« Shall we say an agreeable degree of heat, or an agreeable feeling occasioned by the degree of heat ? Either will do ; and language would lose most of its esthetic and rhetorical value were we forbidden to project words primarily connoting our affections upon the objects by which the affections are aroused. » (p.143-144)
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« It is those very appreciative attributes of things, their dangerousness, beauty, rarity, utility, etc., that primarily appeal to our attention. In our commerce with nature these attributes are what give emphasis to objects ; and for an object to be emphatic, whatever spiritual fact it may mean, means also that it produces immediate bodily effects upon us, alterations of tone and tension, of heart-beat and breathing, of vascular and visceral action. »(p. 150)
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« Our body itself is the palmary instance of the ambiguous. Sometimes I treat my body purely as a part of outer nature. Sometimes, again, I think of it as mine, I sort it with the me, and then certain local changes and determinations in it pass for spiritual happenings. Its breathing is my thinking, its sensorial adjustments are my attention, its kinesthetic alterations are my efforts, its visceral perturbations are my emotions.The obstinate controversies that have arisen over such statements as these (which sound so paradoxical, and which can yet be made so seriously) prove how hard it is to decide by bare introspection what it is in experiences that shall make them either spiritual or material. It surely can be nothing intrinsic in the individual experience. It is their way of behaving towards each other, their system of relations, their function ; and all these things vary with the context in which we find it opportune to consider them. » (pp.153-154)
William JAMES, "The place of affectional facts in a world of pure experience", Essays in radical empiricism (1912), Canadian Libraries, Internet Archive,
L’exercice de la transactivation convertit des situations en expériences vécues et racontées.
Les transactiveurs portent leur attention à toutes sortes de situations susceptibles de constituer à leurs yeux, l’objet d’une expérience esthétique intéressante. Leur choix ne se limite pas au champ balisé de l’art, mais s’élargit également à des situations rencontrées ou inventées.
Leur activité se fonde sur l’hypothèse que l’accomplissement d’un travail artistique réside dans ses multiples transactivations, c’est à dire les actes de réception, d’exploration et de coopération qui contribuent à donner vie et consistance à des situations.
En rapportant leurs expériences personnelles à travers des récits critiques, en écrivant et réfléchissant ensemble sur les implications idéologiques de leur travail, les transactiveurs souhaitent former un relais ouvert aux nouveaux contributeurs qui se reconnaîtront dans le désir de privilégier une approche plurielle, subjective et investie de l’art.
Les membres de transactiv.exe n’ont pas forcément de certitude quant à leur statut (artiste, critique, chercheur ?). Par contre, ils ont conscience de participer pleinement à la vie artistique par leur goût de l’expérimentation et leurs qualités d’agents sensibles.