By Josephine Machon (auth.)

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This is fundamental to (syn)aesthetic interpretation where the original visceral experience remains affective in any subsequent recall. Following this any semantic or intellectual analysis that follows is influenced by this affective state, the analysis and articulation of that analysis is invested with that rich and felt quality of experience. Cytowic and Luria’s diagnostic features are not only useful in explaining the quality of experience within the appreciation of (syn)aesthetic work, as made clear below, they also serve to clarify certain features of the performance style, reinforcing my emphasis on the slippage and exchange between practice and analysis.

9 Scarry validates corporeal capabilities of perception, emphasizing the human body’s primordial presence, by arguing that the flesh is ‘the sentient source’ (1985: 123) which exists both outside and inside of linguistic sign-systems. The performing body has the ability to communicate via the shared human capacity for a corporeal memory, the traces and memories of corporeal experience in the perceiver’s body – which incorporates the fused capability of the human body; emotional, physical, sensational, physiological and so on.

The (syn)aesthetic style in performance has the ability to communicate that which is intangible, in a live(d) and sensate manner, enabling an encounter with ideas as much as with actual presence. It is this that engages a (syn)aestheticsense within appreciation. Of course, an element of (syn)aesthetic performance is the manipulation of form to present various dimensions of sensory qualities found Defining (Syn)aesthetics 25 in lived experience. For example, a quality of the aural presented in the visual (a scream as a physical image held), the aural through the oral (a musical melody transposed into a speech pattern), the literary through the physical (the transcription of written data through dance), or the tactile in the aural (the buzz of a needle on the skin translated through music).

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