i can be frank with you. one of those pieces really did something to me that's
hard to describe.
i think it was the one with both maude and foofwa. the sound was very
important. hearing the
labor behind those images, hearing their labored breathing became something
really important.
not just artifice, but how labor is beneathe the surface, how worlds pass
through membranes, or something.
and also there was a modulation of sexuality in myself watching those that's
i've never experienced.
i barely have the words to describe this. those twitching meaticons seemed to
enter into my mind
free of any explicit worlding, free of gender, not just polymorphous
perversity, but something indefinable,
more akin to substance 'down the pike' a consciousness in the limbs? some kind
of semiotic micro/macro
recapitulation of origins and present. culture/culture. substance through time. body as culture. and then there were
flashes
of internal narrative firing, sort of like what one might suppose might be
behind some of those Burroughsian
descriptions like in Soft Machine, this is me not Burroughs, but things like
his skin peeled off in wisps
leaving the insect tremor of a fading junk nausea, a mirrored smoke pretending
to be human pleasure.
stuff like that, i'm just paraphrasing badly. i didnt know whether i wanted to
masturbate or cry, very moving,
i didnt need to do either, just sat there enthralled by a new kind of flesh
music. those breathing sounds
splicing into my thoughts like interruptions both wanted an unwanted..oddly
post-polaric, mesmeric,
an oddly displacing realness of the virtual, i really think these pieces kind
of act like what the film
video-drome was sort of vulgarising. flesh-texts. Something Burroughs can't
quite get to either, except
through narrative, and things like cronenberg's film Existenz move through
narrative as well. But these
touch on pure figure, pure contagion, pure innocence, this is like a marionette
theatre of the grotesque
whose stage directions are the ontic shifting units of discrete intuition writ
large. the little machines
the dancers have built are echoes. this allows all kinds of comparisons and
differences to emerge.
'informance' instead of 'performance.' and at some level these are purely
descriptive of event as being.
a purely wordless example of demonstrative philosophy, post-philosophy,
post-aesthetic aesthetics.
As if the dancer's generosity in imagining those movements, that bridge might
be the fuzzy paradigm
of a new ethic. bodies closing the gaps beyond words, fuzzy solutions, virtual
incarnation, frankly
those pieces just left me rather speachless for several days alan.
i thinnk this is some of the best work i've seen so far. this has certainly got
to be some of the highest art
of the decade, the most meaningful etc. it should establish you as one of the
most important practitioners.
you've completely merged all the fields to the best of your ability. maybe i'm
partial to this, and maybe
there are more materially advanced expressions haptic etc. this is natural
language. like giving as a hermeneutic
echo. i dunno, but having dancers mimic (not mimic, but "give back", mimic is
far too cold) those inchoate
'figures of submerged series' is just like lightning through the brain!!! just
really seemed like a major
culmination of your project and proves your total focus and vision. you have
threaded the kairos
to create a true innovation which is unique and absolutely personal and
post-personal. and then there's
the whole symbolism of being in geneva as well. its really endless. i loved the
interview
w/ maude as well. she is so alarmingly intelligent. i couldnt get hardly any of
it.. but it seemed
like she was talking about poetic physiognomies.
i can't praise it enough! I think you should be very satisfied with this trip.
