Millennium performance text 3/18/06
pronouncements, but on what? imperfectly, we are fastened to the world. pronouncements, but on what? imperfectly, we are fastened to the world.i onlyhave a limited amount of material here, I'll have to repeat myself, apologies because this doesn't happen in the real world. there are two united states airplanes pronouncements, but on what? imperfectly, we are fastened to the world ad there are many ways that the world speaks to us through vibrations of buildings or radiations in isolated places where we can listen without or outside the power grid the world manifesting itself through the body of dance. through the upwelling of inconceivable matter. through manifest electromagnetic waves surrounding us. through eventhis mouse and this mousepad and antenna connected, irradiating, fulfilling dna with subterfuge with the possibility of decay, decadence, pronouncements, but on what? imperfectly, we are fastened to the world my life is taken up with power grid in precise increments of 60 or fifty cycles per 2nd. */probe 1 of the doctor/* I'm from this moment on, using up all my material < -- > interacting with the and at the same time, the presence of the doctor or antenna, the splitting of the body, the memory of some things you might have come across before, or sometimes entirely new, the revelation of the antenna coupling the dancer to the earth/ground of the material powergrid substratum of the grutli room rehearsal space in geneva. foofwa was bleeding after this. next time we are moving the piece to the alps. anything in the environment that conducts body < === > electro-surface . pronouncements, but on what? imperfectly, we are fastened to the world < === > vlf radio desiged by nasa in the background. we are breathing ions. ah this is so damn clumsy,you're seeing the inside of my mind < === > inside of muscle memory of dancer mind/body of what is recalled from past choreography or so it was explained to me. this was a particular move (left) that could only be repeated once while on the right (right) is the dictionary order of nude descending a staircase divided in the midst of itself . ultimately, of course, the dancer is completely alone on the stage pronouncements, but on what? imperfectly, we are fastened to the world by the stage, by the appearance of the stage. recently it has come to our intention that we are living the shadow of the cave of course you've heard this all befrore (that little boys love women). (that lkittle boys are scared of women) that little boys need to be probed. that the probe is based on the simultaneity of repetitoin. at this point sondheim was 'in the midst of ' a system of imags almost always out of his control, dancers he worked with with their own agenda, past memories both problematic and inaccessible, pronouncements, but on what? imperfectly, we are fastened to the world, the world tethered by such pronouncements, on the surface of the world, not hardly but in reality on the surface of the fastner itself. did i tell you this story? about the fantasms of henri rousseau, were genevan or francais, in the midst of the grutli rehearsal space, simultaneous confession and exact resistance of logic? perhaps you have heard something of the island where the birds were raised? when the phone rings you can look at the voice. this is true. i haven't heard from her since. pronouncements, but on what? imperfectly, we are fastened to the world. this is true. the president is in the plane. (think: geneva international) FILMED IN PAL! thank god that's over with. i said ok that's over with. the floor of the grutli is a deleuze-guattarian nomadic surface of the war machine becoming-woman. (it's theory, so it's ok if it's boring, apologies, I'm sorry). well the idea of this is that the president can't get into the big meeting because he can't clear security so he's stuck there with the rest of the iraqis. "when the war machine meets the security clearance of the radiation-ether molecular transformation of the GOD=DOG it's impossible to predict the end of narrative, much less the end of narratology" -= John - Jacks - Rousseau. "alan and azure at home while he (alan) was working on this precise video and performance (material)" - sartre. the bodies twisted _among themselves_ not among others, i.e. responsible for the central content of the image, Courbet's >entrance and exits from the world in the midst of the family drama/<===? (yes, well, chaos). i keep thinking, it's never enough, there's never enough images, since images = tethering,pronouncements, but on what? imperfectly, we are fastened to the world = there's no possibility of more / less in this regard - as i've said many times before, this is the totality of my still image work for the past twelve years. one can only hope for example that if there are sufficient numbers of such things, the bodies remain fasted. do bodies remain fastened, ever? remain fasted? the anorectic body sufficient in that state, the dancer disappearing into the dance, the muscle disappearing totally into memory, nothing remains / noting remains / but memory - almost every dancer i've known has had bouts of anorexia/bulemia - many were abused - the dance is simutalenously a remembrance and a forgetting, the muscle simultaneously a release and a binding - "When I make these imags, I"m sure there's an order to them, a logical progression from one toanother. Then I realize, it's all a fiction, just like the narative pronouncements, but on what? imperfectly, we are fastened to the world this could be relayed from one to another in just about any direction at all and the whole will hold. " at least perhaps not for the viewer but in temporal sequence, which is after "all" a"ll we have - if you're not following this, we began (earlier, i.e. before this._) i.e.representation of teh blown-out form/ulation of the dancer < == > split / spaltung. on one side the shadow in the shadow of the other (shadowed by texture-mapping of the identical image) leading to birth: <===> Julia Kristeva would be out of a job if it wasn't for the matrix... or that highly specific location in geneva where the rhone and arve meet with the transformation of the waters. thank you.