ABSTRACT
This chapter presents the work of the practitioner of participation as ‘shaping’ the aspects of experience, as if they are artistic material in the hands of a sculptor manipulating the conscious perception of mind, moulding the unconscious affects of bodies. The interest comes with the complexities of experience that can emerge from the ‘mind reading’. The theatre maker as composer or conductor of experience for example, might offer more purchase on the dynamic aspects of participation as an event, on the rhythm, harmony, and counterpoint of the affective and the cognitive. L. Zunshine tells how Jane Austen juxtaposes telling the reader about the mental state of a character, and narrating a moment of embodied transparency in which a character’s state is apparently revealed to another. His complexion became pale with anger, and the disturbance of his mind was visible in every feature.
