Denys Blacker

Con-sented Time - Workshop


Pomps of the Subsoil (after the painting by Leonora Carrington) Ocells al Cap (Birds in the Head) Monste Seró, Natàlia Espinet, Lesley Yendell, Denys Blacker | “Festival Escena Poble Nou” in Barcelona in 2015 | Photographer | Claudia Serrahima 


17- 19. April 2018

Time: 11am to 5pm

Location: Southbank Playhouse Theatre  | 1a Kimberly Drive | Belfast BT7 3EE

Booking | Brian Patterson | Tel | 07968643871

This workshop is sponsored through the AHRC Project ‘Time: Between Metaphysics and Psychology’

Bbeyond would like to thank our sponsors, Queens University (Psychology Dept) in conjunction with the Warwick University (Philosophy Dept) for providing the funding through AHRC.


Denys Blacker (London 1961), has lived and worked in Spain since 1987. She has been making live art works for over 20 years internationally. Since co-founding Gresol, a non-profit cultural association in 2002, she has curated, and produced over 20 International Performance art festivals in Girona and Barcelona, including FEM, an annual festival showcasing the work of women artists, now in its 15th edition. She is also a member of the international performance group, The Wolf in the Winter and a founding member of the EU funded project ELAA (European Live Art Archive) based in the University of Girona. She is the also founder and coordinator of the collective Corpologia.

Currently, in her final year as a PhD candidate at Northumbria University,
she is investigating synchronicity and intercommunication in relation to a broad constellation of subjects, that bring together feminist perspectives of relational knowing, the quantum view of nonlinear time, parapsychology, panpsychism and the wider secular spiritual context of the re-sacralisation of the world and transformational body- mind-spirit practises.


In the workshop, we will focus on exploring the skill of improvisation to discover states of consciousness, in which the ordinary sense of time, space and causality is altered and the apparition of something sensed, but not yet seen or understood, can irrupt. From within this experience it is possible to feel a deep sense of interconnection.

I suggest that artists are able to establish connections between the inner and the outer, the physical body and the subtle body by developing the intuitive, visceral and non- verbal communication that happens between us at the limits of our consciousness; the kind of inter-being that appears to bypass the rational mind.

This could be considered as a relationship to psychological time rather than chronological time, that requires the artist to develop a very particular feeling for time and timing, where the ‘right’ time to act is not necessarily the planned time, where timing is internal and intuitive rather than chronological and controlled.

“Fundamentally the task is to articulate not just an alternative set of policy proposals but an alternative worldview to rival the one at the heart of the ecological crisis-embedded in interdependence rather than hyper-individualism, reciprocity rather than dominance, and cooperation rather than hierarchy.” (Klein 2014)

“The spiritual dimension, then resides along with other factors at the very heart of much of modern art, though it has long been misunderstood, supressed or overlooked.” (Spretnak 2014)

“For our daily pursuits and frame of mind, what does it mean to be a living part of a living whole, like a cell in the body of the earth?” (Macy 2007)

“Bodies do not simply take their places in the world. They are not simply situated in, or located in, particular environments. Rather ‘environments’ and ‘bodies’ are intra-actively co-constituted.” (Barad 2007)

“Response-ability is that cultivation through which we render each other capable, that cultivation of the capacity to respond. Response-ability is not something you have toward some kind of demand made on you by the world or by an ethical system or by a political commitment. Response-ability is not something that you just respond to, as if it’s there already. Rather, it’s the cultivation of the capacity of response in the context of living and dying in worlds for which one is for, with others. So, I think of response-ability as irreducibly collective and to-be-made. In some really deep ways, that which is not yet, but may yet be. It is a kind of luring, desiring, making-with.” (Haraway & Kenney 2015)

“Anarchy is quite simply a problem of assuming individual responsibility. It is the idea that each person conceives of himself as a thinking being, capable of making his life decisions without delegating his decision-making capacities to someone else, whether it be a god, a king, a state, a party, an ingenious artist, a master of thought, a leader, a mother or a father. Now, to be more specific, for me, John, anarchy really does have the

2 Consented is from the Latin consentire: con- ‘together’ + sentire ‘to feel’.

3 The Six Healing Sounds are a series of breathing exercises, based on the Taoist understanding of the human organism as a constantly transforming dynamic of interactive energies that are understood in terms of the Five Elements. The Sounds are intoned mindfully and correspond to a rhythm of breathing and movement that are executed simultaneously. Originally developed as a spiritual and physical training as a way of harmonising the energy of the body and to promote Ch’i, the universal energy, described by the Taoist philosophers, that pervades all things. It flows through the human body along meridians that are related to each organ. Maintaining a harmonious flow of Ch’i is vital for physical, emotional and mental well-being.

4 The Post Materialist Scientists write extensively about current research showing evidence of the extent to which the mind extends beyond the body as well as pointing to the existence of a collective mind. What would happen if a group of highly creative and practiced performers put their “heads together.” Leaving the antibiosis of power-over relationships and ambition and moving towards a mutuality and companionship of synergy and (symbiosis. materialist-science. Accessed 1st June 2016) future that people are talking about, and for a reason much more concrete than the one, fundamental for me, which I spoke about before, that is, creative conduct, as opposed to subordinate conduct, and positive individualism: Each free to act as they think best.“ (Ferrer 1991)

“Subject and object are not contrary, but interchangeable aspects of a single category in which any distinction between the agent and the action, between subject and object, between what does and what is done is simply a matter of perspective.” (Ames & Lau. D. C. 2004)

Ames, R.T. & Lau. D. C., 2004. Yuan Dao: Tracing Dao to its Source, Ballantine Books. Barad, K., 2007. Meeting the Universe Halfway, Duke University Press.
Ferrer, E., 1991. Esther Ferrer’s Letter to John Cage. Available at: http:// [Toegang verkry Februarie 12, 2015]. Haraway, D. & Kenney, M., 2015. Anthropocene, Capitalocene, Chthulhucene: Donna Haraway

in Conversation with Martha Kenney. In H. Davies & E. Turpin, reds Art in the Anthropocene. Encounters Among Aesthetics, Politics, Environments and Epistemologies. bll 256–270.

Klein, N., 2014. This Changes Everything 2015th ed, Penguin Random House UK. Macy, J., 2007. World as Lover, World as Self, Parallax Press.
Spretnak, C., 2014. The Spiritual Dynamic in Modern Art, Palgrave Macmillan.