[NetBehaviour] broken thought tests
Johannes.Birringer at brunel.ac.uk
Fri Nov 9 21:01:27 CET 2018
thank you for responding Alan, and, i feel, in your response, you begin to ponder the question of working (as a weaving) with others as I had questioned your loneliness and unheard/unseen-ness.
Your work resonates, and aggravates surely, as many here on the list probably feel charmingly disoriented and inspired and encouraged by the continuous outpourings of your texts, poems, aphorisms, images, and music. One cannot keep up, and so I sometimes find or relocate your broken remarks weeks later.
did you write on voting, midterm?
that is over now, i saw joyous report, and misgivings, and i read misgivings here too, every day, and cannot keep up with the failures of the imagination; meanwhile, I saw that Performing Arts Journal, in its current issue, remembers Reza Abdoh, the theatre artist (died in the 90s), and his work with others, Dar A Luz. The last piece i saw of them, in New York, was 'Quotations from a Ruined City." behind barbed wire.
Now you speak of DIWO, i did not really know this expression; the friends and collaborators one works with are generous, this is my experience, and generosity is perhaps a crucial notion here, along with the passion and the preparation you mention (Foofwa) , which spoils us, and your broken tests are also partly credited to Azure, so you are fortunate in not being alone, nor isolated; the networked behaviors you address make me wonder, here, how many of us work alongside (Mark how many subscribers has this list?), and Alan you mention Finsbury Park where you came last year, but there are so many parks and studios, and if I had time I would love to meet/visit other studios more, and learn (share) coding more.
Currently, a sound artists, A-Kin, whom I am working with, is helping me to re-activate the Sensestage Minibees, wearable sensors I got hold of from STEIM a few years ago but never really managed to get to work on my Mac - has anyone worked with the minibees? well, we are almost there with the new Max patch to see whether they are useful, meaningful. Laurie Anderson, in that same PAJ issue, talks about her dabbling with VR in 'The Chalkroom' (which she made with Hsin-Chien Huang), saying she finds, often, that new technologies are clumsy, and the goggles certainly were when she first tried to work with them. But she felt she could develop something, slowly, some stories in VR, along with her collaborator (via Skype, they live in different places). "it's a wonderful way to work on ideas," she says about skyping with others developing a new piece.
So, Alan, why don't we work on something for next year (I am planning a dance about the moon eclipse)...
From: NetBehaviour <netbehaviour-bounces at lists.netbehaviour.org> on behalf of Alan Sondheim via NetBehaviour <netbehaviour at lists.netbehaviour.org>
Sent: 04 November 2018 02:59
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.Birringer at brunel.ac.uk<mailto:Johannes.Birringer at 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.
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