ABSTRACT
To enter into the life of the camp is to participate in a series of percepts and affects that both stand alone and are shared with other iterations. The camp is a portable and integrated bloc of sensations, as well as a manifestation of 'structural' forces that bind a singular manifestation to a specific time, a place, or an authorial name. The camp has its preferred space of appearance, its specific stage: the public square or park. As a work of art, the camp stands alone, a make-believe space of promiscuous gathering. The camp literally gives character back to the seemingly 'neutral' space occupied by officially sanctioned forms of trade, leisure, and military display. The camp makes space once more into place: somewhere with a history, somewhere that becomes both a destination and a destiny, populated with acts of intimate physical co-presence that have been so central for the development of performance since the 1960s.
