UC San Diego

This dissertation discusses my concert-installation spaces, between in relation to thresholds, embodiment and cross-sensory perception. I draw on the work of Arnold Van Gennep and Victor Turner’s discussions of liminality as the basis for a consideration of the role of thresholds, brought about through processes of transition, in the musical, visual and spatialcomponents of the work. I examine theories of embodiment in the work of Maurice Merleau-Ponty, Iris Marion Young and Judith Butler to propose a theory of individual embodiment as the basis for spaces, between. I explore the potential for cross-sensory correspondences in the context of embodied perception, and consider how grounding the experience of a live instrumental performance in individual embodiment separates the concert-installation from the broader Western concert tradition.