“Geometry of Feeling” is a study in abjection. Using a logic of dissociation that straddles false dichotomies such as real/fantasy and public/private, the performance’s ultimate project is as intimate and emotional as it is theoretical and abstract. “Geometry of Feeling” centers the relationship between two characters, Brad and Christine, who are constructed from fictionalized and false notions about two real people. The text in “Geometry of Feeling” is an amalgamation of published text, private correspondence, and original material, that over the course of the performance, functions as lecture, dialogue, and diary. A series of discrete scenes track a nonlinear arc through Brad and Christine’s relationship, which is defined by its simultaneous distance and intimacy. Informed by Powers of Horror by Julia Kristeva, Brad and Christine’s relationship exists in this abject state between unresolved polarities that, for Kristeva, is “the place where meaning collapses.” Also influenced by Chris Kraus’ I Love Dick, “Geometry of Feeling” seeks to develop a philosophy of mind for Christine’s subjectivity and pursues her emotional state as a poetic and serious academic discipline.

“Geometry of Feeling” is part play, part lecture, part dance piece that develops a philosophy of intimacy between the two central characters, Brad and Christine. The piece sources real events and extrapolates them into theoretical fictions, leaving the audience in a state of paradox and ambiguity between what is real, false, public, private, emotional, academic, attractive, and repulsive.