Abstract
This paper takes as its catalyst a series of live art events that took place between London and Manchester in 2019. Thinking in conversation with Erin Manning’s propositions for “minor movements” and the Duchampian “infrathin”, we explore the potential for live art to temporarily suspend the thresholds of perceptibility and permissibility in the public realm. We argue that artful techniques of improvisation carry the potential to suspend capitalistic orderings of time by temporarily confounding the perceived barriers between art and life. Drawing together anarchival traces of improvised movement, sound, image, and thought, the paper is composed of vignettes that sketch the infrathin variations of a “pedagogy of suspensions” as elaborated through live art events in a public park, a moving train, a university gymnasium, and an anechoic sound chamber.
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