A beautiful weaving here, and I hope that my theory/exegesis/whatever hasn't disrupted the flow of poetics that also underlies what I do, what you do. The viola-garb is almost clown-like, which is necessary for de/markating of course. All of this work, and yours too, and dance/theater is almost always DIWO, networked, I think. Which is why, at least when I worked with Foofwa for example, I felt that our work with others was also DIWO. There's a question of skill as well. Who are the O? For me, there's a huge range but I know when I work with skillful musicians, or dancers, or actors, it can be a great relief; something emerges that's the result of relief in relation to the body. Years ago, I worked with untrained performers in works that involved acting; I think the results were clumsy at times. Then I was able to work with a professional actress, and the emergence gave me more freedom. On the other hand, working with non-actors, something else emerged, a kind of energy and experimentation... With musicians, though, I can get frustrated if they're not able to listen. I know this is often against the grain. There are questions here, then, what level of skill? Who are the O? How should this be as broad as possible? Or the opposite? Coding is another example; I've learned so much from generous skillful people! So many people have shared their code, for example, in Second Life, or years ago taught me the finer points of being a nuisance in IRC. Again, then, who are O? If I involve community in general (and in curating I do deeply; in my own work, it's more difficult), what is gained? What might be lost? Surely identity politics plays a role here; if I did a piece in Finsbury Park, I'd want to involve everyone who would want to participate!
I keep going back to Foofwa, who spoiled me. When we worked on a performance, say for a ten minute video, he'd warm up for at least a couple of hours. And then working together was fantastic; it was deeply open collaboration, he seemed capable of anything... And now he does danceruns on the streets of various cities and the public joins in, and it's amazing! Best, Alan, thanks - On Sat, Nov 3, 2018 at 1:19 PM Johannes Birringer < johannes.birrin...@brunel.ac.uk> wrote: > > Earlier today I was reading your confessions, Alan, that you take > responsibility, and that you are worried about how to live and how > to work and how one relates to the other; i found your 'broken thoughts' > and comments on aphorisms very moving, and > so wanted to respond briefly, as you are, surely, too modest in thinking > that your " little videos and writings are seen by no one"; > on the contrary they are listened to and read by many and so i imagine, > never mind all some of the forgotten aphorisms, that all the > aphorisms are or might also be pollen. > > The german word, as Novalis used it, sounds a little brighter - > "Blüthenstaub" - it is lighter, it flies better. > > and so i imagine us, perhaps not tersely but joyfully, teasing out ideas > continuously, performing in our work-lives, performing to all the trompes > l'ouil > around us, becoming matter resonating with the surroundings. > > And audiences and our peers observe, perhaps, our lovely transcontinental > dance, you as Clov, over there in New Jersey/Rhode Island with your > instrument and the markers, and me as blind Hamm, over here in the british > island, in a double bill, with Gogo and Didi, en attendant Godot où le dieu > du carnage.... > > And as I sing the old chanson, "Hier encore," in my other role as Pozzo > (Lucky, performed by Russian actor Arseni Loika, is holding me tightly by > the rope but he is in the darker side of the stage, not visible, whereas > you can see Alia-Andreea Al-Shabibi as Didi right behind me, swinging her > wooden sword at my head), > the moon had just been eclipsed, but comes back. > > > > with regards > Johannes Birringer > ________________________________________ > >
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