Joining attention to see differently

Starting from an embodied approach to the study of the mind, and drawing on Alva Noe’s proposition that the work of art allows us to move from seeing to seeing differently, I propose that some art performances emphasize the fact that the community bears this passage, and particularly highlight the importance of joint attention in this process. To develop my argument, I will consider what art historian Claire Bishop has termed the “gray zone,” which has emerged in the last 15 years or so as a result of the entry of the performing arts, normally housed in theatrical spaces, into museums, usually used for the display of immobile objects. This shift involves the breaking of certain spectatorial constraints, such as sitting isolated in the darkness of a room typical of traditional theater, and puts the subject in a position to engage in processes of joint attention. I will focus in particular on the analysis of the performance Faust, emblematic of the gray zone that I propose paradoxically emphasizes the potentially transformative power of “we”.