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From Ursula Endlicher:Facebook Re-enactments! taking the story back!

Posted by Marlon Barrios Solano on November 9, 2010 at 10:27pm

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Facebook Re-enactments, 2009

Facebook Re-enactments -- my video reenactments of people on Facebook who share the same name -- are traveling to CCA Ujazdowski Castle, Warsaw, Poland, to be in a great group show called The future is not what it used to be curated by Magda Sawon.

Other artists in the show are Tamas Banovich, Kevin Bewersdorf, Mikołaj Długosz, Kenneth Tin-Kin Hung, Kobas Laksa, Michael Mandiberg, Eva and Franco Mattes (aka 0100101110101101.org), Joe McKay, JooYoun Paek, Zach Gage, and The Yes Men.

The show opens Wednesday, November 10, and will run from 11/11 - 12/26/2010.

There will be a catalog accompanying the exhibition with contributions by Beryl Graham, Domenico Quaranta, Marcin Ramocki, and Magdalena Sawon.

Facebook Re-enactments are supported by the Austrian Cultural Forum, Warsaw.

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Check out Facebook Re-enactments on my website -- you will find infos about its previous exhibitions and several excerpts from the video reenactments.

Enjoy!

All best,

Ursula

MoveStream 03 - Dance Documentary

Posted by MoveStream on November 5, 2010 at 10:30am

MoveStream 03
Dance and Documentary
03 Nov 2010

Interviews with
Boris B. Bertram (DK) Tankograd (2009)
Andy Wood (UK) Decreasing Infinity (2010) Commissioned by Balbir Singh Dance

Documentaries
Is it the dance or the narrative that draws in/drives the documentary maker?
Is it the dance or personal story that attracts the filmmaker and viewer?
Is it the personal and/or the political, the human story that attracts us or is it the dance amplified by the lens that draws us in as documentary makers and viewers?
Can the dance performed by the dancer create character and story, reveal the personal, the personality of the performer? Or does it always co-exist? a combination of the two?

Here are two examples of two very different dance documentaries.

Tankograd (2009) by Boris B.Bertram

A young world-class dance company is based is based in the most radioactively contaminated place on earth - 20 times higher than Chernobyl!. Chelyabinsk city, or Tankograd, Tank City, in Western Siberia is infamous for its extreme radioactive pollution and contaminated areas that are threatening to spill into the Arctic Sea. Curiously, the city also has one of Russia's most vibrant dance scenes.

Tankograd tells a human story through events and character development highlighting personal human stories, with a dramaturgical event narrative. The personal and the political drive the documentary narrative forward. We empathise with the plight of the dancers, in the world of the narrative - Chelyabinsk, Russia. Here the dance is captured and amplified by the camera and edit in order to bring out the dramatic elements.

Fact and Fiction
1) Personal and political
2) The personal stories of people and empathy
3) What becomes amplified by the documentary makers lens
4) What starts the interest, why and how do you choose a subject for a documentary?
5) Is it the narrative, the events, the people or the empathy that attracts us to these true stories?

Awards, Nominations & Screenings
1) Winner - Best International Documentary Camden Film International Festival (Oct 2010)
2) Nomination - Margaret Mead Filmmaker Award Contender (Nov 2010)
3) Screening Art Docs Moscow - Documentary Festival (Dec 2010)
Boris Bertram online:
http://www.dfi.dk/faktaomfilm/danishf...

HYPERLINK "http://moviemoxie.blogspot.com/2010/05/hot-docs-2010-tankograd-q-with-director.html"http://moviemoxie.blogspot.com/2010/0...
for interview at Canadian International Documentary Festival ran from April 29 - May 9, 2010 in Toronto, Ontario, Canada.
For more info: http://www.tankogradmovie.com/

Trailers:

Boris B. Bertram Interview

https://www.youtube.com/watch?v=0rWGhJKtzNQ

Tankograd trailers

The personal Stories https://www.youtube.com/watch?v=ZLNjYZLexx4&feature=related

The Movie https://www.youtube.com/watch?v=A0MyU8Vab8s&feature=related

Decreasing Infinity (2010) by Andy Wood
Decreasing Infinity reveals character and dramaturgy through the dance itself and the aesthetic choices of the documentary maker informing us of this, by means of different colors, grading, shots and video quality. It subtly amplifies the subtext of the subjects working in a dance studio in London. The documentary maker includes the personal by highlighting the concerns of the choreographer and his collaborators in the rehearsal period where they attempt to fuse Kathak and Contemporary dance styles with beat boxing. Through this, character and emotion are revealed. It is however the dance that is highlighted, and not the character's personal life stories. The documentary works within alive performance being screened first with the live performance rolling out of it into a Q&A session with the audience.
Dance and Form
1) Explore new/different/old forms of dance
2) Examine cross disciplinary work
3) Social and cultural mixes in the dance
4) Hybrid doccie forms arising from the exploration of the dance and its amplification
5) Aesthetics and technical choices - emotional subtext

Andy Wood Interview

https://www.youtube.com/watch?v=Rr01fROIz-Q

Trailers

Decreasing Infinity Intro

https://www.youtube.com/watch?v=ENqR08-gAJ8&feature=player_embedded

Decreasing Infinity - The Musicians

https://www.youtube.com/watch?v=OHjqZLU48Po&feature=player_embedded

Interviews conducted on skype

Shot and edited by Jeannette Ginslov
Video Produced by
Walking Gusto Productions 2010
and
dance-tech.net 2010

Across the Extremes. Notes on the late period of Beethoven

Posted by Diego Agulló on November 5, 2010 at 12:07am

What´s going on here?Whoever walks in darkness is less lonely if they sing.The challenge is not how one´s own life becomes paradoxical but how one´s own contradictions are the gears of a machine appealing enough to still producing harmonic resonancesWe usually read about Beethoven´s deafness but it´s not so common to read that Beethoven was speechless. Silence is the language that corresponds to the tragic hero. What does it mean?Don´t throw away the ladder.If talking about music is already a difficult task, what makes this task even more difficult in Beethoven´s late period?In 1770 Beethoven, Hegel and Hölderlin were born.Is it that art is a way of being in silence? Is music a way of silence? Is it that silence is the language of the artist? Tractatus 7: Wovon man nicht sprechen kann, darüber muss man schweigen. But what does Wittgenstein understand by sagen and sprechen? Was Wittgenstein a frustrated musician? Schumann asking himself: Should I become a poet or a musician?Tractatus 6.522 There are, indeed, things that cannot be put into words. They make themselves manifest. They are what is mystical.Robert S.Kahn on his book about the Grosse Fuge op. 133 asks what in God´s name is going on here? Why would anyone write something like this? He collects adjectives that have been given to the Grosse Fuge since it was compossed: atonishing, incomprensible, abstruse, bizarre, unharmonious, extravagant, inconsequential, unplayable, surpasses the bounds of musical performance, tiresome, waste of sound, impracticable, cerebral, repellent, unintelligible, impenetrable, pathological eccentricity.The Grosse Fuge received only three public performances in the seventy five years after it was written.Adorno perfectly knew that the late period of Beethoven does not permit itself to be spoken about so easily, there is an unusual difficulty in saying precisely what is all about.Beethoven moved house 27 times.The music of the Beethoven´s late period inhabitates the limits of the world. He not only drew the limits of the language of tonal music but also pushed them and expanded them without going beyond them, without being atonal, This is an example how a musician can undermine a system from inside the system, using tactics, not strategies. Not to suppress tonality but to turn it loose.Wittgenstein knew that to define the limits of the language is a difficult task, however, this task should be perform from inside the language, never from outside, basically because the outside means the nonsense and only in case you have a ladder. What we cannot speak about, must we play music?When Beethoven stopped playing on the piano, someone asked him about the meaning of what he had played. Beethoven´s answer was to play again on the piano the same music. Words are only mediations. Stendhal on his book about Rossini wrote: the domain of music begins when we are not able to speak. Is music the limit of language? But which language? which music?Glenn Gould is dancing.The late string quartets are no longer a dialogue between two reasonable people but rather an internal dialogism. Beethoven translates a microcosm.To talk about the late period on Beethoven demands to bring into play the solipsism. Tractactus 5. The limits of the language means the limits of my world. 5.62. For what the solipsist means is quite correct; only it cannot be said , but makes itself manifest. The world is my world: this is manifest in the fact that the limits of language (of that language which alone I understand) mean the limits of my world. 5.621 The world and life are one. 5.63 I am my world. (The microcosm.) Some of the last compositions of Beethoven are still considered as solipsim.The question of the late period of Beethoven is the question about the limits of the world. It´s all about limits, how the limits are drawn. When somebody says: I don´t understand this, means that there is a incompatibility between the limits of this person´s world/language and the limits of what is to be understood. Being more precise, is not about expanding, the limits were already there, but rather lighting a little further. In this sense music can be a mirror if there is symmetry in the limits but much more better if music is rather a lamp that irritates your retina and demands a dilatation of one´s own limits.They are well known the Joseph de Marliave´s words referring to the Grosse Fuge: the attitude of mind in which people listen to chamber music must undergo a radical change. Indeed, Beethoven is demanding from the audience another attitude, as Immanuel Kant and the Sapere aude (Dare to know), Beethoven says Exaudio aude (Dare to listen) and therefore to know.Nietzsche and Adorno were musicians. Can we philosophize without words? Can music be philosophy?But how do we understand music? in the same way as when we say the proposition It´s raining? Music is not true or false, music can not lie. If I say: It´s raining while I see the rain out of the window, someone could say: that´s true! But if I go out and immediately I step on the street and a cold drip drills my head before I can say that it rains I will know because my body feels the thrill of raining on my head. I think music is like this, music is much more precise than verbal thought. We can understand music without being able to talk about music.Nietzsche: the ear is the organ of fear. Beethoven wasn´t afraid at all.Beethoven was a survivor. The audacity to deepen one´s own spirit, the introspective journey, the inner wealth. Philosopher and musician share the same solitude and both can not integrate in a social environment. Own´s body becomes battlefield and space for research. The artist is the one who experiences dangers, risks.Art affects us as life affects us.Art intensifies our experience. Art teaches us, makes us see what before we didn´t notice that was already there producing effects. Art is a tool to approach reality and get certain knowledge reaching parts of the experience that without art we could never reach.SUSPENDED TIME: THE ZOOM INBeethoven and Giacinto Scelsi.In 1825 the String Quartet op. 132 was composed. During sketching this piece, Beethoven was stricken with an intestinal inflammation, big pain. This body process of illness and recovery affected directly the composition of this quartet. The core of this piece is the third movement, the Adagio. Beethoven wrote a header for it: Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart, or in english A convalescent´s Holy Song of Thanksgiving to the Divinity, in the Lydian Mode.This Adagio represents Beethoven´s labor of minimizing the musical expression to its essence; it contains only two melodic ideas. He makes us see the structure, is the opposite of using ornaments, music is bare. Beethoven makes zoom in in music. The music leaves the striated space of the form to explore with the microscope the pure duration of time.Giacinto Scelsi, another solitary man, didn´t suffer from intestinal inflammation but he got into a deep depression after his wife left him. As a therapy for this breakdown, and following neurotic patterns that remind us of Hölderlin, he spent his days with the simple task of playing the same note on the piano. Yes: the same note over and over again. This mystical trance, listening obsessively to the same note brought him to experience that sound is spherical. In just one single sound is the entire cosmos. Scelsi brought into his music the last quartest of Beethoven and if we listen to the Adagio we find the door that Scelsi went through: to reduce music into its most minimal essence.But what happen exactly on this Adagio?First of all, Beethoven makes unrecognizable the melody. How? The melody almost doesn´t exist because the tempo is extremely SLOW. The length of every single note is dilated, it makes us feel the duration of time sacrificing the melody. Scelsi will take this to the extreme: maintaining the same note all the time.Indeed, what Beethoven makes in this Adagio is a reduction process, The phrase is being reduced three times. First from 8 notes into 5. Then from 5 into 3 and finally 3 into 2. Time has no direction anymore, there is no past resent and future, it´s like pure time or pure duration. Music stops, exists as a sphere, there is no where to go.Beethoven, on this quartet makes a special use of the semitone (also on the first movement of the op 132, and 131 and the Grosse Fuge), or half note what makes the four lines of the four instruments independent but together. A semitone is the smallest musical interval commonly used in tonal music and it´s consider the most dissonant when sounded harmonically. Semitones are in Scelsi the main motif of his microtonality. Suspended time of the most painful illness but also characteristic of the neurotic behaviour. In 1944 Scelsi´s first quartet represents the beginning of the so called Scelsi´s second period. It´s interesting to mention that Beethoven´s Grosse Fuge appears in a highly disguised form in the first and last movement of his this Quartet. Beethoven´s use of the semitone appears mostly on his Grosse Fuge, this is one of the reason of its dissonance, but also in the Heiliges Dankgesang. If we listen to the 4th movement of First Quartet of Scelsi we can listen to the adagios of the late Quartets of Beethoven:Scelsi String Quartet I by arditti quartetAnd now let´s listen to a loop made out of the first notes of the Beethoven´s op. 127 2nd movement:Loop op.127 2nd mov. by alban berg quartetBeethoven was a freelance musician and wrote three of his late Quartets, asked by Prinz Nikolas Galitzin, for 50 dukats each. On the contrary Scelsi belonged to an aristocratic family and freed him from financial worries. This makes a big difference also in a compossitional level. For instance, Beethoven´s Grosse Fuge wasn´t accepted by his publisher and he had to write a new finale for the op. 130. The chance to experiment wasn´t so big in the case of Beethoven and this is why his most radical proposals can be found as moments inside his compostions or isolated movements surrounded by more tradicional ones. For instance, the 4th movement "alla marcia" that follows the Heiliges Dankgesang, or simply the finale that replaced the Grosse Fuge, music compossed to content audiences and not to satisfy experimentation. Regarding his op 95 Quartetto Serioso, he declared that is written for a small circle of connoisseurs and is never to be performed in public. This Quartet came to early. Exciting that Mahler had arranged it for use by string orchestra.WAVES OF TIMEBeethoven and Debussy.Of course this ideas about suspended time demand to make a connection between the spheres of Scelsi and the bubbles of Pierre Boulez (See the text I wrote in 2003 about Memory and Perception in Pierre Boulez)Beethoven introduces in music the suspended present and years later a tradition in french music will constittude a thread: Debussy-Messian-Boulez.The problem of music from Bethoven becomes the problem of memory.Beethoven late period went beyond romanticism. Beethoven has been considered the most crucial figure in the transition from classical to romantic, but in fact his music went far beyond that. There is an indubitable bridge between Beethoven´s late period and anti romantic movements of the end of the XIX century. Beethoven draws the end of modernityBeethoven´s late period critizies Beethoven second period. Beethoven was aware that classicism became fictitius and artificial, too ornamental. That was the indecorum of Beethoven.The late period is not about memory but about perception and liberating the imagination, not about depicting a story but producing suggestions, atmospheres rather than linear progressions, music doesn´t move but spins around itself. Time, like ocean waves, doesn´t go anywhere, but it moves, it oscilates rejoicing the tension of the non resolution. What later in the music of Schumann it has been called suspended present, probably the musician that most hated the develops in music.Beethoven and Debussy, time seems to be suspended, the ambiguity of Debussy and his floating chords, the so called emancipation of sound, Beethoven drew already the possibility of music to become transformation, to emancipate from the sonata form.Waves of time, the music becomes myterious oscillation, is not static like in the op. 132, music moves, not as an sphere but as waves of sound. Here Beethoven foreshadows Debussy.Sonata 30. op 109 first movement (John Lill) by john LillSonata 30. op 109 3rd movement by John LillSonata 31. op 110 last movement by john LillBeethoven foreshadows Mahler dissolving already the Tonality. Beethoven and Bartók, Beethoven and Shostakovich and, why not, Beethoven and Messiaen (specially from the attack of the piano and how music becomes a machine with gears), Beethoven and Scelsi. Beethoven against the ability to memorize.MUSIC ALWAYS WINSEthics in Beethoven.: It must be!Beethoven had a very specific aim to communicate a certain Ideas throught his music. Ideas that philosophical as Adorno perfectly understood bringing in Hegel´s philosophy, but also ideas that express a certain Ethics. That means that in Beethoven´s music, and specificaly in some compositions, there is a message that must be heard. Beethoven believed in the power of music to communicate ethics.The REMINDERSThe O Freunde nicht diese Töne, (Oh friends, not these tones!) from Ode to Joy (Schiller) of the 9th Symphony represents the most clear sign of the ethical reminders in Beethoven. In this case using text, but this is an exception. O Freunde nicht diese Töne is being expressed throught all Beethoven´s music in many different ways, and specially in the late period is a strong ethical statement towards a logic of Stimmungen which implies variations in affects, temperament, motivation, optimism, fear, illness, weakness, existencial despair, depression, creativity, etc.Reminders are just a characteristic of Beethoven´s self consciousness. His music is self aware, music speaks to itself. The reminder plays the rol of bringing awareness about the Stimmung that has been dominating so far and brings the possibility for a shift, not only in compositional terms but with a clear ethical intencion: we can decide the mood, we can shift the Stimmung, we can encourage our selves. The motivation depends directly from this logic of Stimmungen.Oh friends, not these tones! Rather let us raise our voices in more pleasing and more joyful sounds! Joy! Joy!Reminders: we shouldn´t forget. The bass section of the orchestra (cellos and basses) are the narrators at the introduction of the Finale of the 9th Symphony. They not only have the task of narrating the summary but also to bring the new section Ode to Joy. We shouldn´t forget that the role of the ground Bass or Basso Ostinato was to keep persistently the main idea in order to remember. From Beethoven the problem of music will be the problem of memory.THE BIPOLARITYI will not enter into the discussion if Beethoven suffered from manic depression. He had, indeed, many reasons for it, mainly the fact of becoming deaf being a musician. The interesting thing is how on his music this bipolarity exists as a clear choice and not only as an unconscious result of an hypothetical illness.Bipolarity means contrast. Being across the extremes. Euphoria to depression, melancholia to joy, weakness to Will to power, death to life. But also oscillations: JUMPING from one extreme to the other, without transitions, directly to the other side. A sudden leap, a shift in the mood can come out of a conscious decision, but not always. Beethoven´s late period abandones the tirany of the form to lead his music trought a kind of logic of affects. The transitions or the developments in the late Beethoven are no longer important.Brilliant is the case of the Adagio of op 132, The Heilige Dankgesang: Illness, proximity to death vs. life and Will to Power (creativity). On this Adagio, considered a big prayer but also a sublime meditation, the bipolar phenomenon is bring into play creating a strong contrast between the first section, that represent the illness and proximity of death, and the second section called by Beethoven Neue Kraft fühlend (with renewed strength). For future texts to explore the relation Beethoven-Nietzsche.On his letter to his doctor Beethoven wrote at the end: notes will help who ever is needed. It was the need to create what saved him from the illness, the triumph of joy over pain. Here the dialectical lesson of Beethoven: illness exists as the power to recovery exists.So in fact, the bipolarity is not only dialectical but simultaneous, on this Adagio the extremes are happening at the same time, are combined, crosslinked, illness and inner wealth are now one same single thing.Going back to the so called early phase, the op. 18 number 6´s last movement, also called La Malincolia, shows already the choice of creating a new type of formal structure mixing and contrasting two opposite kind of materials. This will be repeated later on the Op. 135, 4th movement. Bipolarity is already expressed by the header of the movement: Grave-Allegro-Grave-Allegro. Perfect example of the contrast or opposition or inner struggle between despair and joy, this movement is called The Difficult Resolution. Under the introductory slow chords Beethoven wrote in the manuscript Muß es sein? (Must it be?) to which he responds, with the faster main theme of the movement, Es muß sein! (It must be!) This is definitely a big ethic statement for the sake of affirmative Will and self-suggestion.After presenting the darkness Beethoven brings abruptly a fast unexpected refrain, it sounds even too naive, but it plays the role of calm and stability, center, in the heart of chaos; the identity is assured. But slowly the forces of chaos are finding holes where they can enter. The refrain becomes fragile and unstable until it happen again, the darkness is back, the fear comes in. Jumping from chaos to the beginning of order in chaos and is in danger of breaking apart in any moment (Of the Refrain)Op 135 last movement by alban berg quartetOp 135 last movement part 1 by alban berg quartetGROSSE FUGESometimes free, sometimes strict1920´s: first performance after Beethoven´s death (1827) of the op 130 with the Grosse Fuge as final movement.Seemingly unrelated outbursts. Assertive, sforzando. The cello trills. Zig Zag. Vigour. Excess of tension. Fortissimo. Frenzy. Bustle. Hurried development:Proust and Beethoven. Both translate the inner book in the proximity of death, what makes to say only what is important to be said and in the only way it could be expressed: rushing and forgetting the ornaments. When there is a need to rush, fragments appear to be the best way of composing. The subject can not be expressed in a simpler way than through fragmentationBeethoven creates parallel centers of gravity, intensities, disjointed play of forces. The Grosse Fuge is a big question mark. The Doubt is brought in: music is folded, between two, a critical junction, the themes are broken into pieces. Beethoven opens all the possibilities of certainty.We should consider the Fuge in its organic articulation as a texture in uncessant transformation of shapes. Is there a thread?PARTS OF THE GROSSE FUGE:- Overture: presentation of the 2 main themes: Theme 1 (unison fortissimo followed by a variation in legato=Theme 1a), Theme 2 Meno mosso e moderato followed by a variation of the Theme 1, Theme 1b.- PART 1 Fuge: presentation of the 3rd main theme (counter subject) + variation of Theme 1b as subject. Development, fragmentation and manipulation of subject and counter subject.- PART 2 Meno mosso e moderato: as a counter subject + Theme 1 as subject- Allegro molto e con brio: Theme 1a, scherzo- PART 3 Double Fuge: develop of the Theme 1. Develop of the Theme 3 + Theme 1 + Meno mosso e moderato. End: odd progression of chords- Allegro molto e con brio + fake end- Summary: recapitulation + Allegro finale of the Theme 3.The fuge as dance. There is something that plays the a constant rol: the rhythm, even if it´s cross-rhythm or syncopated, we still recognize perfectly the determination: the fortissimo and sforzando. It´s a static maniacal dance, an inner violent hurried dance. What creates a certain thread are no longer the subjects or counter subjects, niether the thems or melodies but rather a specific determination on the music, a Will to Power.Beethoven´s biggest experiment: he burst the conventions of clasical music proposing new statements that will not be followed by the next generation, they will not be social accepted until the XX century.The difficulty of the Grosse Fuge is just a matter of time: it requires time beyond any superficial approach. Beethoven is pointing the conventions to make us realize that it´s all about re-organizing the limits of our perception, taste, comprehension. It demands time to get access, requires an effort. It is a process of knowing each other and Beethoven is demanding again an effort from the audience to redefine the limits of what we call perception or understanding.I don´t think the clue to approach the Grosse Fuge is to decipher the form or structure but rather to focus on three concepts: Simultaneity, Fragmentation and Dissonances.The Grosse Fuge brings in the following idea: simultaneity of subjects in continuous variation and fragmentation without harmonic requirements.The simultaneity can be understood as a competition or an inner struggle between non complementary elements that Beethoven brings them together. But also as a co-existence of the differences. This differences or contrast create the appearance of chaos but it doesn´t, it´s just a complex world.The Themes are not only transformed and disguised under multitude of different appearances creating a kind of perspectivism but also undergoing a process of fragmentation. Melodies become paintbrushes, no longer recognizable as a line, they are cut and delocalized.Beethoven opens the doors to the dissonances as Samuel Beckett will allow chaos to enter because is the truth. Beethoven´s music becomes less accesible and is not anymore music to please the ears but rather to challenge them. Within tonality, without abandon tonality he expands the limits of understanding music. It´s not that dissonances can also be music but rather there is no music without dissonaces.Semitones: harmonic and melodic tensionThe message in the finale of the ninth Symphony, composed one year before said: let´s put aside the dissonances and let´s be friends: agreement and concord. But the Grosse Fuge proposes a different message: let´s integrate dissonances because they are the truth. The consequences of questioning the harmony are not to have anymore the impression of an agreement. And sometimes there will be moments of comming together in a certain concord: the unison passage of meno mosso a moderato or Adagio con brio. In Beethoven the Weltanschauung (World view) is actually dictated by a logic of Stimmungen, a logic of affects.How to understand community accepting dissonances and differences?The gentle and soft section meno mosso e moderato (lyrical section) brings a peaceful mood, because there is no longer a competition and brings some relief after the long Fuge .But is later when the meno mosso e moderato is introduced inside the Fuge, simulatneously with the main theme, with the instructions forte , the gentle becomes assertive and loud because this time there is a competition on going.After the meno mosso e moderato part suddenly we arrive in a series of odd progression of chords, each followed by a moment of silence: Uncertainty, expecting the resolution which is abruptly interrupted by the Allegro con brio.Quick summary, recapitulation and final happy end.Beethoven brings together the opposition death-life, depression-will of power, yes, dialectical but he brings them simultaneously, showing that one need the other to exist. And the Grosse Fuge is the expression of that simultaneity (to realte with the Heiliges dankgesang)The Allegro molto e con brio at the ent after the trilling section of the end of the moso e moderato: Negociating moods, bipolarity.Disonances (existencial despair) against triumph of joy. The Grosse Fuge doesn´t express the disonances of the world (war, illness, proximity of death, depression) but the possibility of the Will to exist inside these dissonances. The Grosse Fuge is a fight.What is the difference between a string quartet and and string orchestra? 4 musicians or 12, 21, 60.It´s interesting to listen to the orchestral version of the Grosse Fuge, how the music becomes crowd and to realize how the music becomes more accessible in its orchestral dimension. There is a difference if we isolate 4 single elements than 4 groups of elements.Grosse Fuge ORCHESTRA by klempererBut if we put the two long fuges sections parallel we find a perfect symmetry in terms of length . This track brings both sections together:Grosse Fuge x2 by alban berg quartetWhy have I done something like this? If we double the fuge, if we bend the fuge is not only to find a symmetry but to get a certain experience of how a crowd in fuge would sound like. This case is very different from the string orchestra. Now we have 8 instruments, actually 2 groups of singular elements in fuge. The result is the opposite than with the orchestra. An orchestration of the Grosse Fuge makes the fuge more accesible because each line becomes a choreography for many instruments that repeat the same line. This makes easier to identify and recognize every single line because it has been multiplicated. It´s easier to identify ten pepole moving exactly in the same way than one single person moving on its own way. But the fuge folded on itself makes the chaos bigger and reproduces accurately how a crowd in fuge would sound like. And not only that, if I have increased the chaos was to make more visible that still the fuge keeps an amazing unity. Of course the number of dissonaces are bigger but doesn´t make the whole more dissonant.Grosse Fuge for Pianoforte 2 hands:Animation machine of the Grosse FugeSOLITUDERilke on Letters to a young poet describes solitude in the following terms:There is only one solitude, and it is vast, heavy, difficult to bear.What is necessary, after all, is only this: solitude, vast inner solitude.To walk inside yourself and meet no one for hours - that is what you must be able to attain.To be solitary as you were when you were a child, when the grownups walked around involved with matters that seemed large and important because they looked so busy and because you didn't understand a thing about what they were doing.As Maynard Solomon has pointed out, in 1814 Beethoven´s artistic career reached its lowest point with patriotic works such as Wellingtons Sieg or Der glorreiche Augenblick. On words of Solomon, these works, filled with bombastic rhetoric and patriotic excesses, mark the nadir of Beethoven´s career. In them his heroic style is revived, but as parody and farce. Rather than moving forward to his late style, he regressed to a pastiche of his heroic manner.On the contrary, in this year Beethoven reached the highest point of popularity and social connections. It shouldn't be a surprise that at the same time he ended in conformity.But later on the late period, the situation was very different. When Beethoven was isolated from the society, considered as a madman, and not anymore into the musical trends of that moment, he would bring music into a level never known before. Again Solomon pointed out rightly: his music would be created out of the composers imagination and intellect rather than through a combination and amplification of of existent musical trends. In Beethoven´s late style an apparently unprecedented style comes into being, one whose tendencies and formative materials are not readily identifiable in the music of his contemporaries or immediate predecessors.The space where Beethoven´s late style was generated had nothing to do with success, fame, personal situation within a social power relations or being supported by patrons. I think his late style was possible because his solitude was vaster than ever. His isolation from society implied an inner trip, a taking care of the world that he carried inside of him. Rilke continues: the world that you carry inside you, and call this thinking whatever you want to: a remembering of your own childhood or a yearning toward a future of your own - only be attentive to what is arising within you, and place that above everything you perceive around you. In this sense we must understand Beethoven´s choice. He didn´t bet for success or fame because actually that implied that his music became shabby and his vocation petrified and no longer connected with life. In order to stay alive, and in this sense I call him survivor, he kept alive his artistic career because he placed his solitude above everything else and this is the way the late period should be also understood, as the artistic choice of taking the risk of being beyond social and contemporary world propelled by a self confident impulse from the very deep heavy vast solitude.And here is where Beethoven showed his freedom, freedom of following own artistic needs, freedom of placing one´s own solitude above everything else.As Fernando Pessoa would say: to be a poet is not my ambition, it´s my way of being alone.MUSIC HAS HOLESThe center is abandoned, the action is moved to the periphery, a hole appears across the extremesAdorno and Deleuze together?It´s usual to read about the differences between Deleuze and Adorno: for Adorno, reality is necessarily dialectical and irresolvable contradictions, while Deleuze denies the notion of a correct rendering of objective reality and introduces the notion of univicity of being , no dialectical but rather an absolute leap of perception. But is it possible to find a common denominator for both philosophers?. First of all, they both invoke the kind of art which resists or defies representation. But going further I will try to show how to apply in the late Beethoven the Deleuze and Guattari´s ideas about music and to connect them with Adorno´s ideas about the late Beethoven.- IMPROPRIETYAdorno talks about impropriety and unsuitability: what appears in the late period isn´t simply what appears to be. Adorno means appearance of the non appearance: either because its curious inauthenticity or because excessive simplicity, the themes and melodies no longer appear as themselves but as signs of something else. They are cut, disturbed, they are only sketches, possiblities. Understanding themes as subjectivities, in the late period the themes are disturbed, they are in inmanent distant respect themselves.Beethoven becomes fragileTonality is withheld and at the same time broken.Alienation and schizofrenia.The deterritorialization of the refrain (Ritournello) happens for the first time not in Schumann but in the late BeethovenTo relate with the the concept of Inadequacy in Deleuze (chapter 8 of Logic of sense), about the floating signifier in Levi-Strauss. Deleuze describes this Antinomia: having two series which are related to each other in continuos imbalance or distance, that implies continuos readjustments.This continuos imbalance or distance is represented by the idea of Asymptote.- DISAGGREGATION of the central principle. Disintegration, dissociation and dissolution of the form. The classical burst into fragments, says Adorno. Actually Beckett used also the same image of something that burst out to refer to Beethoven´s Ghost trio: a hitherto unkown art of dissonances, a weavering, a hiatus, a punctuation of dehiscence,a stress given by what opens, slips away and disappears, a gap that punctuates nothing but the silence of a final ending“What does burst mean? Dehiscence, premature open of a wound or a plant to release its contents.The voices are wrapped around each other.Harmony becomes a forgotten convention because it produces the ilussion of unity.Deleuze and Guattari in Thousand Plateaus, Postulates of Linguistics, in opposition to the arborescent type, Beethoven prepares the disaggregation of the central principle, replacing the centers forms of continuous development with a form that constantly dissolves and transform itself. When development suburdinates form and spans the whole, variation begins to free itself and becomes identified with creation. (...)Beethoven introducing variations without center in music approach the idea of rhizome that Pierre Boulez will bring into the limits, making audible nonsonorous forces through placing all sound components in continuous variation.1819-23 Diabelli Variations op. 120Instead by Form, the matter is organized by forces, intensities, the center is disseminated in a net or weave of forces.op 132. 2nd mov. Allegro by alban berg quartet- UNIVOCITYAgainst decoration and ornamentation, the late period is excessive simplicity, bare. There is not anymore question and answer, is just one single thing but displaced from itself. It´s not anymore important to exhaust fully the themes. This is what Adorno calles Principle of condensation, forms are rarely consumed, it´s enough to mention/enunciate to exhaust.- HOLESBeethoven turns out the hollow space of the sonata form, concave becomes convex.Adorno also talks about interruptions, hiatus, silences, ruptures, pure tension between the extremes. The technique, instead harmonic transitions, is to JUMP. There are no mediations, only, like in Hegel, through extremes. Music has holes.Deleuze in Critical and Clinical describes Beethoven´s Ghost trio: there is a kind of central erosion that first arises as a threat among the bass parts and is expressed in the trill of wavering of the piano, as if one key were about to be abandoned for another, or for nothing, hollowing out the surface, plunging into a ghostly dimension where dissonances would appear only to punctuate the silence.On the other hand, the floating signifier needs emptiness to emerge.If now we visit Deleuze and Guattari about Holey space in Treatise on Nomadology:The war machine, we are tempted to think that Beethoven was a smith, inventing a holey space within the striated space of the sonata form. Beethoven produces the emergency of the rhizome in the striated space of the classicism.- POLARIZATION.Beethoven wasn´t atonal but polarizes the tonality. Dissociation into two extremes: monody and poliphony, with the exception of the fuges.Deleuze Guattari: Refrain: Not to supress tonality but to turn it loose.- TRANSVERSALITYAdorno means pure tension across extremes, when unity is just an illusion and the whole a self deception.Deluze about Proust will demand to have the right to incompliteness and to patches: the fragmentation means to exclude the logic unity and organic totality, there is no previous unity but they are an EFFECT, they come afterwards, a posteriori: but the unity appears as a fragment (paintbrush) inside the sistem. Transversality is what makes that allows each part to keep its difference and at the same time to be connected and to communicate.- Adorno: the late period speaks about the language of the archaic, of children of savages and God. Deleuze: only children artists and schizofrenics can inhabitate the inadequacy because there are displaced towards themselves.CODABeethoven remains.I will never die.This text is dedicated to Miguel Copón.Special thanks to Jorge Ruiz Abánades.BIBLIOGRAPHYAristoteles: PoéticaAdorno: BeethovenProust: À la Recherche du temps perduBenjamin: Literarische und ästhetische EssaysWittgenstein: Tractatus,Deleuze and Guattari: A Thousand Plateaus, Capitalism and SchyzophreniaDeleuze: Proust and the signsDeleuze: Critical and ClinicalDeleuze: Spinoza, Practical PhilosophyDeleuze: Cinema 2. The time imageNietzsche: The Gay ScienceLeonard B.Meyer: Emotion and meaning in musicAnthony Storr: Music and the MindRobert S.Kahn: Beethoven and the Grosse FugeMichael Schneider: Musiques du nuitPeter Kivy: New Essays on musical understandingAntoine Hennion: La passion musicaleMax Steinitzer: BeethovenE. Fubini: El Romanticismo: entre Musica y FilosofiaRobert P. Morgan: Twentieth Century MusicPatrick Donnelly: Grosse FugeJim Merod: Andante ma non troppo e molto cantabile:Audio (Il)literacy, or Beethoven’s Triumphant DespairMaynard Solomon: BeethovenBeethoven´s letters, with explanatory notes by Dr. A.C. Kalischer.

Nov.ples | contemporary dance festival, Novi Sаd, Serbia/ 3rd -5th November 2010

Posted by Marlon Barrios Solano on November 4, 2010 at 5:10pm

Novi Sаd

Nov.ples festival reflects the fact of continuos activity of Per.Art organisation in development of contemporary performing arts scene in Novi Sad and decentralization of culture in Serbia, in the times of unstable cultural and social environment.

Festival has two program axis – the one will present performances by renowned choreographer (Xavier Le Roy), one of the most interesting young choreographer in Europe (Mette Ingvartsen) and emerging promising and critical new choreographers in Serbia (Dragana Bulut in collaboration with Milka Djordjevich from New York); and the other will present research dance projects and self-organized regional and international initiatives in education.

Special focus of the festival will be on local young dancers, performers and students in order to offer them possibility to re-think their current position and future proffession through the program and direct meeting with the artists and participants of the festival.

Progrаm:

Self Unfinished - Xavier Le Roy

50/50 - Mette Ingvartsen

Made in China - Dragana Bulut & Milka Djordjevich

Tiger’s leap into the past - Ana Vujanović & Saša Asentić

Running commentary - Bojana Cvejić

Scenes of Knowladge (Deschooling Classroom, Everybody’s toolbox, PAF, 6M1L)

PROMOTIVNI VIDEO

More info: www.perart.org

Producer: PerArt

Partners: Serbian National Theatre and Gallery of Matica srpska

General sponsor: City of Novi Sad

In Performance: Pavel Zuštiak/Palissimo – Bastard (NYC)

Posted by Contemporary Performance on November 4, 2010 at 12:20pm

Bastard Thursday--Saturday at 7:30 P.M. and Sunday at 2:30 P.M.
La MaMa's Ellen Stewart Theatre at The Annex
66 East 4th Street, New York, NY 10003.
Tickets are $25 ($20 for seniors and students)

The New York-based choreographer Pavel Zuštiak has garnered considerable accolades for richly layered, experiential performance works that combine dance with various other mediums. Bastard, the first part of a trilogy called The Painted Bird tackles themes of displacement, otherness and transformation. La MaMa, in association with Zuštiak's company, Palissimo, presents the world premiere of the work.

The Painted Bird is loosely inspired by Jerzy Kosinski's controversial novel of the same name. In Bastard, Zuštiak draws upon the book's signature scene--a wandering boy witnessing the painting of a bird in brilliant colors, causing it later to be violently killed by its own flock for being an imposter--to create a new work that transforms the internal landscape of agony and misrecognition into a collective remembrance.

The Painted Bird trilogy follows Palissimo's 2009 work, Halt!, in which Zuštiak teamed up with scenographer Nicholas Vaughan and three performers to create Palissimo's first site-specific performance installation, for the Whitehall Ferry Terminal. The company earned plaudits early last year for Weddings and Beheadings and Blind Spot.

About Pavel Zuštiak

Pavel Zuštiak is the Artistic Director of Palissimo Company, which he established in New York City in 2004 to pursue artistic liberty and communion with live audiences. Palissimo is known for sophisticated, multidisciplinary works rich with emotional content and surrealist imagery that explores the darker shades of human behavior.

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Taller de Butoh con Denise Fujiwara. Cuarta sesión (final). Fuego y la llama que se extingue.

Posted by 1wu1v6cl7wpgf on November 2, 2010 at 10:28pm

Denise Fujiwara. Taller de Butoh en Toroonto. Octubre, 2010.

4to día

15 de octubre de 2010

Toronto, Canadá

Un taller intensivo siempre es así, digamos... "intenso". Mucho de todo en poco tiempo. No todos acertamos a concluir con exactitud para qué hicimos todo ésto y no somos tampoco concientes de todo aquello que se nos dió, sin embargo algunos puntos de asimilación pueden ser esenciales para nuestro futuro, y lo agradezco.

En nuestro último día del taller cerramos el círculo básico de la exploración con los cuatro elementos e iniciamos el camino hacia la creación de espectáculos, al estilo en que Denise lo concibe, claro.

Taijiqigong, cadera, circulación, hilos de tensiones, desequilibrios, desplazamientos, interacción con el compañero...

Desplazamientos e interacción con el otro fue un verdadero capítulo en este día. El ejercicio fue de una exigencia mayúscula, en tiempo y en esfuerzo: pieza musical tras pieza musical se nos exigía diferentes tipos de desplazamientos con los ya clásicos NO del Butoh (no actuar, no coreografiar, no repetir, no pensar, no preparar, etc), sumado a la interacción con los compañeros.

En algún momento Denise entró al ejercicio e interactuó con algunos de nosotros, más con aquellos que la conocen de otros talleres; cuando traté de ver qué hacía la ví trepándose por las mamparas móvibles que separan un salón de otro y después subirse en los hombros de uno de los compañeros. Independiente de lo fascinante o simpático que eso resultaba, parece que en realidad Denise estaba un tanto preocupada por nuestra debilidad durante el trabajo, y nuestros muchos SI y pocos NO. Durante el ejercico también se acercó a mí y me pidió no casarme con una idea y crearla, sino dejarla correr; y no pude hacer otra cosa mas que cambiar mi desplazamiento y comenzar a hacer algo más simple, lo que me llegara, evitando la elaboración. No puedo saber si funcionó, y parece que no lo sabré en mucho tiempo, aún practicando, pero así es el entrenamiento del Butoh; hay que descubrirlo con la práctica.

El ejercico (improvisación le llama Denise) fue verdaderamente largo, alrededor de una hora desplazándonos en busca de "desplazamientos" y de interacciones con los otros.

Todos estábamos agotados, verdaderamente cansados del ejercicio físico de los pasados días y de la intensidad de los ejercicios mismos. Denise nos pidió hacer un esfuerzo aún en el nivel bajo de energía que tuviéramos, y ese esfuerzo concretamente era evitar el desperdicio de energía tratando de pensar en exceso en nuestra debilidad. "Usar la debilidad en nuestro provecho", trabajar con ella, y ella nos llevaría a reservas de energía en nuestro cuerpo.

Finalmente pasamos al tema del cuarto elemento, el Fuego.

Sentados repetimos las palabras que nos referían al fuego y a sus estados, hasta que tuvimos una gran cantidad de ellas como acervo para el ejercicio a venir: estados del elemento fuego, ser esos estados e interactuar con los otros.

Ser algún estado del fuego podría pensarse que resultaría más fácil trabajarlo (por aquello de la movilidad y la explosividad del fuego), pero no me resultó así, tuve problemas y en algún momento estuve verdaderamente confundido. Durante minutos me dediqué a tratar de ser un radiador electrico que emanaba calor, y de verdad lo buscaba, hasta que Denise se me acercó (¡la segunda vez en le curso!) y me susurró que relajara mi nuca y que fuera más específico; me quedé totalmente tieso y le dije es que yo -"creía estar siendo específico"-, ella pensó un poco y dijo,-"bueno, no tengo las soluciones"- y me dejó trabajando.

Yo llevaba un rato trabajando en algo específico pero nada de eso lo era para quien lo veía, y algo debía cambiar; como si yo hubiera etsado trabajando una especifidad para mi creación y no para el resultado (lo que no deja de confundirme más). No quise quedarme ahí y simplemente cambié de estado del fuego y exploré haia otra parte; Denise volvió a acercarse a mí, y me dijo -"déjalo correr, no te cases con nada, que esté en todo tu cuerpo, en tus espalda, en tus pies, que no haya molécula tuya que no sea el elemento"-. Así que mi fuego chispeante fue un gozoso movimiento de todo mi cuerpo (profundamente agotador), siendo ese fuego hasta en el menor detalle del que yo era capaz de concebir; después vino un estado más con el fuego azul de la estufa que calienta una hoya. Denise ya no se acercó otra vez, o se dió por vencida o encontré algo valioso a su parecer que merecía el ya no interrumpirme más.

Hubo una sesión verdaderamente corta de comentarios donde extrañamente Denise expresó por primera vez su gusto por el trabajo de dos personas, a un muy leve nivel de emoción o alabo, entonces se detuvo y no hubo más comentarios en ese sentido. Parece que sí hay una premisa de su parte para evitar esos comentarios, premisa que desde el principio he aplaudido, porque si quiere uno dejar el ego fuera y ser algo lo primero es dejar de fomentarlo desde el otro lado.

El momento final llegaba con la propuesta de nuestro espectáculo final improvisado con dos de los estados, de los 8 escogidos con los 4 elementos, con una estructura de entradas y salidas similares pero ahora buscando una mayor responsabilidad de aportar algo a lo que sucedía en la escena al momento de entrar o salir; la interacción con los otros debía ser regulada pero abierta a posibilidades; y las transiciones entre un estado y otro a realizar deberían ser no pausas muertas si no eso precisamente, transiciones, evidentes procesos de cambio, caminos que nos llevan a un estado diferente y al otro elemento. Debo decir que hubo momento mágicos de la interacción, verdaderos encuentros entre cuerpos y movimientos, y atrayentes solos también; aún así pericbí que alguos movimientos de otros me cansaban (como espectador) a estas alturas, como si ya hubiera visto demasiado de ellos.

Hacer Butoh no es algo que le gusté a todos, ni verlo ni hacerlo. Interviene también la gran cantidad de intercambios químicos que hacen las relaciones humanas lo que son.

Ante la pregunta de Denise de por qué unos atraían más que otros, la confusión fue general; primero sugieron las frases sobre la belleza de algunos movimientos, de que alguien llamaba más porque se le veía más dentro o más verídico, pero entonces otros hablaron sobre la comunicación que se daba entre yo espectador y aquello que veía ese yo en el 'performer"; entonces la subjetividad de la relación bailarín-espectador se hizo patente y ninguna discusión puede continuar de esa manera.

Butoh había ganado en su inconsistencia racional y su rechazo a los conceptos de claridad, proyección o técnica.

Mi mente voló sobre las implicaciones de lo que veía y sucedía, y pensé que Butoh es un arte de connotaciones extrañas, y que al final no es una escuela como tal, que no tiene una técnica tradicional, y que no tiene un punto base para definir su calidad. Denise lo dijo después, -"Butoh no tiene en su vocabulario, virtuosismo"-.

Los grandes bailarines de Butoh han sido sus creadores por su creación misma, por sus cuerpos dedicados y únicos. Aún cuando todos podemos hacer Butoh, no todos tendremos entonces la apreciación que los maestros han tenido, y que son maestros debido una compleja amalgama de recursos a su alrededor y en su interior: pienso en Hijikata, en Ohno o en Murobushi. Supieron encontrar su Butoh y a la vez el gancho (hook le llamó Denise) para atraer al espectador y arrastrarlo a su mundo escénico.

El espectáculo improvisado en el taller fue formidable de cualquier manera, una pieza conjunta llena de riqueza de formas, ritmos y movimientos, y eso se dió porque pudimos sentir un soplo, un pedazo, un roce, de lo que Denise Fujiwara considera lo más preciado de un artista de Butoh, la habilidad de manipular el tiempo y el espacio.

Sildeshow: Taller de Butoh con Denise Fujiwara. Toronto. 2010.

Amber'10 Art and Technology aand WorldGridLab!, Istanbul Turkey!

Posted by Marlon Barrios Solano on November 2, 2010 at 5:30pm

http://www.amberfestival.org/10/festival_en.html

amber'10 Art and Technology Festival which has chosen its theme for this year as "Datacity" with the intention of drawing attention to the increasing importance of the generation and utilization of any kind
of data on cities and urban life, will also be hosting "amberConference"
which is going to be
held for the second time this year focusing on issues around "City andData".

amberFestival organized by BIS (Body Process Arts Association) since 2007, will meet its audience for the fourth time this year.

amberFestival continuing to be the only Art and Tehnology/ Media Arts festival of Turkey is being supported by Istanbul 2010 European Capital of Culture Agency since 2008.

The main venue of this year's festival, will be Sanat Limanı (Antrepo No:5). Visitors, besides visiting the exhibition including interactive works of invited artists and selected applicants responding
to the call, will have the opportunity to participate in workshops and
artist presentations as well.

amberConference, organized by BIS in collaboration with Istanbul Modern Cinema within the context of the program of amberFestival, will start with a film screening on 4th November showing a selection of films
chosen by the institution in relation to the main theme. It will
continue with two lectures/workshops on the 5th and with presentations
of articles on the 6th and 7th. The conference will be held at Istanbul
Modern Cinema Hall.

http://www.amberfestival.org/10/festival_en.html

I will be teaching a WorldGridLab!

http://www.amberfestival.org/10/workshops_en.html

Please come to say hello!

Marlon

moves11: the Dates, the Theme, the Open Call!

Posted by moves Fstvl ofMovement on Screen on November 2, 2010 at 1:29pm

moves – International Festival of Movement on Screen is thrilled to announce the dates & theme for its 7^th edition:

moves11
INTERSECTIONS: Filming Across Culture & Technology
27 - April -1 May 2011
onscreen | onsite | online
In Liverpool & the UK

> moves11: Open Call – deadline Sun 28 Nov 2010
To showcase the best experimental short films and video art exploring "movement on screen" from around the world moves is now inviting filmmakers and artists
to present screen-based works that investigate cultural and
technological intersections. moves11 will look at films, installations,
live events and papers that create connections at various levels
capturing, discussing and imagining different INTERSECTIONS.

> moves Awards

The best works shown at the festival will enter the race for the moves Film Award (cash prize £1000), moves Audience award (professional training worth up to £500) and the international moves Tour Award (to screen around the world).

> next moves event: New media dance theatre performance Red Rain by Bridget Fiske
Sat 20 Nov 2010 | Old Rapid Paint Shop, Renshaw St, Liverpool, L1, FREE
Red Rain uses interactive and video media as a digital poetry with live performance to investigate the self in-flux.

The performance is presented by moves as part of Mercy’s Midnight Specials at The Cooperative for Liverpool Biennial.

> Have you missed moves10? Checkout our festival wrap-up video produced by the students from Futureworks.

> View pictures & comments of moves recent Interactive Scenography LAB.

> Revive the inspirational audiovisual journey of the live performance Sayat Nova Revisited by Goran Vejvoda & BACKGROUND.

Info: www.movementonscreen.org.uk | on facebook: movement on screen | on twitter: movesfestival

JAISER 1.0 DEMO EN HUB ROSELEE GOLDBERG. SCL 2110

Posted by sergio valenzuela valdes on November 1, 2010 at 11:35pm

DES-ADAPTACIÓN

DES-ADAPTACIÓN

JAIME DEL VAL - SERGIO VALENZUELA

ACCIONES DISEMINADAS DE UN PROCESO TERRORISTA METAHUMANO SOBRE AFECTOS FRONTERIZOS

Programa de Instalación de Software JAISER 1.0 en SCL 2110

DES-ADAPTACIÓN es un proceso relacional adaptativo, desadaptativo y readaptativo entre los artistas Sergio Valenzuela y Jaime del Val que resulta en una versión Beta de lo humano, un posible Metahumano del año 2110, donde un software corporal JAISER Beta 2110 opera entre dos sistemas operativos desadaptados (los dos artistas) y que se instalará en el Hardware del Museo MAC y la exposición bicentenario SCL 2110 en dos sesiones, una prolongada de instalación del software y otra más breve de demostración de funcionamiento.

JAISER Beta 2110 es el software desadaptativo que invierte toda lógica de la informática y la sociedad del control al plantearse como un software corporal en donde la estrategia de terrorismo personal está destinada a disolver las categorías conocidas de afectos como territorios de control y a inducir un desorden y desorientación afectiva permanente.

A través de acciones diseminadas en el Hub de RoseLee Goldberg y en el resto del museo los artistas, ejecutan un “terrorismo” personal dinamitando los territorios inteligibles de los afectos e invirtiendo la lógica de la vulnerabilidad y la intimidad, instalando su performance; el software corporal Jaiser 2110 en su versión Beta al disco duro del espacio de la exposición.

Jaime del Val y Sergio Valenzuela son sistemas operativos fallidos en el marco de meta-sistemas de control, que juntos, en un proceso desadaptativo engendran esta versión beta de un software del descontrol, partiendo de la exhibición provocativa de vulnerabilidad trasmutada. Los artistas incuban, en acoplamientos ilegibles este software-artista del futuro, en constante proceso de desadaptación, aquí se expone la primera fase: una versión 1.0, readaptable e instalable en otros contenedores de hardware en y para el futuro.

JAIME DEL VAL

www.reverso.org

SERGIO VALENZUELA VALDÈS

www.afecto.cl

2 de Noviembre desde las 17.00 h.

3 de Noviembre a las 19.00 h.

Hub de RoseLee Goldberg

MAC. Qta Normal

Exposición Bicentenario SCL 2110

Curador y director del proyecto

Rodrigo Tisi. www.mess.cl

DESPACHO ON FIDR

Posted by jorge schutze on November 1, 2010 at 3:13pm

despacho participates on INTERNACIONAL DANCE FESTIVAL IN RECIFE - FIDRCHECK THE ALBUM despacho on fidr

Techné: body+motion+computation/ On-line Video Series on dance-techTV!

Posted by Marlon Barrios Solano on November 1, 2010 at 1:00pm

Techné: body+motion+computation

Starting September 9th 2011!

Find more photos like this on dance-tech.net

Starting September 9th 2011!

An on-line video series on dance-techTV that presents complete seminal works of dance/movement artists engaged on the experimentation of the performance of movement interfaced with digital technologies.

The works are presented with a video interview with the artist and a compilation of on-line references about the work and the artist.

The aim of this series is to create an online LIVING archive of the evolving field of dance and technology.

Stay tuned for more!

Associate Producer
Marlon Barrios Solano

In Partnership with:

The Nutcracker is the most famous form of presenting the Ballet dance….

Posted by sara john on November 1, 2010 at 11:10am

Hardly two months are left in the Christmas Eve to come and preparations have already started. On one side people are seeking more fun from their Xmas holidays while on the other side entertainers want to make every moment of their holidays full of excitement. People living in the western countries love to attend the most popular dance format of today’s era, the ballet dance and The Nutcracker is the most famous form of presenting the Ballet dance around the whole world. The Nutcracker shows are specifically presented during the Christmas season and different schools and other dance training institution leave no effort in producing ballet dancers who in future could become a part of the Nutcracker ballet team. The Nutcracker shows are now presented as dancing concerts while traditional theater presentation of the Nutcracker is still continue.
The Nutcracker ballet is presented by different entertaining companies and almost every notable theater of a city presents this traditional ballet concert in its own style. Just like previous years the preparations for The Nutcracker have begun and ballet dancers are doing intensive rehearsals by adding new techniques in their dancing styles. During the Christmas season theaters impatiently seek the new ballet talents with highest dancing performances and auditions have already started. There are great opportunities for kids 8 to 14 years and elder dancers to attend the auditions for the different roles. The best thing is that no previous experience is required for the kid roles but the right dancing skills. The local theaters prefer the local youngster as a part of their team but some are now also looking for ballet dancers in other countries just like Moscow Ballet Prima Ballerinas who hunted USA for ballet dancers. The River City Ballet has announced Oct. 23rd as a day for the audition for child 6-9 years old at the Central Texas Ballet Conservatory.
The dates of their Nutcracker ballet concerts from different theaters are coming. The Lavrova Classical Ballet Academy will debut their North America Nutcracker tour on November 4th at Bell Performing Arts Centre in Surrey. The famous Moscow Ballet’s Great Russian Nutcracker concert will be presented at the Auditorium Theatre of Rochester on 7th December at 7:30pm. The Brooklyn College will present the Nutcracker on Dec. 12, 2010 at 2 pm at their Brooklyn Center for the Performing Arts. The famous SA Ballet Theatre along with the SA State Theatre has announced a series of 23 Nutcracker shows from November 19th to the December 19th 2010. The American Ballet Theatre is the leading ballet company around the world hired the famous ballet dancer Alexei Ratmansky to choreograph for the premium of their new The Nutcrackers show on Thursday, December 23, 2010 at the Brooklyn Academy of Music. Buy cheap Nutcracker tickets from our site to enjoy all the shows live in theater.

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Bastard Thursday--Saturday at 7:30 P.M. and Sunday at 2:30 P.M.La MaMa's Ellen Stewart Theatre at The Annex66 East 4th Street, New York, NY 10003.Tickets are $25 ($20 for seniors and students)

About Pavel Zuštiak

Note: this page contains paid content.

Note: this page contains paid content.

Note: this page contains paid content.

Bastard Thursday--Saturday at 7:30 P.M. and Sunday at 2:30 P.M.
La MaMa's Ellen Stewart Theatre at The Annex
66 East 4th Street, New York, NY 10003.
Tickets are $25 ($20 for seniors and students)