Dear Ashley, Stamatia, and Erin,
snip
...In a certain sense, I do think that dance, theatre and all
performance art, amplify gestures, not in the sense of an enlargement and an
ostensive display, but in the sense of a close vision, so close and
microscopic to
lose the sense
this presupposition of failure -- usually that of
institutional and theory-du-jour critical postures -- is
inevitably silenced by rapidly displacing its practitioners
-- the challenge is to personally/socially determine viable
artistic praxis _despite and against prescribed,
self-serving and
It is interesting to consider Renate's proposed intersections within a
larger art context or the everyday. Of course, in dance practice and
choreography we consider the everyday both practically and
phenomenologically. First and perhaps most obviously we have periods
of choreography within certain
I very much agree with your thoughts, Ashley, on these points. I am perhaps not
totally sure about the idea of the body as 'disappearing', not being there, in
our I-Phone interactions. These interactions are definitely (as you suggest)
the object of precise commodifying and marketing
A little anecdote on everyday movement and technicity
A group of 10 of us from the SenseLab bikes down to a concrete garden
(Viger Square) in downtown Montreal. ItÂ’s 11am and the park feels empty.
Monumental in the park is a blue wall (probably was the backdrop to a
fountain in better times). We
Thinking of Ashley's post on the iPhone, I think we can be 'critical'
of this motion practice:
http://thelede.blogs.nytimes.com/2009/05/06/the-pentagon-adds-ipods-to-the-arsenal/
--
Timothy Murray
Director, Society for the Humanities
http://www.arts.cornell.edu/sochum/
Curator, The Rose Goldsen
