, and taking part in the formulation of its meaning."
Bourriaud 1998, p.59
"It is intended that the viewer will construct their own meaning derived from aspects of shared embodied understanding, memory, experiences, visual association and sensory experiences. The ‘narrative’ could be seen as more of a dialogue between participants and their reading of visual, embodied and performative meanings produced through collaborative interpretation and authorship between the designer, performer…and the viewers.”
Bugg 2014, p.37
"Occasion, event, happening…are deliberately constructed social gatherings that seek for an invisibility to interpenetrate and animate the ordinary."
Brook 1968, p.64
> Texts that have influenced the development of this project
Bishop, C (ed.) 2006, Participation, Whitechapel Gallery, London.
Bourriaud, N 2002 , Relational aesthetics, trans. S, Pleasance & F, Woods, Les Presses du Réel, France.
Brook, P 1972 , The empty space, Pelican Books, Middlesex.
Bugg, J 2009, ‘Fashion at the interface: designer-wearer-viewer’, Fashion Practice, vol.1, no.1, pp.9-31, viewed 10 May 2018, <https://www.tandfonline.com/doi/abs/10.2752/175693809X418676>.
Bugg, J 2014, 'Emotion and memory: clothing the body as performance', in A Anderson & S, Pantouvaki (eds), Presence and absence: the performing body, Interdisciplinary Press, Oxford, pp. 29-52.
Goffman, E 1976 , The presentation of self in everyday life, Penguin Books, New York.
Heim, C 2016, Audience as performer: the changing role of theatre audiences in the twenty-first century, Routledge, London.
Latour, B 2005, Reassembling the social : an introduction to actor-network-theory, Oxford University Press, Oxford.
Ranciere, J 2009, The emancipated spectator, trans. G, Elliot, Verso, London.