ABSTRACT
The practice of philosophy and the act of performance are both instances of touching and being touched, just as touch is a technique that informs them. In this text I focus on my own encounters with the technique of touching in performance, which come primarily from the piano keyboard: where touch is both a physical process and an elusive sonic quality. It is telling that the word touch is also used metaphorically to speak about thoughts and emotions. Here, I engage with all three of these capacities—embodied, audible, and emotive—to consider the tactility of Performance Philosophy.
