'Dancing the Downward Slide: Spaces of Affective Adjacency in Rian and Bird with Boy'

This chapter examines how the choreography of affect in two dance theatre works creates a space of affective adjacency—a space in which the building of an alternative structure of feeling and an alternative economy of the body can be experienced. Focusing on the choreographic use of repetition in Junk Ensemble’s Bird With Boy (2011) and Fabulous Beast Dance Theatre’s Rian (2011), it shows how the work required to build an alternative affective space can become visible. Although affect is most often viewed as a preconscious, ephemeral phenomenon (a passage of intensities), that can have little or no lasting impact on socio-political action, theorists such as Megan Watkins have argued for a consideration of the ‘cumulative aspects of affect’. Highlighting Spinoza’s distinction between affectus (the capacity for a body to affect and be affected), and affectio (the impact the affecting body leaves on the affected), Watkins points out that affectio can ‘leave a residue’ allowing for the ‘capacity of affect to be retained, to accumulate, to form dispositions and thus shape subjectivities’. The choreography of repetition in Bird With Boy and Rian presents sites for an examination of this accumulation of affect and its capacity not only to form and shape dispositions, but also, as Lauren Berlant suggests, ‘to move along and make worlds, situations, and environments’.

No discrimination shock avoidance with sequential presentation of stimuli but shore crabs still reduce shock exposure

Insights into the potential for pain may be obtained from examination of behavioural responses to noxious stimuli. In particular, prolonged responses coupled with long-term motivational change and avoidance learning cannot be explained by nociceptive reflex but are consistent with the idea of pain. Here, we placed shore crabs alternately in two halves of a test area divided by an opaque partition. Each area had a dark shelter and in one repeated small electric shocks were delivered in an experimental but not in a control group. Crabs showed no specific avoidance of the shock shelter either during these trials or in a subsequent test in which both were offered simultaneously; however they often emerged from the shock shelter during a trial and thus avoided further shock. More crabs emerged in later trials and took less time to emerge than in early trials. Thus, despite the lack of discrimination learning between the two shelters they used other tactics to markedly reduce the amount of shock received. We note that a previous experiment using simultaneous presentation of two shelters demonstrated rapid discrimination and avoidance learning but the paradigm of sequential presentation appears to prevent this. Nevertheless, the data show clearly that the shock is aversive and tactics, other than discrimination learning, are used to avoid it. Thus, the behaviour is only partially consistent with the idea of pain.