preiskovánje
investigation
Samostalnik preiskovanje je vsebinsko gledano uspešno izveden performativ v kontekstu dela J. L. Austina Kako naredimo kaj z besedami, v katerem se ukvarja s performativi kot posebnim tipom izjavljanj, ki nimajo vrednostne komponente in glavna funkcija katerih je izvesti določeno akcijo. Glagol preiskovati ima strukturo perlokucijskega dejanja preko proizvajanja pomenov in odgovorov v polju navzkrižnega zasliševanja [kazensko pravo, medicina, novinarstvo, forenzična znanost, FBI in tudi v polju raziskovanja performativnosti]. V tem smislu preiskovanje ne opisuje določenega stanja stvari, temveč vključuje idejo postajanja; [novo dejstvo, odkritje, percepcija, subjektiviteta]. Ključna metodologija izhaja iz natančnega opazovanja, prespraševanja in sistematičnega pregledovanja. Privilegirano mesto postajanja je vpisovanje objekta preiskovanja v središčno pozicijo opazovanja, medtem ko entropija informacij vzpostavlja paradokse samo-nanašanja. V tem smislu preiskovanje pripada opazovalcu, ki po definiciji določa njegovo trajanje [vprašanje zahteva odgovor, ne argumentacije] v nenehno se spreminjajočih izvajalskih odnosih; performer postaja režiser lastnega pojavljanja, režiser konstruktur novih izvajalskih platform, oba skupaj pod nenehnim pritiskom ujeti realno in postati subjekt opazovanja gledalca, medtem ko gledalec išče pomene. Tovrstni komunikacijski obrat nakazuje transformacijo od dejanja raz-iskovanja k pre-iskovanju kot ključni strategiji umetniškega delovanja in nujnosti investiranja v navzkrižno preiskovanje vseh možnih komunikacijskih dejanj, ki se pojavijo. Izvajalec/režiser mora lastno pozicijo »selfa« prestaviti na mesto nekoga, ki ne verjame, da bi lahko začel razumeti »temno snov« objekta preiskovanja; preko vzpostavitve dvojne pozicije tretjega (gledalca) kot diskurzivne / preživetvene strategije performativnosti v času večje kompleksnosti in manjšega razumevanja.
Author and translator: Andreja Kopac
investigation
preiskovánje
The noun investigation is content-wise a successful performative in the sense of J. L. Austin’s work How To Do Things With Words, where he deals with performatives as special utterances with no truth-value and main function to perform a certain action. The verb to investigate has a structure of a perlocutionary act by producing meaning and providing answers in fields of cross-examination [criminal justice, medicine, journalism, forensic science, FBI and also performance research]. Thus investigating is not just describing possible state of affairs, but involves the idea of becoming [a new fact, discovery, perception, subjectivity]. The key methodology derives from detailed observation, inquiry and systematic examination. The privileged place of becoming is to inscipt the object of investigation in the central position of observation, where entropy of information generates paradoxes of self-referentiality. In that sense investigation belongs to an observer (a spectator) who by definition delegates its continuation [a question demands an answer, not argumentation] through constantly reattributing roles in performing relationships, where the performer becomes director of his/her own appearance, the director a constructor of a new performing platform – both together under a pressure of catching the real, wanting to become the subject of observation of the spectator – while the spectator is looking for a meaning. This communication loop indicates transformation from the notion of re-search to invest-igation as the key strategy of artistic work, where it is necessary to invest in the cross-examination of the range of all possible communication acts that might appear. The performer/director thus has to place his/her self in the position of a non-believer to start to understand the ‘dark matter‘ of the object of investigation by implementing the doubled position of the third (spectator) as a discoursive/survival strategy of performativity in the times of higher complexity and lower understanding.
Author and translator: Andreja Kopac