[-empyre-] condensación/extrusión 2

Johannes Birringer Johannes.Birringer at brunel.ac.uk
Thu Oct 13 09:22:32 EST 2011

thanks to all of you for this provocative and fascinating opening of round two of our workshop.
how to condense? and find the various phase states?  it is becoming more and more complex now, and this is owed to the rich and diversified perspectives of our
discussants, and also, i feel, their willingness to draw from life and from their immediate or past experience, their ailments. 

let's open the floor for more movement......

- - -  
just a couple of questions:

Jack, you began by thinking aloud that choreography (of movement) may be space-over time (which one could debate, i think it also the other way round), and
then later mention Sananguargarq --  which you translate as ‘making little models of how the world works’ (technologies of the hand).  I was so intrigued by this translation. now if this implies craft
and skill and creativities of adoption and transformation, how do these durational activities relate to "fatemap" (is this a deterministic concept, or a processual
notion (mapping?) related to growth or evolution/development?  an unfortunate name or a paradoxical name not yet able to tell us about "life force” or what shapes
various survival methods (back to method acting)?  How did you become attracted to embryology?

When Claudia evokes her work, and the way you, Claudia,  just replied and mentioned adopting 
>different mental states during the performance, (a kind of trance) .......   the point for me now is how I can achieve that, in order that the audience perceives that type of experience too… how can I, as an artist, push the audience to experience, their own bodies and the environment during such a performance  >>

... I was reminded of your ‘INsideOUT’ performance/installation, and when I first saw it, your stillness, your 'just' sitting there (with the electrodes).......... -  I could not connect all of my experience in my mind or through my body, as it seemed so non-performative (anti-performative),  and the relationship/connection to projected images, influenced by your brain waves, was not clear to me.......  (how were these images "fatemapped"?, can one say this, Jack?)

Much later, i rediscovered Alvin Lucier's piece from 1964 -   "Music for Solo Performer"  (http://www.youtube.com/watch?v=3uuYNKVQNMU), and it made me now think of your comments and some of the wonderful passages in Olu's,  Nilüfer's and Jennifer's postings, as well as Elisita's response today.

Now,  I would ask Gordana,  looking at Lucier's [non]performance or participatory performance for a moment,  and seeing it as meditative stillness-movement for neural empathy? neuro-sonic empathy [?] , how would you think of this installation, in regard to what you wrote or seem to plan doing with your new artaudian project......INTERACTIVE ART being process AND complex AND interdependant... ?
if i thought along the lines of Artaud's metaphysics of incantatory vibrations and "sonorous streaming naked realizations" - would this sound from within the bodymind make me shiver and would it "intensify" me (speed my up) or would it massage me, like Artaud's snake?  would it traumatize me?    this has been hinted at (by Nilüfer) but not addressed yet, the problematic side of stillness-movement and deceleration, when time seems to fade slowly, as fear makes us nearly frozen, gripping us, not letting us go/breathe * [1]

Claudia, i found an image from your INsideOUT on "surveillant_architectures"  (nice concept):    http://blog.khm.de/surveillant_architectures/?p=353

how would you speak about the notion of "real-time", in comparison with Olu's philosophical thoughts on "duration time" (not measurable time)?

best wishes
Johannes Birringer

[1] I try to address this by looking at Artaud's 1947 recording of "Pour en finir avec le jugement de dieu,"  and the distinction – and convergence – between experience of pain and performance of pain, and beccoming-mad and traumatized or traumatizing performance (and I have seen a few decelerated ones that made my blood curl).   A much more gripping article in the same book, just published, on the matter of traumatized performance, is by Per Roar, "An unfinished story: on ghostly matters and a mission impossible," and there is also Fabrizio's tantalizing essay in Tarantism and butoh.   See Birringer/Fenger (eds), "Tanz und WahnSinn  / Dance and ChoreoMania", Leipzig 2011. website: http://www.choreomania.org

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